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14
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publications
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1914
Volume
24
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Bradbury, Agnew & Co.
The Society of Authors
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London
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Index to The Author, Vol. 24 (1914)
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Index to <em>The Author</em>, Vol. 24 (1914)
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1914-The-Author-24-index
publications
The Author
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<em>The Author</em>
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1890–1914
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Che HMutbor.
(The Organ of the Incorporated Society of Authers. Monthly.)
FOUNDED BY SIR WALTER BESANT.
Vou. XXIV.—No. 1.
OcToBER 1, 1913.
[PRIcE SIXPENCE.
TELEPHONE NUMBER:
374 VICTORIA.
TELEGRAPHIC ADDRESS :
AUTORIDAD, LONDON.
—_____+——__—___
NOTICES.
—_—-—+—
7 the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
‘Author are cases that have come before the-
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou, XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
On and after June 13 Messrs. Matthews’
Advertising Service, Staple Inn Buildings,
High Holborn, W.C., will act as agents for
advertisements for “The Author.” All
communications respecting advertisements
after that date should be addressed to them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
—______——__—___
THE SOCIETY’S FUNDS.
— ++
ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
79
2
matter closely connected with the work of the
Society. oe ‘
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
ee
THE PENSION FUND.
oo
‘N January, the secretary of the Society
laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4% Extension Shares, 1914,
£10 fully paid. The number of shares pur-
chased at the eurrent price was twenty-five
and the amount invested £296 1s. 1ld. The
trustees are also purchasing three more Central
Argentine Railway New Shares at par, on
which as holders of the Ordinary Stock they
have an option.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule ;—
Nominal Value.
8
Deca L0ans 2.5.2.2... 665. 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ........ 291 19 11
London and North-Western 3%
Debenture Stock .........<.; 250 0 0
Egyptian Government Irrigation
Trust 4% Certifieates ........ 200 0 0
‘Cape of Good Hope 34% Inscribed
UOC os oc eee 200 0 0
Glasgow and South-Western Rail-
way 4% Preference Stock 228 0 0
New Zealand 34% Stock ....... 247 9 6
Irish Land 22% Guaranteed Stock 258 0 0
Corporation of London 24%
stock, 1927-57 ............. 438 2 4
Jamaica 34% Stock, 1919—49 .. 18218 6
Mauritius 4% 1987 Stock ....... 120 12 1
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1988 ...... 198 3 8
Antofagasta and Bolivian Railway
5% Preferred Stock .......... 237 0 0
Central Argentine Railway Or- .
dinaty St0ck = ......-.e:c001. Be OG
THE AUTHOR.
Nominal Value.
2 28
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ........... 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares .........:; 250 0 0
55 Buenos Ayres Great Southern
Railway 4°% Extension Shares,
1914 (fully paid) ..........-. 550 0 0
8 Central Argentine Railway £10
Preference Shares, New Issue.. 80 0 6
Total
PENSION FUND.
ee
Tue list printed below includes all fresh dona-
tions and subscriptions (t.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
January 3, 1913.
It does not include either donations given
prior to January, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913, - #8
Jan. 8, Toynbee, William (in addi-
tion to his present sub-
scription). . . ~ O16 0
Jan. 9, Gibson, Frank . 0 6 8
Jan. 29, Blaikley, Miss E. L. Oo Ss 6
Jan. 31, Annesley, Miss Maude 010 6
Feb. 6, Rothenstein, Albert . 0 7 &
Feb. 10, Bradshaw, Percy V. 010 6
April 8, Caulfield-Stoker, T. . 0 5 0
June 12, Wimperis, Arthur . fg
June 16, Ballantyne, J.W. . » 0.5 0
June 16, Thorold, Rupert 1 @ 0
Donations.
1913. :
Jan. 1, Risque, W. H. ‘ . 910 8
Jan. 1, Rankin, Mrs. F. M. . . @ 6 06
Jan. 2, Short, Miss L. M. 05 0
Jan, 2, Mackenzie, Miss J. 0 5 0
Jan. 2, Webling, Miss Peggy . O15 0
Jan. 8, Harris, Mrs. E. H. . 0 5 0
Jan. 3, Church, Sir Arthur,
K.C.V.O., ete. ~ Fo 2 ©
Jan. 4, Douglas, James A. . - 8 8 0
Jan. 4, Grant, Lady Sybil . ~* 2.2 8
Jan. 6, Haultain, Arnold é ~ ok 21 6
Jan. 6, Beveridge, Mrs. : <0 8 6
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan,
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Mar. 7, Keating,
Lloyd ;
Mar. 7, Tharp, Robert C.
Mar. 10, Hall, H. Fielding
Mar. 18, Moffatt, Miss Beatrice
Mar. 14, Bennett, Arnold
6, Clark, The Rev. Henry
6, Ralli, C. Scaramanija .
6, Lathbury, Miss Eva .
6, Pryce, Richard
7, Gibson, Miss L. S.
10, K. : :
10, Ford, Miss May
12, Greenstreet, W. J. .
14, Anon : :
15, Maude, Aylmer
16, Price, Miss Eleanor .
17, Blouet, Madame
20,P.H.andM.K. .
22, Smith, Herbert W. .
25, Anon. . . :
27, Vernede, R. E. .
29, Plowman, Miss Mary
81, Jacobs, W. W.
1, Davy, Mrs. E. M.
8, Abraham, J. J.
4, Gibbs, F. L. A.
4, Buckrose, J. E. ‘
4, Balme, Mrs. Nettleton
6, Machen, Arthur
6, Romane-James, Mrs.
6, Weston, Miss Lydia .
14, Maunsell, A. E. Lloyd
14, O'Higgins, H. J...
15, Stephens, Dr. Ricardo
15, Jones, Miss E. H.
17, Whibley, Charles
22, Probert, W. S.
24, S. F. G. ;
27, XX. Pen Club
Mar. 17, Michell, The Right Hon.
Sir Lewis, K.C.V.O.
Mar. 17, Travers®Miss Rosalind
Mar. 26, Anon. . . .
April 2, Daniel, E. H. .
April 2, Hain, H. M.
April 7, Taylor, Miss Susette M.
April 7, Harding, Newman .
April 9, Strachey, Miss Amabel
April 10, Aspinall, Algernon .
April 15, Craig, Gordon
June 12, Peel, Mrs.
29, Todd, Miss Margaret, M.D.
6, Coleridge, The Hon. Gilbert
14, Saies, Mrs. F. H. (in addi-
tion to her subscription)
Phe Hev. «3:
THE. AUTHOR.
.
waoroo Ormmoooooo CORRE OF OH ONHFOCOCOCOBRHOHFOGCOCOCOROWO
SOmocoooourore
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BOF CUNO O,
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SSSCSTSTOSOHMASOARSCSOHASOAASCSOSCSOSOCOCOCOSCOSCOOCOe
SOS ACAaARSS
QOooscoescoaoceceo oooce
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June 13, Barlow, Miss Hilairé :
June 13, Kynnersley, E. M. Sneyd.
July 5, Williams, Robert :
July 11, Broadbent, D. R. .
July 22, Cameron, Mrs. Charlotte .
Hae ooctk
_~
bet eet Ot Oe
escooo™
Oi
COMMITTEE NOTES.
—+-——+-—_
HE last meeting of the Committee of
Management before the vacation was
held on Monday, July 7, at 1, Central
Buildings, Tothill Street, S.W.
Following the reading of the minutes, the
committee proceeded with the elections. Eigh-
teen members were elected, bringing the total
for the year up to 207. The committee
received, with regret, three resignations.
The solicitors then reported the cases to the
committee.
In regard to two cases tried during the
month of June, they reported that in the
case of Corelli and Gray, the defendants had
appealed, and in the case of Pett Ridge and
The English Illustrated, that the defendants
had gone into liquidation. Two claims, one
against a publisher, and the other for infringe-
ment of performing rights, they stated had
been satisfactorily settled, the amount of
the debt and costs being paid in both cases.
They then gave a detailed report concerning
the investigation of accounts on behalf. of
one of the members, which had become
rather a complicated matter, owing to the
business of the defendants lying to a great
extent in Germany. They hoped to carry the
case through without any serious expense to
the Society. There were three cases of infringe-
ment of copyright. In two of these, which
referred to dramatic rights, the amount to be
paid had been settled, and the payment by the
defendants was to be made by instalments.
In the other case, an infringement of literary
copyright, the solicitors stated they were
awaiting a report from an expert reader,
which report had to be carefully considered
before any action could be taken. The com-
mittee authorised the expenditure of £5 on this
report. The solicitors then reported on three
small County Court cases that were being
carried through.
The secretary then drew the committee’s
attention to some serious questions which had
arisen between authors and agents. It was
decided that the secretary should draft an
4
article to appear in T'he Author, setting out in
full the facts of the case, which article should
be considered at the October meeting. :
The secretary reported two cases In which,
during the month, he had obtained the chair-
man’s leave to act. In the first, the chairman
had sanctioned an application for an injunction
(if necessary) for a copyright infringement.
The secretary was glad to report that the
infringement had been acknowledged, and that
the matter would be settled without legal
action. The second case arose owing to non-
delivery of accounts by an American publisher.
The committee confirmed the chairman’s
decision to place the matter in the hands of
the Society’s American lawyers. Another case,
relating to copyright infringement in the
United States, was laid before the committee,
and they agreed that action should be taken if
necessary. In a case of arbitration between
author and publisher, which had been referred
to the Committee of Management, the com-
mittee nominated an arbitrator to act in the
matter.
The question of Canadian copyright was then
raised on one or two important points con-
nected with colonial copyright which had come
before the Society. The secretary was in-
structed to communicate with the Board of
Trade on the matter, and to report to the next
meeting.
Owing to the resignation of the present
lawyers of the Society in the United States,
the secretary submitted the names of others,
who were elected subject to a satisfactory
report being received.
A vacancy on the committee having occurred
owing to the regretted illness of Mr. J. W.
Comyns Carr, Mr. Charles Garvice was nomi-
nated to fill the vacancy, subject to his willing-
ness to serve,
The secretary then made a full statement
concerning the office management and
expenses, and was instructed by the com-
mittee thereon.
The committee’s attention was drawn by
the secretary to Mr. H. G. Wells’ lette#in The
Author on the subject of model agreements.
He was instructed to draft a model form of
royalty agreement during the vacation. This
form was to be laid before the committee in
October.
A legal question was next placed before the
committee arising out of the mechanical
reproduction clauses of the new Copyright Act.
After hearing the report of the solicitors, the
committee decided that no action could be
taken. The committee delegated its powers,
t cat ovh a vol ¥¥Ir
THE AUTHOR.
during the vacation, to the Chairman, to act
in case of emergency, and finally passed votes
of thanks to Mr. Alfred Sutro for a donation
of £5, and to Miss Jeanette Marks, for a dona-
tion of $5 to the Society’s Capital Fund.
Dramatic SuB-COMMITTEE.,
Tue Dramatic Sub-Committee held its July
meeting on Friday, July 11, at the offices of
the Society, 1, Central Buildings, Tothill Street,
Westminster.
After the reading of the minutes, the seere-
tary reported that he had forwarded to Mr.
Vedrenne, secretary to the Society of West End
Managers, the Managerial Treaty, setting out
the alterations made at the meeting between
delegates of that society and delegates of the
sub-committee. He read to the sub-committee
Mr. Vedrenne’s letter acknowledging receipt of
the document, and stating that he would show
the agreement to his colleagues.
The secretary then reported what had passed
at a meeting he had attended of the Dramatic
Clubs’ Association as delegate of the Society.
He was instructed to write to the secretary
and express the hope of the sub-committee,
that it would be possible for delegates of
the association to attend a meeting of the
Dramatic Sub-Committee in the autumn.
The question of foreign agents was then
discussed, and the Dramatie Sub-Committee,
subject to the approval of the Committee of
Management, elected Mrs. Pogson, the agent
of the Society in Germany.
Various cases dealing with dramatists’
matters were brought before the sub-committee.
The first case referred to a difficulty which had
arisen between members of the Society and
their agents. The secretary was instructed to
write an article for The Author, setting out the
points in dispute, but first to submit the article
to the members concerned. In another case
the sub-committee regretted they were unable
to take any action, and fhe secretary was
instructed to advise the member accordingly.
The last case was a question of appropriation
of title. The Chairman was instructed to write
a letter on the subject to the member con-
cerned pointing out the serious difficulties, legal
and otherwise, that might follow from such
appropriation.
It was finally decided to adjourn the con-
sideration of the ‘‘ Draft Dramatic Agreement
for a term of years’? to the autumn meeting.
THE AUTHOR. 5
ComposErs’ SuB-COMMITTEE.
Tue Composers’ Sub-Committee met at the
offices of the Society, 1, Central Buildings,
Tothill Street, Westminster, S.W., on Saturday
July 12.
Following the reading of the minutes of the
previous meeting, the arrangements for the
general meeting of composers in the autumn
were discussed. It was decided to call the
meeting for Saturday, October 11, at 2 o’clock.
The terms of the circular were settled, and the
names of certain speakers were suggested and
approved.
The question of the price to be paid by the
mechanical instrument trade on records repro-
ducing selections from certain works was fully
discussed. The secretary read the opinion of
the Society’s solicitors, and the sub-committee
came to the same conclusion as the Committee
of Management, viz., that it would be im-
possible to argue that a symphony, concerto,
or opera did not form one musical work,
although the different movements or parts
could be dealt with independently. The
secretary was instructed in sending out stamps
to act in accordance with this opinion.
The question of foreign agents was brought
forward, and the secretary was instructed to
write again to the French Society, and to
obtain further particulars from the German
Society.
On a further question as to the assignment
of mechanical rights, it was decided to refer the
matter to the general meeting in October.
—
Cases.
Durinc the vacation the secretary has dealt
with forty-four cases. This keeps the monthly
number at about the usual average.
Seventeen of the claims put in his hands were
claims for money. Of these eleven have ter-
minated successfully ; the money has been
obtained and forwarded to the authors in-
volved. Five have been placed in the hands
of the Society’s solicitors, and will be dealt with
in due course; one it has been impossible to
carry further, as the defendant cannot be
found, and one has only recently come to the
office.
The claims for MSS., of which eleven cases
have been dealt with, come next in number.
Six, that is over half, have been successful ;
the editors have returned the MSS. and
the MSS. .have been forwarded to the
authors. In one case it was impossible to
—~Bax, Clifford . ;
find the defendant and the matter had to be
dropped. One ease is still unsettled, and three
cases have only come into the office on the
verge of going to press.
Of seven cases of accounts four have ter-
minated successfully, two have been placed in
the hands of the solicitors, and one has only
recently come to hand.
There have been six disputes on agreements.
Four of these have been settled, and the
remaining two are in the hands of the solicitors
to be dealt with.
In two claims for infringement of copyright
the damages claimed have been obtained, and
the matters have been concluded.
There was one case of unauthorised use of an
author’s name, but, as the matter lies in the
United States, the issues are still pending.
The Society has obtained counsel’s opinion
on an important dramatic case dealing with
cinematograph rights, and the cases the
solicitors have had in hand during the vacation
will be reported at length in the November
issue. But little court work is carried on in
the summer either in the high courts or in the
county courts.
—_+—<—+ —_
Elections.
Ball, W. Valentine - ft; Brick Court,
Temple, E.C.
The Manor House,
Broughton-Gif-
ford, Wilts.
Royal Societies’
Club, London ;
and The Cross
Roads, Mt. Kisco,
New York, U.S.A.
2, Porchester Gar-
dens, W.
7, Old Deer Park
Gardens, Rich-
mond, S.W.
40, Tregunter Road,
W.
Chagford House,
209, North End
Road, West Ken-
sington, W.
William 62, Station
Colchester.
Swan Hill Court,
Shrewsbury.
Matron, Salford
Maternity Train-
ing School.
Davis, Richard Harding
Farquharson, R.
Ganthony, Richard
Ganz, Wilhelm
Harvey, Henry Leslie .
Harwood, Road,
Henry.
Humphreys,
Rachel.
Macdonald, Sarah
Miss
6 THE AUTHOR.
Makgill, Sir George,
Bt. (‘‘ Victor Waite”
and ‘“‘ Francis Grant ’’).
Maude, Graham K.
Yaxley Hall,
Suffolk.
Eye,
56, Stanwick Man-
sions, W. Kensing-
ton, W.
Forest Hill, West
Kirby, Cheshire.
“Invergordon,”
Warrior Gardens,
St. Leonards-on-
Menzies, Mrs. M. I. :
Moodie, Walter Wolston
Sea.
Richardson, Leslie . ‘Ker Avelek,’’ Con-
carneau, Finis-
tere, France.
15, Sloane Gardens,
S.W.
57, Gwendwr Road,
W. = Kensington,
W.
Whinyates, Miss Amy .
Whitley, William T.
——_———_1+—— > —__——_-
BOOKS PUBLISHED BY MEMBERS.
—
While every effort is made by the compilers to keep
this list as accurate and exhaustive as pomille, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
ARCH AXOLOGY.
Tue XIrn Dynasty Tremere at Derr EL-BaHart.
Part III. By E. Navmie and H. R. Harr. (32nd
Memoir of the Egypt Exploration Fund.) 124 x 10.
36 pp. xxxvi. Plates. Kegan Paul.
Inscriptions From Swiss Cuaxets. A collection of
Inscriptions found outside and inside Swiss Chalets,
Storehouses and Sheds. By W. LarprEn. 8} x 5}.
208 pp. Milford. 15s. n.
IntustRATIVE Descriptive Account oF THE MUSEUM OF
ANDALUSIAN PorreRy AND Lacr. Antique and
Modern, with notes on Pre-Roman Seville and Lost City
of Tharsis. By B. and M. ELLEN WuisHaw. 8} x 53.
43 pp. Smith, Elder. Is.
ART.
CHuronoLocicaL List, with Notes oF PAINTINGS AND
DRAWINGS FROM DANTE BY DANTE GABRIEL ROSSETTI.
By Pacet ToynBer. 12} x 84. Pp. 135—166. Turin
Fratelli Bocca.
BIOGRAPHY.
Tue Lire AND WRITINGS oF Puitip, DUKE oF WHARTON.
By Lewis MELVILLE. 8} x 5}. xx. + 336 pp. Lane.
168. n.
Tue Lire or Jonn Goopwin. By Henry W. Cuark, D.D.
7} x 43. 68 pp. Congregational Union of England
and Wales. 6d. n.
IncipENTS IN THE LirE or MADAME BLAVATSKY.
piled and edited by A. P. Srynett.
The Theosophical Publishing Co.
Com-
74 x 5. 256 pp.
2s. 6d. .
Lire or Kircnener. By Frepk. Wm. Hacxwoopn.
Author of ‘‘ William Hone: His Life and Times,” ete.
Anew pocket volume of Collins’ “‘ Wide World” Library.
William Collins, Sons, & Co., Ltd. 7d. n.
VINCENT DE Pav, PRrest AnD PHILANTHROPIST, 1576—
1660. By E. W.Sanpers. 9 x 54. 419 pp. Heath,
Cranton & Ouseley. 16s. n.
A Court PaInTER AND His CrrcLe: Francois BoucHER
(1703—1770). By Mrs. BEarng. 9 x 53. 388 pp.
Fisher Unwin. 15s. n.
My Days with THE Farries. By Mrs. Ropotpn STawE LL.
8} x 6. 169 pp. Hodder & Stoughton. 6s. n.
BOOKS FOR THE YOUNG.
Tue Cracsmen. A Story of Smuggling Days. By
Dl _ Cooxr. 84 x 53. 316 pp. Cassell.
8. 6d.
Piays CoMPILED By Girt GuipEs. Suitable for Perform-
ance by Girl Guides. Edited by Miss A. BapEN
PowrELtt. 5} x 4}. 137 pp. Brown. 6d. n.
Kine or THE Arr. By Herpert Strange. 272 pp.
Jack Harpy. By Herperr Strang. 232 pp.
THE Lost Istanp. By Capt. Girson. 288 pp.
Lorp or THE SEAs. By Herpert Stranc. 238 pp.
(The Boys’ New Sevenpenny Library.) 62 x 44.
Frowde & Hodder & Stoughton. 7d. n. each. :
LirtLe Wars. A Game for Boys. By H. G. WELLS.
9 x 62. 111 pp. F. Palmer.
DIVINITY.
Tue FourroLp GosreL. Section 1. Introduction. By
Epwix A. Assotr. Cambridge University Press.
2s. 6d. n.
2s. 6d. n.
DRAMA.
Apvent. A Play in Five Acts. By Aveust StRinDBERG.
Translated by CraupE Fretp. 7 x 4}. 110 pp.
Holden & Hardingham. ls. n. ,
Tue Emancipation. A Playin Three Acts. By LEoNaRD
Inkster. 7} X 4}. xii. + 95 pp. . Sidgwick & Jack-
son. ls. 6d. n.
Tue Divine Girt. A Play in Three Acts. By H. A.
Jones. 74x 5. 178 pp. Duckworth. 3s. 6d. n.
Tur Harpy Kryapom. A Comedy in Three Acts, written
in blank verse and prose. By ArruuR MaQvuaRIE.
74 x 54. 150 pp. Bickers. 5s. n.
JosEPH AND His BReTHREN. By Lovis N. Parker.
74 x 5. 154 pp. Lane. 2s. 6d. n.
Eicut o’CLtock AND OTHER STUDIES.
Ervine. 7} X 5.
EDUCATIONAL,
Tue Tracepy or Epvucation. By E. G. A. Hormzs.
74 x 5. 100 pp. Constable. 2s. 6d. n.
By Sr. Joun G.
128 pp. Maunsell. 2s. 6d. n.
ENGINEERING.
FurTHER PROBLEMS IN THE THEORY AND DESIGN OF
Srrucrures. An advanced text-book for the use of
Students, Draughtsmen and Engineers engaged in con-
structional work. By Ewart §. AnpRrews, Lecturer in
Theory and Design of Structures at the Goldsmiths’
College, New Cross. 8} x 54. viii. + 236 pp. Chap-
man. 7s. 6d. n.
Irniagation Works. By E. 8. Beruasts. M.Inst.C.E.
8% x 54. vii. + 195 pp. Spon.
FICTION.
Jenny: A Novel. By Roy Horniman. 7} x 5.
335 pp. Hurst & Blackett. 6s.
Swrrting Waters. By Max RitrEenBerc.
312 pp. Methuen. 6s.
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THE AUTHOR. 7
Tue Hour-Guass Mystery.
320 pp. Ward, Lock. 6s.
CLeopaTRA. By H. Riper Hacearp. 259 pp. Havoc.
By E. Pumurms Opprennem. 258 pp. 6} x 44.
Hodder & Stoughton. 7d. n. each.
THE Cockatoo. A Novel of Public School Life. By Max
Rirrenserc. 7} 5. 309 pp. Sidgwick & Jack-
son. 5s.
A Marssar, Haut. By Joun MaAsEriep.
189 pp. Elkin Mathews. 3s. 6d. n.
THE Sty or Jasper Stanpisn. By “Rrra.”
318 pp. Long. 7d. n. each.
Furze THE Cruret. By JoHN TREVENA.
391 pp. (Popular Edition.) Alston Rivers.
THE GARDEN or Mystery. By RicHarp
316 pp. Long. 7d. n.
THe Rep Hovsz. By E. Nessir.
Methuen. 7d. n.
THe Patapry. As beheld by a Woman of Temperament.
By H. Annestey Vacuett. 64x 4. 474 pp. Nelson.
1a. 1.
A Son of THE Peopite. 340 pp. Tau Tancuep SKEIN.
332 pp. By Baroness Orczy. 7} x 4}. Hodder.
Is. n. each.
THe Patchwork Papers. By E. Tempte Tuurston.
(New and Cheaper Edition.) 7} x 43. 268 pp. Chap-
man. 2s. n.
By Srroke or Sworp. By A. Batrovr.
319 pp. (Cheap Reprint.) Methuen. 7d. n.
A Bep or Roses. By W.L. Grorer. 7 x 43.
Palmer. ls. n.
THE OLD Man IN THE CorNER. 340 pp. By THE Gops
BeLoveD. 310 pp. 7} x 44. By Baronzss Orczy.
(Cheap Reprint.) Hodder. 1s. n.
FEviciry iy France.
377 pp. Ils. n.
THE Wipow’s Neckiacr. By Ernust Davies.
315 pp. Duckworth. 6s.
Tue Por or Bast. By BrERNarD Capss.
Constable. 6s.
Lity Macic. By Mary L. Penperep.
Mills & Boon. 6s.
Raven, V.C. By Coratre Stanton and Heatu Hosken.
7s x 5. 400 pp. Nash. 6s.
THe Vieer or Minan. A Romance of Lombardy. By
Margorie BowEn. (Cheap Reprint.) 7k X 5. 348 pp.
Alston Rivers. Is. n.
PeTer, A Parasitre. By E. Marra ALBANESI.
Reprint.) 6} x 4}. 224 pp. 7d.n.
Tue Mystery or HetmMstey Grane. By Aice and
CraupE Askew. 7} x 5. 254 pp. Pearson. ls. n.
Tue CounTrY oF THE BLIND AND OTHER STORIES. By
H. G. Wxis. 6} x 4. 574 pp. (Cheap Reprint.)
Nelson. 7d. n.
THE Woman Tuov Gavest Mz.
O'Neill. By Haun Carne.
mann. 6s,
Evporapo. A Story of the Scarlet Pimpernel. By
Baroness Onczy. 73 x 5. 374 pp. Hodder &
Stoughton. 6s.
Tue Stricrty Trarnep Motuer. By F. F. Monrresor.
73 x 5. 221 pp. Murray. 3s. 6d.
Tue CLup oF QuEER TRADES. By G. K. Cuesrrerron.
192 pp. Hodder & Stoughton. Is. n.
THE Way oF Ampition. By Ropert Hicuens. 7% x 54.
476 pp. Methuen. 6s.
Tue Reminaton Sentence. By W. Pzrr Ruivaz.
7% x 5. 300 pp. Methuen. 6s.
Tue Miscuter-Maxrer. By E. Pamurs OppenneErm.
7% x 5. 332 pp. Hodder & Stoughton. 6s.
Tue SHapow or Evi. By Cartron Dawe. TE x 5.
312 pp. Werner Laurie. 6s.
By Heapon Hm. 7? x 5.
7% x 54.
64 x 4.
74 X 5.
ls. n.
Marsa.
64 x 4}. 212 pp.
64 x 4.
384 pp.
75 X 43.
320 pp.
7k X 5. 372 pp.
(Cheap
Being a Story of Mary
73 x 5. 586 pp. Heine-
By Constance ExizaBeru Mavp..
THE Grey Countess. By Tuzo Dovanas (Mrs. H. D.
Everett). 73 x 5. 311 pp. Cassell. 6s.
Tue Netuer Mitztstone. By G. Lrrruestons.
380 pp. Ward, Lock. 6s.
Gov’s Pray. By Atice and CLaupEe AsKEw.
31l pp. Fisher Unwin. 6s.
A Mrxep Marriace. By Mrs. Frank Penny.
263 pp. (Cheap Reprint.) Methuen. 7d. n.
Tue Brass Borrte. By F. Anstey. 256 pp.
Reprint.) Hodder & Stoughton. 7d. n.
PrerRE AND His Propte. By Smr Gmsert ParKeEr.
= pp. (Cheap Reprint.) Hodder & Stoughton.
7d. n.
Hypocrites AND SINNERS. By Vioter TWrEbDALe.
63 x 4. 318 pp. (Cheap Reprint.) John Long. 7d. n.
A Woman Perrectep. By R. Marsu. 318 pp. 63x 4.
(Cheap Reprint.) John Long. 7d. n.
THe Fourrow on tHE Hutz. By Ftorence Bore.
83 x 53. 128 pp. (The “Leisure Hour” Library.)
OLIVER SaAnpys.
Cutcanzn. By 74k x 42.
(Cheap Reprint.) John Long.
An AvERAGE Man. By R. H. Benson.
380 pp. Hutchinson. 6s.
THane BRANDON. By Francis BANCROFT. it xX 43.
326 pp. Hutchinson. 6s.
THE SWASHBUCKLER AND OTHER TALES. By Mrs.
Baim Reynoups. 8 x 5. 343 pp. Mills & Boon.
6s.
Mrs. Murpyy. By Barry Pain.
Werner Laurie. Is. n.
THe ParaDIsE or Foots.
Everett & Co. 6s.
THE Man Wuo Par. By Rearyatp C. Borsrer and
Mason Ausrey O’Brign, C.I.E. 74 x 43. 332 pp.
Alston Rivers. 6s.
THortEy Weir. By E. F. Benson. 73 x 5}. 336 pp.
Smith, Elder. 6s.
BaRBARA OF THE THORN.
314 pp. Chatto & Windus. 6s.
Brtow Srams. By Mrs. Atrrep Smewicx. 72 x 6.
304 pp. Methuen. 6s.
THE GOVERNOR or Encuanp. By Margorrz Bowen.
72 x 5. 376 pp. Methuen. 6s.
Tipe Marks. By MarcarutT WESTRUP. 7% x 5. 380 pp.
Methuen. 6s.
THe CHars or Harton. A Tale of Frolic, Sport and
Mystery at Public School, By Benrypa Biiypers.
Edited by Desmonp Coxz. 7} x 43. 159 pp. Chap-
man & Hall. 2s. 6d. n.
Winns or Gop. By Hammron Drummonp.
321 pp. Stanley Paul. 6s.
One WonpeErFuL Nicut. By Lovis Tracy. 74 X 5.
321 pp. Ward, Lock. 6s.
THRovcH Wat AND THrovaH Wor. By Err Apz-
LAIDE Rowxanps. 74 x 5. 317 pp. Ward, Lock. 6s.
Hieas anp Porrer. By Brarp FRANCIS. 74 xX 5.
296 pp. Drane. 3s. 6d.
Tse Crry or Brautirut Nonsense. By E. Tempe
Tuurston. (New and Cheaper Edition.) 6} x 4}.
360 pp. Chapman & Hall. ls.
A Prizstess or Humanity. By Mrs. Stanuey WRENCH.
7% X 43. 319 pp. (Popular Edition.) John Long.
ls. n.
Links in tue Cuarn. By Heapon Hu.
John Long. 7d. n.
Tur Ossornes. By E. F. Benson. 6} x 4}. 378 pp.
Nelson. 7d, n.
ALLAN QuaTEeRMAIN. By H. Riper Haccarp.
Hodder & Stoughton. 7d. n.
ASERVANT or THE Pustic. By ANTHONY Hops.
Hodder & Stoughton. 7d. n.
72 x 5.
7% X 5.
64 x 44.
(Cheap
287 pp.
7k xX 43.
74 x 43. 114 pp.
By Derrek Vane. 320 pp.
7} x 5.
72 Xx 5.
256 pp.
320 pp.
317 pp.
8 THER AUTHOR.
ASENATH OF THE Forp. By “ Riva.” 83 x 53.
Stanley Paul. 6d.
196 pp.
HISTORY.
Sures aND Ways or OTHER Days. By E. KeBLEe CHATTER-
TON, 9% xX 7. 308 pp. Sidgwick & Jackson. 16s. n.
JorRQUEMADA AND THE SpanisH_ INQuIsiTION. By R.
SaBATINI. 9 X 53. 404 pp. Stanley Paul. 16s, n.
LITERARY.
Tae Story or THE ALPHABET. By E. Ciopp. Revised
Edition. 63 x 4}. 234 pp. (Useful Knowledge Series.)
Hodder & Stoughton. ls. n.
Unxiversity and HisroricaL AppREssEs. By JAMES
Bryce. 8 x 54. 433 pp. Macmillan. 8s. 6d. n.
MATHEMATICS.
PROCEEDINGS OF THE FrerH INTERNATIONAL CONGRESS OF
Maruematicrans (Cambridge, August 22, 28, 1912).
Edited by E. W. Hopson and A. E. H. Love. Two
vols. 104 x 7. 500 x 657 pp. Cambridge University
Press. 30s. n.
MEDICAL.
Tur Huarruy Marrracse. A Medical and Psychological
Guide for Wives. By G. T. Wrencu, M.D., B.S.
74 x 5.
Tur Nervous AND CHEMICAL ReauLaTions oF Mura-
BoLIsM. Lectures by D. Norn Paton, M.D., B.Sc.,
Professor of Physiology in the University of Glasgow.
9 x 54. 217 pp. Macmillan. 6s. n.
NATURAL HISTORY.
Tue Birpsor Avstratia. By G.M.Maruews. Vol. III.
Part Ill. 144 x 10}. Pp. 205—300. Witherby.
NAVAL.
Turn Krye’s Sutres. Together with the important His-
torical Episodes connected with the successive ships of
the same name from remote times, and a list of names and
services of some ancient war vessels. By H. 8. Lzoxy.
In six volumes. Vol. I. 11} x 8}. 327 pp. H.
Muirhead. £3 n. each volume.
POETRY.
My Lapy’s Boox. By Greratp Goutp, 7} x 5. 54 pp.
Sidgwick. 2s. 6d. n.
Sart Water Batyaps. By JoHN MasEFIELD. 112 pp.
73 x 5}. Elkin, Matthews. 3s. 6d. n.
Rasmie’s Buppre: Porms iN THE SHETLANDIC. By
J. J. HAtpaNE Buresss. 74 x 5. 129 pp. Manson.
A SELECTION FRoM THE Love PorTry or WILLIAM
Burter Years. 8} x 6. 30 pp. The Cuala Press,
2 Dundrum, Co. Dublin. To subscribers,
7s. 6d.
Maytime Sones. By ANNIE MATHESON.
Max Goschen. 2s. 6d. n.
Prers THE Plowman. An English Poem of the Fourteenth
Century. Translated into Modern Prose, with an Intro-
duction, by Kare M. Warren, Lecturer in English
Language and Literature at Westfield College (University
of London). Arnold. 2s. 6d.
SOCIOLOGY.
A PLEA FoR THE YOUNGER GENERATION.
Hamirton. 7? X 5.
2s. 6d. n.
Woman, Marrtace AND MotHernoop. By ELiIzaBETH
8 x 5h. 67 pp.
By Cosmo
63 pp. Chatto & Windus.
Stoan CHESSER. 8} x 5}. 287 pp. Cassell. 6s. n.
SPORT.
Women tn THE Huntina Frevp. By Mrs. Sruart
Menzizs. 734 x 5. 269 pp. Vinton. 7s. 6d. n.
THEOLOGY.
Hymns," Lirantes AND PRAYERS FOR A VILLAGE. By
J. Hunrutey Sxrre. 63 x 4}. 85 pp. Mowbray.
Tene \
Tur Porr at Home. By Doveras StapEN. 7} X 43.
222 pp. Hurst & Blackett. Is. n.
Lessons ror THE CuuRcH’s CHILDREN. Book I. By
Tne Rey. J. Hastocn Potter and Tue Rev. A. E. W.
Suearp. 74 x 5. 262 pp: Skeffington, 1s. 6d, n.
TOPOGRAPHY.
Tur New Foresters. By Witttam Carne. 8} x 5}?
248 pp. Nisbet. 5s. n.
Quiet Roaps anp Suenpy Vittaces. By ALLen FEa.
9 x 53. 292 pp. Nash. 7s. 6d. n.
TRAVEL,
A Tourn Touramr. By Raymonp NEEDHAM. Second
Edition. 7} x 4}. 300 pp. 5s. n.
From a PunsavuB PomrGranate Grove. By C. C.
Dyson. 9 x 54. 289pp. Mills& Boon. 10s. 6d. n.
Tue LanD oF VEILED WOMEN.
Algeria, Tunisia and Morocco.
7k x 5. 288 pp. Cassell.
Some Wanderings in
By J. Foster Fraser.
ls. 6d. n.
—_—_—_—_——_+——_+-_—_—_—__
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
—+— +
HE novel-publishing season is now in
full swing. Mr. Maurice Hewlett’s
‘“‘Bendish: a Study in Prodigality,”
appeared on September 19, through Messrs.
Macmillan & Co. Mr. H. G. Wells’s “ The
Passionate Friends” was published by the
same house.
Mr. Hall Caine, with his ‘“‘ Woman Thou
Gavest Me” (Heinemann), has had _ the
distinction of being the first author this season
to come into conflict with the Circulating
Libraries’ Association, The matter is referred
to in another column.
Sir Arthur Conan Doyle’s “‘ The Poison
Belt’ is published by Messrs. Hodder &
Stoughton.
Mr. Robert Hichens’s new novel, ‘‘ The Way
of Ambition,” has been published by Messrs.
Methuen & Co.
The same firm has produced Mr, Arnold
Bennett’s “‘ The Regent” (re-introducing the
reader to “* The Card ’’); Sir Gilbert Parker’s
“The Judgment House”’; Mr. Pett Ridge’s
“The Remington Sentence’; Miss Marjorie
Bowen’s ‘‘ The Governor of England”; Mrs.
Belloc Lowndes’s ‘‘The Lodger’’; Miss
Dorothea Conyers’s ‘‘ Sandy Married”; Mr.
Putnam Weale’s ‘“‘ Romance of a Few Days ”’ ;
and Mrs. A. Sidgwick’s “‘ Below Stairs.”
Mr. W. B. Maxwell has brought out “* The
Devil’s Garden,” through Messrs. Hutchinson
|
HAR ENO SRS
THE AUTHOR. 9
& Co. This firm publishes also Mrs. Wilfrid
Ward’s ‘ Horace Blake.”
From the same publishers come “ The Power
Behind,” by Miss M. P. Willcocks; “An
Average Man,” by Mr. R. H. Benson; “ Sandy’s
Love Affair,” by Mr. S. R. Crockett; and
* Thane Brandon,” by Mr. F. Bancroft.
Messrs. Chatto & Windus publish ‘“ The
Door that has no Key,” by Mr. Cosmo
Hamilton; ‘Love in the Hills,” by Mrs.
F. E. Penny; ‘ Barbara of the Thorn,” by
Miss Netta Syrett ; “‘ Prodigals and Sons,” by
Mr. John Ayscough; and “ The Price Paid,”
by Miss Effie Adelaide Rowlands.
Mrs. Florence L. Barclay’s “The Broken
Halo,”” was published by Messrs. G. P. Put-
nam’s Sons, on September 16.
“Anne of the Marshlands,’’ by the Hon.
Mrs. Julian Byng, and “ Daffodil’s Love
Affairs,” by Mrs. L. M. Stacpoole Kenny, are
published by Messrs. Holden & Hardingham.
Major Aubrey O’Brien, C.I.E., and Mr.
Reginald Bolster, authors of ‘Cupid and
Cartridges,” have collaborated again in a novel
entitled “‘ The Man Who Paid” (Messrs. Alston
Rivers).
Miss Florence Bone’s autumn novels are,
“The Valley of Delight,” and “‘ A Burden of
Roses.” Her new serial, ‘‘ The Golden String,”’
commences in the October number of The
Sunday at Home.
Mr. Frankfort Moore has had two novels
published since our last issue—‘‘ The Narrow
Escape of Lady Hardwell ” (Constable) ; and
“The Rescue of Martha ” (Hutchinson).
Mrs. L. Allen Harker’s new novel is ‘‘ The
Ffolliots of Redmarley.”” Mr. John Murray
is the publisher of this, and also of ‘“ The
Strictly Trained Mother,” by Miss F. F.
Montresor.
“ Myles Calthorpe, I.D.B.,” by Mr. F. E.
Mills Young, is announced by The Bodley
Head as already in its seventh edition.
The Baroness Orezy’s “‘ Eldorado,” another
story of the Scarlet Pimpernel, is published by
Messrs. Hodder & Stoughton.
Miss Edith C. Kenyon’s historical tale,
“ Christine the Huguenot,” is being published
by the Religious Tract Society. The same
author’s “Ashes of Honour,” and ‘“ The
Mystery of Blackstone Mine,” have been
brought out by Messrs. Holden & Hardingham
in sixpenny form.
Messrs, Greening & Co. have brought out a
sixpenny edition of Miss May Wynne’s “ Henry
of Navarre,”’ the novel adapted from the play
by Mr. William Devereux.
“The Old Time before Them,” is Mr. Eden
Phillpott’s title for a new collection of West
Country stories, which Mr. John Murray
publishes.
Miss Edith L. Blaikley’s new novel, ‘ Alone
in a Crowd,” will appear early this autumn
through Messrs. Heath, Cranton & Ouseley,
who published the same author’s “ Dorothy
Eayle ” last October.
Messrs. Stanley Paul & Co. are the pub-
lishers of ‘‘ The Watered Garden,” by Mrs.
Stepney Rawson; ‘ Winds of God,” by Mr.
Hamilton Drummond; ‘ The Eyes of Alicia,”’
by Mr. Charles E. Pearce; ‘‘ Youth will be
Served,” by Miss Dolf Wyllarde: “The
Cloak of St. Martin,” by Miss Armine Grace
(sister of Miss Dolf Wyllarde); ‘The
Adventures of Mortimer Dixon,” by Mrs.
Alicia Ramsey ; and ‘“‘ The Painted Lady,” by
Miss Arabella Kenealy.
Miss Constance Serjeant’s ‘‘ Where the Saints
are Gone’ has been republished by Mr. W.
Nicholson.
“The Sentence of the Judge,” by Miss
Hilaré Barlow, is published by Messrs. Lyn-
wood & Co.
E. M. Channon (Mrs, Francis Channon) calls
her new novel “Miss King’s Profession.”
Messrs. Mills & Boon are the publishers of this,
and of Mrs. H. H. Penrose’s ‘t The Brat.”
“The Call of the Past,” by Fflorens Roch,
is published by Messrs. Sands & Co.
“The Pot of Basil,” by Mr. Bernard Capes,
is published by Messrs. Constable & Co., as also
are “No Place Like Home,” by Mr. John
Trevena; and ‘‘ The Judgment of the Sword ”
(previously announced as “‘ Retribution *), by
Mrs. Maud Diver.
Shilling editions of Mr. Clive Holland’s
stories, “My Japanese Wife,” ‘‘ The Spell of
Isis,” and ‘‘ Marcelle of the Latin Quarter,”’
are issued by Messrs. Lynwood.
Mr. Roy Horniman’s “‘ Jenny ”’ is published
by Messrs. Hurst & Blackett.
Miss Mary B. Sandford’s story for young
people, *‘ The Young Gordons in Canada,” was
published last month by the Religious Tract
Society.
Miss Violet A. Simpson’s new novel, ‘‘ Flower
of the Golden Heart,” will be published by
Messrs. Chapman & Hall this autumn. This
story deals with life and manners in London
immediately preceding the Great Fire of 1666.
We regret an error in the chronicling of
Miss Marriott Hodgkins’ tragedy, “ Cyrus,”’
in the July issue of the Books published by
Members, which was erroneously described
under the title “‘ Cyprus.”
Messrs. Macmillan & Co. are about to
10
publish the second of Mr. Douglas Ainslie’s
translations of Senatore Benedetto Croce’s
system of the Philosophy of the Spirit. This
volume will deal with the will in its various
manifestations, and notably with its two
forms of ethic and economic, showing how the
former depends upon and is developed from
the latter. The chief title of this work is
‘“‘ Philosophy of the Practical.’’ Mr. Ainslie’s
next translation will be that of Croce’s profound
and creative critique of Hegel, and will be
entitled, ‘‘ What is Living and what is Dead
of the Philosophy of Hegel.” The third
and last volume of the Crocian system will
be the ‘‘ Logic,” to be issued next year. The
introduction to the ‘‘ Philosophy of the
Practical’ appears in the October number
of the North American Review.
Mr. Douglas Ainslie’s last volume of poems,
‘“‘ Mirage,” has now been transferred to
Messrs. Constable & Co., who have also
published his “Moments,” “John of
Damascus,” and ‘‘ Song of the Stewarts.”
Mr. Havelock Ellis writes the introduction to
Miss Ellen Key’s life of Rabel Varnhagen, who
has been described as the greatest woman
genius that Germany has produced (Putnam,
6s. net).
Mr. Lewis Melville’s new biography is
‘“* Philip, Duke of Wharton ”’ (John Lane, 16s.).
Messrs. Hutchinson & Co. are on the point
of producing Mr. Philip W. Sergeant’s ‘* Mrs.
Jordan, Child of Nature,” a new attempt to
pierce the mystery surrounding the unfortu-
nate actress. There will be twenty-one
illustrations.
Mrs. Edith Cuthell’s ‘A Vagabond
Courtier ’’—a biography in two volumes of the
Baron von Polnitz, of whom a rather acid
portrait appears in Thackeray’s ‘‘ Virginians ”’
—is announced by Messrs. Stanley Paul & Co.
Mr. Yoshio Markino, the Japanese artist, is
producing through Messrs. Chatto & Windus
‘““ My Recollections and Reflections,’’ with nine
illustrations in colour and several in mono-
chrome.
Messrs. Chatto & Windus’s autumn cata-
logue includes also ‘‘ Browning’s Heroines,”
by Miss E. C. Mayne (6s. net); “* Under the
Greenwood Tree,” an edition, illustrated by
Mr. Keith Henderson, of Mr. Thomas Hardy’s
novel (6s. net); and ‘‘ A Plea for the Younger
Generation,’’ by Mr. Cosmo Hamilton (2s. 6d.
net). f
*“ Quiet Roads and Sleepy Villages,’’ pub-
lished recently by Eveleigh Nash, is another
of Mr. Allan Fea’s touring rambles in search
of the picturesque. Like last year’s volume
THE AUTHOR.
several counties are included in these rambles.
Again Barnet is taken as a starting-point,
but this time we journey across Herts into
Bedfordshire, and thence to south Northants,
through Oxfordshire and eastern Gloucester-
shire to northern Wilts, and thence by Berks
again to the narrow “ waist’ of Oxon. As
before, there are several views of old-world
villages.
Messrs. Chapman & Hall have published a
new book by Mr. C. E. Gouldsbury, author of
“Life in the Indian Police,” ete.. It is
entitled “ Tiger Land: or Reminiscences of
Forty Years’ Sport and Adventure in Bengal.”
There are twenty-four illustrations, and an
introductory chapter deals with big game
shooting in India.
Mr. Archibald B. Spens and has lately been
travelling across India, and writing an account
of his trip. This is to be published by Messrs.
Stanley Paul & Co., under the title “‘ A Winter
in India.” The book contains 100 photographs
by the author.
A book is to be published this month by
Messrs. Stanley Paul & Co., under the title
‘“More about Collecting,” by Sir James
Yoxall, M.P., the author of ‘“‘ The A. B. C.
about Collecting.”” His new work, which is
very thoroughly illustrated, gives many
practical hints about books, glass, pictures,
porcelain, lace, clocks, and furniture, among
other subjects, and is written ‘ for the help of
amateurs smitten with the passion for picking
up things which are odd, pretty or rare.”’
‘Ships and Ways of Other Days,” is the
name of Mr. E. Keble Chatterton’s new book
(Sidgwick, 16s. net).
Mr. Wynford Dewhurst has _ written
“Wanted: A Ministry of the Fine Arts,”
attacking the national attitude toward art
(Rees, 1s. net).
Miss Jeanette Marks’s “‘ Vacation Camping
for Girls” is a practical manual issued by
Messrs. Appleton of New York at $1 net.
The Rev. F. W. Coulter has republished in
pamphlet form his articles on ‘“‘Some Causes
of Modern Unbelief,’’ which appeared serially
in the Lancaster Guardian. ‘The price of the
pamphlet is 1d.
Mr. S. M. Franklin and Miss Alice Henry,
both Australian members of the Society of
Authors, are the joint editors of Life and Labor,
which is published in Chicago by the National
Women’s Trade Union League of America.
Mr. and Mrs. Bernhard Whishaw, authors of
‘** Arabic Spain,” have published through
Messrs. Smith, Elder & Co., at the price of Is.,
an illustrated descriptive account of the
7
THE AUTHOR. 11
Museum of Andalusian Pottery and Lace at
Seville.
Mr. Francis Gribble’s ‘‘ Romance of the
Oxford Colleges,’ with twelve illustrations, is
published by Messrs. Mills & Boon, 2s. 6d. net.
Mr. George Grossmith’s “‘ Gaiety and George
Grossmith: The Random Reflections of an
Apostle of Pleasure,’’ will be issued this month
by Messrs. Stanley Paul.
A new edition has appeared of Mr. J. J.
Haldane Burgess’s “‘ Rasmie’s Biiddie,’’ poems
in the Shetlandic dialect (T. & J. Manson,
Lerwick, 2s. 6d. net).
Dr. Elizabeth Sloan Chesser, M.B., has
produced a work entitled ‘‘ Woman, Marriage,
and Motherhood ’’—dealing with her subject
from all points of view, sexual, hygienic, legal,
political, social, economic, industrial. The
price is 6s. net.
“*Goldwin Smith: A Study,” is the name of
a biographical sketch of the late Professor by
Mr. Arnold Haultain. The publisher will be
Mr. T. Werner Laurie.
Captain J. Stuart has published, through
Messrs. Macmillan, ‘‘ A History of the Zulu .
Rebellion, 1906, with maps, and
illustrations. The price is 15s.
Messrs. J. D. Symon and S. L. Bensusan
together are the authors of ‘‘ The Renaissance
and its Makers” (T. C. & E. C. Jack, 10s. 6d. net).
“Women in the Hunting Field,” by Mrs.
Stuart Menzies, is published by Messrs.
Vinton & Co. at two prices, 7s. 6d. net, cloth ;
and 10s. 6d., leather.
The volume of *‘ Reminiscent Gossip of Men
and Matters,’’ announced by Messrs. Chapman
& Hall, is by Mr. James Baker, who for over
forty years has travelled widely, coming in
contact with many famous men and women.
Mr. E. M. Beardsley is the author of ‘‘ Rome
versus Jesus ’’—described as an indictment of
the Papacy from a new point of view (Andrew
Melrose, 6s. net).
_Mr. Wilfrid C. Thorley has just published,
through Messrs. Macmillan, an ‘English
Reader for Foreign Students.” It is an
attempt to give, by means of selections from
about fifty of the best writers of the nineteenth
century, a microcosm of Anglo-Saxon life and
thought during that period.
“The Rainbow Book,’ by Mrs. M. H.
Spielmann, was issued in a third edition last
month. Although published at a cheaper
price, this collection of stories for children
retains its original format, and has all the
illustrations (by Mr. Hugh Thomson, Mr.
Arthur Rackham, and others) that distin-
guished the first edition, issued in 1909. The
plans,
new issue forms a companion volume to
“ Littledom Castle,’’ of which a third edition
appeared last year, when it was placed upon
the prize-list of the London County Council.
Mrs. Charlotte Cameron, author and traveller,
has returned recently from a 26,000-mile trip.
Not only has she circumnayigated the entire
East and West Coast of #Africa, but traversed
that continent as well with the exception of a
few hundred miles. The story of her adven-
tures in Logoland, Cameroons, Liberia, French
Congo, as well as in our own colonies, entitled
““A Woman’s Winter in Africa,” will appear
this autumn.
Mr. E. A. Reynolds-Ball edits ‘“‘ Bradshaw’s
Through Routes to the Chief Cities, Bathing
and Health Resorts of the World” (Henry
Blacklock & Co., 6s. net).
Mr. S. Leonard Bastin has _ published,
through Messrs. Cassell, a book upon “‘ Flower-
less Plants.”
Mr. John Masefield’s new long poem, “‘ The
River,”’ will appear in next month’s issue of the
English Review.
Mr. William Watson’s ‘‘ The Muse in Exile ”’
is issued by Mr. H. Jenkins at 3s. 6d. net.
‘**In Arcady, and Other Poems”’ is the title
of a volume by Mr. W. J. Cameron (Erskine
Macdonald, 3s. 6d. net).
Mr. H. Cooper Pugh calls his volume of verse
““Les Chausans d’un Ingénu” (J. & J.
Bennett).
In the September number of the West-
minster Review appeared a new poem by Mr.
Alfred Smythe, ‘Our Royal Betrothal,”’
commemorating the announcement of the
marriage of Prince Arthur of Connaught and
the Princess Alexandra.
Mr. K. C. Spiers has had a book ‘‘ The Soul
of a Doll, and Other Poems” published by
Messrs. Chapman & Hall, at 2s. 6d. net. ::
DrRamMatTIc.
On September 1, at the St. James’s Theatre,
there were seen for the first time, Mr. Bernard
Shaw’s ‘“‘ Androcles andthe Lion,”’ and ‘‘ The
Harlequinade,” in which Mr. Dion Clayton
Calthrop collaborated with Mr. Granville Barker.
On September 2 Mr. Louis Parker’s “‘ Joseph
and His Brethren”’ was staged by Sir Herbert
Tree at His Majesty’s Theatre.
On September 3 ‘‘ Love and Laughter,” a
comic opera by Messrs. Frederick Fenn and
Arthur Wimperis, with music by Oscar Strauss,
began a season at the Lyric Theatre.
September 4 was the first night, at the Duk
of York’s, of ‘‘ The Will”? and ‘* The Adored
One,” both by Mr. J. M. Barrie.
12 THE AUTHOR.
At Drury Lane, on September 11, Messrs.
Cecil Raleigh and Henry Hamilton produced
a new melodrama entitled ‘‘ Sealed Orders.”
“The Fugitive,” by Mr. John Galsworthy,
made its appearance in the matinee bill at
the Court Theatre on September 15, under the
management of Messrs. Greig & Rosmer.
Mr. Henry Arthur Jones’s new play, “ Mary
Goes First,” was put on at the Playhouse on
September 18, with Miss Marie Tempest as the
heroine.
On the evening of September 22 Miss
Horniman opened a short season at the Court
Theatre with Mr. Stanley Houghton’s “‘ Hindle
Wakes.”
Mr. Forbes Dawson has been spending a
fortnight in New York, in order to arrange for
the production of a play there.
In the July number of The Author
Mrs. Florence Eaton was described as the
author of ‘‘ The Triumph.” She should have
been called part-author, Mr. William Crossing
having collaborated with her in that play.
Mrs. Irene Osgood’s drama, ‘“‘ Une Aventure
du Capitaine Lebrun,” was published in Paris
by the Comedia—the last two pieces in that
paper having been by Hauptmann and Balzac
respectively.
Mr. Anthony P. Wharton’s idyll in three
acts, “‘ At the Barn” (produced for the first
time at the Prince of Wales’s Theatre on
August 11, 1912), has appeared in book form,
published by Messrs. Joseph Williams at
2s. 6d. net.
Under the title of ‘‘ A Living Theatre,” a 1s.
booklet has been published in Florence to set
forth Mr. Gordon Craig’s aims as prosecuted at
his school and in his journal.
M. Lugné-Poe’s Théatre Subventionné de
1CEuvre, Paris, will re-open in November with
M. Maurice Bourgeois’s sole authorised French
translation of the late J. M. Synge’s “ The
Playboy of the Western World.’’ The French
title will be ‘“‘ Le Baladin du Monde Occiden-
tal.” M. Bourgeois’s ‘‘ John Millington Synge
and the Irish Theatre’ is being published
immediately by Messrs. Constable & Co.
$$$.
PARIS NOTES.
se
ARELY has any woman writer had the
world-wide appreciation and success
of the late Pierre de Coulevain. The
announcement of her death has caused real
grief to thousands of her readers in many
countries. To those of us who had the great
privilege of knowing her intimately, her loss
is irreparable. Her five novels were all
written after her fiftieth year. Her last one,
“Au Coeur de la Vie,” is in its 85th edition
in French, “‘ L’le inconnue” in its 1381st
edition, and “Sur la Branche,” in its 179th.
Translations of her books have been published
in Dutch, English, German, Italian, Norwe-
gian, Portuguese, Spanish, Swedish and Tchek.
One of the finest articles written on Pierre
de Coulevain comes to us from Constantinople.
‘All her works,” says the writer of this
article, ‘‘ the outcome of individual energy put
forth with the sole object of endeavouring to
comprehend the true meaning of life, are so
many sources of energy for those who consult
them attentively... . / According to her, moral
strength took higher rank than all the other
advantages an individual might have.”
Fortunately she had completed her last
book, ‘‘ Le Roman merveilleux,” in June. She
was at work on another one, for her brain
was ever active and the problems of life were
of absorbing interest to her. Her whole life
had been noble and dignified, and she faced
death consciously and unflinchingly.
The French literary world has lost another
woman writer of great value in Lucie Felix-
Faure Goyau, the daughter of the late Presi-
dent. Madame Goyau’s books were all on
subjects that would appeal to intellectual men
and women of any nationality. The writer
of them was an extremely cultured woman and
a great linguist. In her “ Ames _ paiennes,
Ames chrétiennes,”’ she studied the psychology
of Christina Rossetti, of Eugénie de Guérin,
and of Catherine de Sienne. Her book on
the life and works of Cardinal Newman has
been very widely read. ‘‘ Les Femmes dans
l’GEuvre de Dante,” ‘‘ Méditérranée ”’ and *‘ La
Vie et la Mort des Fées ”’ all represent years of
patient research, thoughtand work. Besides
all this literary activity and her social obliga-
tions, Madame Goyau was deeply interested
in all social problems. She founded the
Children’s League and was on the committee
of many philanthropic associations. Her
lectures on literary and sociological subjects
were always crowded. Fortunately her
husband, Georges Goyau, the well-known
sociological author, had kindred tastes, so
that their home was the rendezvous of the
intellectual élite of Paris. Independently of
her literary and public work, Madame Goyau
will be sincerely regretted, as her charm of
manner and her wide sympathies made her
a great favourite in Parisian society.
4 +
*
1
|
|
THE AUTHOR.
The Autumn publishing season is now
commencing and there seems to be no dearth
of books ready for publication. A volume
compiled by O. G. de Heidenstam, entitled
** Marie-Antoinette, Fersen et Barnave—Leur
Correspondance,”’ will, no doubt, be much
read, as there is always some fresh light to be
thrown on the great revolutionary period of
French history.
A book has been written by Daniel
Chenneviére on ‘“‘Claude Debussy et son
Chuvre.”” The publisher who is bringing this
out has given us a volume on Vincent d’Indy
and on Paul Dukas.
All who have been following the Balkan
question closely will, probably, be glad to
read a volume just published, entitled “‘ La
Conférence de Constantinople et la Question
Egyptienne en 1882,” by Sayed Kamel.
The theatres are beginning to announce
their programmes for the winter. M. Antoine
intends putting on some of the French classical
plays at the Odéon, with the staging of the
epoch to which they belong. At the Athénée
““La Bourgeon’”’ is being given; at the
Vaudeville, ‘‘ Le Menuisier ’’ and ‘‘ La Dame
du Louvre’; and at the Gymnase, “ La
Demoiselle de Magasin.”’
Atys HAuuarp.
**Le Roman meryeilleux.” (Calmann-Lévy.)
“ Ames paiennes, Ames chrétiennes.” (Perrin.)
“ Marie-Antoinette, Fersen et Barnave—Leur Corres-
pondance.” (Calmann-Lévy.)
* Claude Debussy et son (Euvre.” (Durand.)
“Ta Conférence de Constantinople et la Question
Egyptienne en 1882.” (Alcan.)
— se
AUTHORS AND EDITORS.
te
. the July issue a resolution was published
passed at a meeting of the Committee of
Management and Editors. This resolution
was subscribed to by the editors of ten papers.
Since then the Society has issued a circular
to those who did not happen to be present
when the resolution was passed, and is pleased
to state that the following have allowed their
names to be added to the list :—
Mr. John Stead, of Review of Reviews.
Mr. James Parmerlee, of Vanity Fair.
Mr. J. E. Harold Terry, of the Onlooker and
Throne.
Mr. C. R. Simpson, of the Weekly Telegraph,
who, however, agrees with the editor of the
Quarterly Review (see note to list appended).
13
Mr. St. Loe Strachey, of the Spectator.
Mr. J. S. Wood, of the Gentlewoman.
The Society has also had answers from the
Fortnightly .Review—Mr. Courtney is kind
enough to state that he is unable to give his
sanction without the approval of the board,
and it is hoped that that approval may be
obtained—from Mr. E. M. Bunting, of the
Contemporary Review, who has been kind
enough to write expressing his interest in the
action that has been taken, and stating that he
will be glad to hear what goes on further, and
from Mr. Arthur Hutchinson, editor of the
Windsor Magazine. We have pleasure in quoting
Mr. Hutchinson’s letter in full, as the Windsor
Magazine appears to. be one of the few
magazines in England that follows the
recognised American custom :
Dear Sir,—In repiy to your request that
we should add our name to the list which you
are preparing for your October number, of
those who wish to establish the new rule for
the date of payment for articles or illustra-
tions, I write to point out that as our custom
is to pay on the Saturday of each week for all
work accepted or delivered to us, if previously
commissioned, within that week, it would be
very retrograde on our part to support any
rule which establishes so long postponed a
date for payment as either of those suggested
in your resolution. We cannot help thinking
that our method is much fairer to authors and
artists than any such postponement, even
though the latter may be an improvement on
older customs of deferred payment in the
ease of offices whose methods you may be
considering.
Yours truly,
ARTHUR HUTCHINSON,
Editor, the Windsor Magazine.
The editor of Punch is in favour of the more
elastic resolution, and in order that this
reference may be clear to the readers, we append
the original resolution with the signatures as
they at present stand and repeat the rest of the
article as it appeared in the July issue.
Resolution.
“The authors and artists whose articles,
stories, or drawings may have been accepted,
shall be paid for those accepted articles,
stories, or drawings, at the next official pay-
day after the publication, or within six
months from the date of acceptance of such
articles, stories, or drawings, whichever is
the shorter period.”
14 THE AUTHOR.
In favour.
J. I. Bailey, The Connoisseur.
Vivian Carter, The Bystander.
F. Chalmers Dixon, English Review.
L. J. Maxse, National Review.
*G. W. Prothero, Quarterly Review.
Harold Cox, Edinburgh Review.
C. E. S. Chambers, Chambers’s Journal.
F. H. Fisher, Literary World.
Chas. Hyatt-Woolfe, Science Siftings.
G. Binney Diblee, The Field ; The Queen.
John Stead, Review of Reviews.
James Parmerlee, Vanity Fair.
J. E. Harold Terry, Onlooker and Throne.
*C. R. Simpson, Weekly Telegraph.
Mr. St. Loe Strachey, Spectator.
J. S. Wood, Gentlewoman.
* There was a reservation by the editor of the Quarterly
Review that the word “shall” should be altered to
“should.” With this reservation the editor of the
Weekly Telegraph agrees.
The rest of the article is as follows :—
“ After this resolution had been put forward,
it was proposed—owing to the fact that many
editors, while approving the spirit of the
resolution, objected to the letter, and that no
voice was raised in opposition to the principle
of obtaining a more uniform and businesslike
practice—to discuss, either by circular or by
means of an adjourned meeting later in the
year, the following :-—
‘“¢* We consider that it should be under-
stood by all authors and artists whose con-
tributions have been accepted, that they
shall be entitled to make requisition for pay-
ment at any period six months after such
acceptance, and that such requisition shall
not be considered in any way contrary to
established precedent.’
“It is hoped by the committee that it will be
possible to get a still larger number of editors
to consent to this more elastic resolution,
which will give great relief to contributors,
Many editors are quite willing to pay within a
reasonable time if they are asked, but they fail
to understand the author’s point of view. It
is not so much natural modesty, as a fear—
in many cases, we regret to say, well-founded—
that any step they may take to disturb the
equanimity of the editor will result in their
future contributions being set aside.
‘“‘ Another point was put forward, which the
committee hope to deal with in the autumn,
namely, the possibility of arranging between
authors and editors some form of conditional
acceptance in those cases where editors feel they
could not give an immediate and unconditional
decision.”
COPYRIGHT AND BANKRUPTCY.
——
he of The Author may call to mind
the case of Deeping v. Grant Richards#of
which a report appeared in our May,
1907, issue.
Judgment delivered in that case demon-
strated that if an author transferred his copy-
right to a publisher subject to the payment of
royalty his only remedy if the publisher went
bankrupt was for damages for breach of agree-
ment against a bankrupt estate. Briefly, it
was laid down that in cases of bankruptcy the
agreement could be assigned by the trustee in
bankruptcy without the assignee being respon-
sible to the author for payment of royalties.
The result of subsequent cases of a similar
character served to confirm the ruling given
in Deeping v. Grant Richards.
An attempt was made to get this grievance
of authors, dramatists and composers removed
while the Copyright Act of 1911 was being
discussed in Parliament, but the Government,
whilst sympathetic, regretted they could not
deal with the matter in a Copyright Bill,
stating it could only be dealt with as an
amendment to the Bankruptcy Laws.
Accordingly, for the time the matter was
dropped.
In the spring of this year, however, the
attention of the Society was called by Mr.
Mackinder to the fact that Amending Bills
dealing with bankruptcy were before Parlia-
ment, and he suggested that they afforded the
Society an opportunity of attaining a removal
of the peculiar hardships inflicted upon authors,
dramatists and composers by the Warwick
Deeping decisions. Mr. Mackinder called upon
the secretary and had a long conversation with
him, with the result that, with the sanction of
the chairman, counsel was instructed to draft
certain clauses designed to protect authors not
only from the results of the judgments referred
to above, but also from the losses arising out
of the bankruptcy of magazines and other
periodical publications. Mr. Mackinder very
kindly undertook to take charge of these clauses
on behalf of the Society and to use every effort
to get them accepted by the Government. As
it was found impossible to get the clauses
affecting contributions to magazines accepted,
these clauses had, perforce, to be dropped.
The committee, however, are pleased to
report that the clause relating to the transfer
of copyright under royalty agreements was
accepted by the Government and that the Bills
which have now become law each contain this
- Sfb Peeprns v. Mora (Be Trnotee )
THE AUTHOR.
clause. Inthe English amendment of the
bankruptcy law it runs as follows :—
“Where the property of a bankrupt comprises the
copyright in any work or any interest in such copyright,
and he is liable to pay to the author of the work royalties
or a share of the profits in respect thereof, the trustee in
bankruptcy shall not be entitled to sell, or authorise the
sale of, any copies of the work, or to perform or authorise
the performance of the work, except on the terms of pay-
ing to the author such sums by way of royalty or share
of the profits as would have been payable by the bankrupt,
nor shall he, without the consent of the author or of the
court, be entitled to assign the right or transfer the
interest or to grant any interest in the right by licence
except upon terms which will secure to the author pay-
ments by way of royalty or share of profits at a rate not
less than that which the bankrupt was liable to pay.”
It appears with a slight modification in the
amendment of the bankruptcy law for Scotland,
but the effect is the same in both cases.
The Society must thank Mr. Mackinder most
heartily for drawing the attention of the Com-
mittee of Management to the point, and for the
energy and care with which he piloted the
clauses through to a triumphant success.
The issues are perhaps of more importance
to composers than to authors or dramatists.
Nowadays authors very seldom assign their
copyright. They have been taught by the
work of the Society through the past twenty-
five years ; but composers still suffer severely,
and there are but few who do not recklessly
assign their copyright. This is no doubt partly
due to the composers’ ignorance and partly to
the yoke that music publishers have for many
years past thrown on their shoulders.
It is the duty of composers to move shoulder
to shoulder with a view to overcoming the
difficulties that surround them and prevent
them from getting a fair return for their life’s
work.
In the meantime all members of the Society
must join in thanking Mr. Mackinder for the
work he has done on their behalf.
—_—_———__+—>—_+____—_-
STOCK COMPANY RIGHTS.
HE attention of the Dramatic Sub-Com-
mittee has been called to the value of
the stock rights in the United States.
Mr. Walter C. Jordan, the agent of the Society
in New York, was the first to impress upon the
members the importance of retaining their
rights, and he has reiterated his warning at
every opportunity.
Every member who has dramatic rights of
value in the U.S.A. should take special note,
because there are companies existing ready to
purchase stock rights, and the author in his
ignorance may be willing to sell for a lump sum
15
—a sum which may appear to him to be large—
rights which, if retained, might through the
years bring him many times the amount.
It would appear that managers in the U.S.
try very hard to get control of stock rights
in the original contract. This they do by
obtaining the sole right of performance which
the author often conveys in ignorance of the
existence of stock rights ; but, even if he knows,
the manager puts forward the argument—
sometimes with success—that he contributes
towards the establishing of the play and
creating a demand for. it by stock companies.
It is, therefore, advisable either that the
author should withhold all rights whatever to
lease out his plays for stock company purposes,
and should grant to the producing manager
only the right to produce and perform the piece
under his own management (not including any
right to the producing manager to lease out the
play at any time for stock company purposes) :
or should he think the manager’s argument, set
out above, of any value, should stipulate in the
original contract that after the producing
manager has produced and performed the piece
under his own management for not less than
100 performances, that for a specified period
the manager shall be entitled to receive a
fixed share of the net royalties earned by the
play being leased out—by the author—for stock
purposes, but that the play shall be handled
for stock purposes by the author himself, or by
his authorised agent without the intervention
of the manager.
The author had better place his work for all
stock purposes in the hands of an agent
exclusively, who should be thoroughly reliable,
and the agent should proceed to lease out the
play for stock companies for the best royalty
terms obtainable, according to the size of the
cities, the season of the year, the size of the
theatre, and the prices charged at the theatre.
What can be obtained for stock engage-
ments must vary under these different circum-
stances.
It is most important also that while the
author employs an agent, that agent should
have exclusive power to act. This not only
stimulates the agent but prevents two agents
crossing one another in the same market,
prejudicing the author’s position, and perhaps
losing the contract.
It will be seen, therefore, how important it
is that the agent should be thoroughly reliable
and trustworthy; that he should have no
interest as principal in other joint stock rights,
that he should be agent pure and simple, honest
and above all with a full knowledge of his work
16
Over and over again in these columns the
position of agents has been referred to. In
many cases it is safest for the author to do his
own work, backed with the advice and help of
the Society, but in the placing of stock rights
in the U.S.A. an agent is no doubt essential.
There is one other important point that it
is necessary to put before authors. It has
already been mentioned that the managers in
the U.S.A. make every effort to obtain the
stock rights from the author in the original
contract. If the author parts with these
through ignorance or for any other reason, he
should not be paid the same fees on the per-
formances as he is paid in the ordinary contract.
There are two reasons why he should not be
paid in this manner. To begin with, if, as an
-author, he is in a position to claim a high
percentage, then his stock rights are con-
siderably prejudiced, because the American
manager won’t let out to stock companies unless
he can make something himself by the trans-
action. Therefore, if he is paying to the author
a very high percentage, he would have to ask
the stock companies a percentage so high that
they would not be able to pay it—therefore the
author would lose the chance of gaining a large
sum which he might otherwise obtain.
If, however, the manager is paying the author
a small percentage, then it is essential also that
a different system should obtain for the stock
rights, and it is important that the author
should receive a certain fixed share of not less
than half of the royalties accruing from the use
of his play in stock. The following example
will suffice to show the reason of this :—
When a producing manager has established a
certain play by producing it for a certain
number of weeks, and has the authority to
sub-lease the play subject only to the author’s
percentage, if that percentage is small then the
manager frequently not only gets double the
amount from the stock company, but also
exacts from the manager a minimum guarantee.
The matter works out as follows: The pro-
ducing manager controlling a certain play
leases to a stock company the play for one
week for royalty terms of 10 per cent. of the
gross receipts, with a minimum guarantee to be
paid by the stock company to the producing
manager of $500. If, then, the producing
manager is paying the author only 5 per cent.
on the first $3,000 gross receipts,, and the stock
company plays the said play for one week to
gross receipts of $2,500 (which would be very
fairly good business to the average stock com-
pany) the producing manager would only have
to pay the author $125, and he would retain
THE AUTHOR.
for himself the balance of $375 as his share
from the said engagement. But if the author’s
agreement was that he should receive at least
half of all the royalties accruing from stock
company engagements, the author would get
just double the amount out of the week’s stock
engagement. Very successful plays often com-
mand weekly guarantees of more than $500 a
week, and the less successful plays which lease
to the smaller stock companies command
minimum weekly guarantees of from $200 to
$400. It is clear, therefore, that in the
majority of cases the author’s best interest lies
firstly in holding the entire stock company
rights himself, and secondly, if he is foolish
enough to transferthem to a producing manager,
that he shall receive a certain percentage of the
total amount received, rather than accept his
ordinary percentage royalties on the gross
receipts on the stock company engagement,
as on the gross receipts of other engage-
ments. The advantage is two-fold, first, that
in most cases the author would get more, and
secondly, that it gives the producing manager
a freer hand with which to contract.
We are indebted for the substance of this
article to the information forwarded to the
Society by Mr. Walter C. Jordan, the Society’s
agent in America,
—_+——o —_____
WHAT IS A VALUABLE RIGHT OR
INTEREST ?
Crauz v. SHEARD.
N this case an important question arose as to
whether a right or interest in a musical
composition was ‘valuable and sub-
sisting ’’ at a certain date, when the Order in
Council relating to Austria-Hungary came into
operation.
The plaintiffs, a firm of music publishers in
Vienna, sued the defendants, an old-established
firm of music publishers in London, for damages
for infringement of the copyright in “ Die
Fledermaus”? waltz by Johann Strauss, the
Austrian composer. The waltz, which was
written in 1874, was first published in Austria,
and the plaintiffs became the owners of the
copyright. No steps were taken to secure
copyright in the United Kingdom, and in 1877 .
the defendants published the waltz in London ;
but after a year or two, the sales diminished,
and there was little or no demand for the work,
although the defendants kept a small number
of copies in stock.
THE AUTHOR. 17
In 1893 a copyright treaty was concluded
between Great Britain and Austria-Hungary,
and under the Order in Council, which came
into operation on May 11, 1894, the plaintiffs
became entitled to the copyright in the waltz
in the United Kingdom. But owing to a
proviso in the Order in Council, the plaintiffs’
copyright was subject to any right or interest
of the defendants, which was “‘ valuable and
subsisting ” in May, 1894.
In 1912, when “ The Nightbirds ” was pro-
duced at the Lyric Theatre, the waltz was
introduced into the piece, and there was a
new demand for the music. The defendants
accordingly republished the waltz, and it was
contended on their behalf, that they were
entitled to do so, because they had originally
produced it in the United Kingdom, and had
a right or interest which was valuable and
subsisting in May, 1894, and were therefore
protected by the proviso in the Order in
Council.
On the other hand, it was urged that in May,
1894, the sale of the waltz by the defendants
was practically dead, and that the defendants’
right or interest in the work had no market
value, and could not be described as “‘ valuable.”
Mr. Justice Scrutton held that although the
defendants had a right or interest in the waltz
which was “‘ subsisting ”’ in May, 1894, it could
not be regarded as “ valuable,’ because it
would not have been marketable at that time.
The music had become saleable again in
England owing to the production of ‘“ The
Nightbirds’’ in 1912, but the defendants
could not have obtained a price for their right
or interest in the work in May, 1894.
On these grounds, his Lordship granted an
injunction, and gave judgment for the plain-
tiffs for £5 damages and costs.
Haroutp Harpy.
a
“A. M. BURGHES.”
a
N The Author for December, 1912, we
reported the result of the prosecution,
undertaken by the Society, of C. M.
Burghes, who carried on business ‘under the
style of “ A. M. Burghes ”’ as a literary agent
at 34, Paternoster Row, E.C. C. M. Burghes
was convicted by the jury of obtaining money
by false pretences, but, for some reason which
we did not appreciate, the judge only bound
him over to come up for sentence when called
upon. The result has been unfortunate.
<, M. Burghes continued to carry on business
at the same address, and, probably in ignorance
of what had happened, various authors
entrusted him with MSS. and, we believe, paid
him fees. In a number of cases the Society
were successful, through their solicitors, in
getting back the MSS., although in no case was
a MS. delivered up until proceedings had been
taken. Now, however, things have taken a
fresh turn. An author (not a member of the
Society) not only sent Burghes certain MSS.,
but paid him sums amounting to £70—as to £50
for payment over to a publisher in fulfilment
of an arrangement Burghes stated he had made,
and as to the remainder for fees. Hearing
nothing further he became alarmed, and
inquiry then revealed the fact that C. M.
Burghes was not to be found at his place of
business and that his address was unknown.
He had not paid over the £50 to the publisher
nor, in fact, had he ever made any arrange-
ment with the publisher under which £50 or
any other sum was payable. The copy letter-
book found at the offices showed no business
letters since June, and Burghes had not for a
considerable time come to the office at all,
though he had sent a messenger for letters, and
had thus, it would seem, obtained possession
of the cheques for £70 which the author had
sent to him. Comment is needless. The
money has gone, and not even the MSS. in this
case can be found. The landlords have dis-
trained for their rent and sold the contents of the
office. The Society’s solicitors, being aware of
the position, arranged with the landlords for
any MSS. in the safe and elsewhere to be kept
back when the premises were emptied, and at
present a considerable number are lying there.
They cannot, of course, be kept indefinitely,
and if any members of the Society have left
MSS. with Burghes they should give particulars
to the secretary without loss of time, so that
inquiry may be made for them. We cannot
but think that if the judge had given effect to
the verdict of the jury at the trial last year by
passing a sentence of imprisonment the sub-
sequent losses would have been avoided.
SCALE FOR ADVERTISEMENTS,
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)
Frout Page aes ide = . «24 0 0
Other Pages ae as agi eae see axe sie
Half of a Page ... aay ie wes ie ais wie ee
Quarter of a Page : ow. 016
Eighth of a Page ie ce 0 70
perinuch 0 6 O
Single Column “Advertisements
Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for
Twelve Insertions.
0 0
1
15 6
All letters respecting Advertisements ,should be addressed to
Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High
Holborn, W.C.
18 THE AUTHOR.
HOW TO USE THE SOCIETY.
Ase
L, VERY member has a right toask for and to receive
EK advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel's
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination.
4. Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them, (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
The
7. Many agents neglect to stamp agreements,
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9, The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
ope
WARNINGS TO THE PRODUCERS
OF BOOKS.
—+—< +
ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I. Selling it Outright.
This is sometimes satisfactory, if a proper price can be
obtained. But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for “ office expenses,”
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continenta)
rights.
(5.) Not to give up serial or translation rights,
(6.) Not to bind yourself for future work to any publisher,
As well bind yourself for the future to any one solicitor or
doctor |!
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author.
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
— es
WARNINGS TO DRAMATIC AUTHORS.
a ee
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
vetent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :-— :
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters inte
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name-on the
play-bills. : : 4
THE AUTHOR.
(b.) Sale of performing right or of a licence te
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent, An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum in advance of percentages. A fixed
date on or before which the play should be
performed.
(«.) Sale of performing right or of a licence to
perform on the basis of royalties (7.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance,
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘They should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
s highly speculative : that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
———__+—<>_—_____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
+
ere typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
_at the price of 22. 6d. per act.
19
DRAMATIC AUTHORS AND AGENTS.
ee oe ee
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, de
equally well or better for himself, The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
——_—__—_+— 0
WARNINGS TO MUSICAL COMPOSERS.
ees
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
ee
STAMPING MUSIC.
ee
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
——$$§$§_— —e_____
THE READING BRANCH.
—1—~o—+ —
EMBERS will greatly assist the Society in this
M branch of its work by jnforming young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea,
—————_ «> ¢
REMITTANCES.
oo
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
20 THE AUTHOR.
COLLECTION BUREAU.
— a
f | \HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
an! amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
vecords.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
of! ce, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission,
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Amsterdam ‘ ; . A. REYDING.
New York : ‘* WALTER C. JORDAN.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
GENERAL NOTES.
— to
Liprary CENSORSHIP.
WE have pleasure in publishing herewith a
letter addressed by the chairman of the Com-
mittee of Management to the editor. The
contents of the letter set out the reason for
its publication. The members of the Society
are entitled to know the action that is being
taken by the Committee of Management. The
chairman, in consequence, has put forward
this statement for the perusal of all members.
Why the committee have not thought fit to
write to the papers and join in the public
controversy is here fully explained.
To the Editor, “‘ The Author.”
Dear Sitr,—As I understand that various
letters have been received by the secretary of
the Society with regard to the attitude of the
‘Committee of Management on the question of
library censorship, I think it well, as chairman
-of the Society, to give the members the follow-
ing information :—
The library censorship, as at present con-
‘ducted, has on several occasions in past years
been very seriously considered, not only by
the Committee of Management of the Society,
but also by sub-committees especially ap-
pointed for that purpose.
The Committee of Management feel that it
is not a question of this book or that book,
written by this author or that author, but that
the question involved is an important question
of principle which stands above all books and
all authors.
The reason why the Committee of Manage-
ment have not on this or on former occasions
written letters to the papers, is because they
appreciate that, in a matter of this kind, letters
to the papers are of little permanent value,
though such letters may draw attention to
some particular book and regain for it a cir-
culation to which it was no doubt entitled, but
which it had lost by the action of the libraries.
The practical issue is the only issue with
which the Committee of the Society intend to
deal. In every case in time past they have
asked the authors concerned to make any
proposals or suggestions that might seem good
to them, and such proposals as have been
made have received consideration. In the
same way at the present time any proposals
put forward by the authors concerned, or any
suggestions made by any member with a view
to bringing about a practical issue, will be
most carefully and gratefully considered.
I understand from the secretary that he
suggests that there shall be a small permanent
council of authors, publishers, librarians and
booksellers, which should sit once or twice a
year to consider any important questions
which may arise in this connection. If the
Committee of Management could organise
such a council, the question of library censor-
ship would no doubt then be adequately dealt
with, and it is possible that the combination of
the four bodies referred to might find a solution
which would be satisfactory to all parties.
Because the Committee have not entered
the arena of newspaper discussion, it does not
mean that they have not the whole matter
very much at heart.
Yours, etc.
(Signed) HeEskeTH Pricnarp,
Chairman of the Committee of Management.
AUTHORS AND EDITORS.
In the article under the same title, printed
in this month’s issue, in the last paragraph but
one, it is pointed out that many authors have
a fear (in many cases well founded) that if they
make a demand for money, their future con-
tributions to a paper may be set aside. This
remark was made apropos of contributions
j
;
i
i
‘
i
j
;
4
i
i
a
ro LESSEE ES.
THE AUTHOR. 21
which have been accepted and not published.
The ordinary editor and the ordinary author
would hardly think that the same fear would
be justified in the case of a MS. which had
actually been published, but in support of the
contention the following example is quoted :
A member of the Society sent some verses to
a paper called The Literary Monthly. The
poem was accepted, and printed in the July
issue of that paper. During the month the
author wrote to inquire the terms on which
contributors were paid, and the editor replied
stating that all contributions were paid for in
the month in which they appeared. As the
author did not receive the amount in accord-
ance with this statement, a letter was written
to the editor, drawing attention to the fact
that payment had not been made, and saying
a remittance would be esteemed a favour. To
this no reply was received, and ultimately the
author wrote pressing for payment, and that
unless a cheque was received within seven days,
the matter would have to go into the hands of
the Society of Authors. In answer to that
letter the contributor obtained a reply, dated
September 1—that is a month after the time
when the editor said he would pay for contri-
butions—which ran as follows :—
“The editor encloses cheque for , for
poem published in July issue. No further
contributions will be received from Hes
The fair deduction to make from this letter
is that because the author refused to wait
longer than the time mentioned by the editor
himself for the payment of contributions, and
because, in consequence, the author threatened
to put the matter into the hands of the Society,
the editor refused to take any further contri-
butions. It is quite clear that the refusal did
not arise from the fact that the author’s work
was not sufficiently good, otherwise the first
poem would not have been printed, It would
be interesting to know whether the editor has
got any other explanation that he would like
to put forward.
INTERNATIONAL CONGRESS OF PUBLISHERS.
AN interesting paper was read by Mr.
William Heinemann before the International
Congress, of Publishers at Budapest. It
dealt with the danger to the maintenance of
the published price of books arising out of
excessive discounts to the retail trade which
were frequently offered by certain publishers
as an inducement to the bookseller to stock
their publications to the exclusion of the works
of their competitors. The matter, as Mr.
Heinemann stated, concerns authors equally
with publishers, for it is clear that, in the end,
if the retailer is given an excessive discount,
the royalties paid to the author will be reduced
in proportion. Obviously, if one publishing
house yields to the pressure of the bookseller,
others will, in sheer self-defence, be bound to
follow, with the inevitable result that the
author will lose what the bookseller gains.
The only possible action is for the Publishers’
Association to bind themselves to take joint
action on the lines taken by the United States
publishers. What sometimes happens when
the publisher goes to the bookseller is best
told in Mr. Heinemann’s own words :—
** Who of us has not been told that Mr. X.
gives better terms than we do, and that unless
equal terms are conceded the bookseller in
question must give preference to Mr. X.’s
books ?. Who of us has never yielded to such
pressure ? Who of us has never found such
a statement inaccurate? And who of us,
having yielded to untruthful representation,
has not afterwards heard the same argument
used against the very rival who was described
as so much more liberal than ourselves ? Such
demands may go on ad infinitum: demands
which seem to me, even if they are honestly
made, contemptuous towards ourselves and
our goods.”
Reverting, however, to the position of the
author in this matter, we should like to
drawt he attention of authors to the prac-
tice of one of the publishing houses and to
its form of contract. This house provides
in its contract with the author for the pay-
ment of a certain royalty on the published
price. So far, so good. But in a subsequent
clause it also provides for the payment of a
reduced percentage on those sales at less than
half the published price, and a still further
reduced percentage on sales at a quarter of the
published price. Moreover, the percentage is
paid, not on the published price, but on the
nett returns. As we have shown in a previous
issue of The Author, it often happens that it
pays the publisher better to give a large dis-
count to the bookseller, paying less to the
author, than to keep the price to the book-
seller up to the normal standard, paying the
author the agreed royalty on the published
price.
Here there is a conerete case demonstrating
that the special terms allowed to booksellers
result in very material loss to the author.
Even if an increased sale results, the author
gains nothing under these conditions by the
increase. And, as we have already stated, we
22
do not think, in the last resort, authors gene-
rally would gain by these improved terms to
the retailers. While it is improbable that
their royalties would be reduced in_ the
manner favoured by the publisher referred to,
it is certain that their royalties would tend
to be reduced on the published price, and the
whole book trade would be upset and finally
ruined.
We notice that at the same Congress a
reference was made to the question of copy-
right and cinematographs, and that pub-
lishers were advised to provide for cinemato-
graph rights in their agreements with authors ;
further, that an association of authors and
publishers should be founded to protect these
rights from infringement.
In the absence of more definite information
on this matter we defer detailed criticism of
the proposal till a later issue. We would,
however, counsel all authors to keep very
close control of the cinematograph rights of
their stories, as these rights are likely soon to
become valuable, and there is no more reason
why they should be given to the publisher
than that the dramatic rights should be given
to him. The publisher’s work should begin
and end with the publication of the author’s
MS. in book form.
THE NEW POET LAUREATE.
-\INCE the last issue of The Author appeared
the much-discussed vacancy in the office
of Poet Laureate has been filled up.
The appointment of Dr. Robert Bridges
took the general public by surprise. His
name had, indeed, been mentioned in the
literary press as that of a possible candidate,
and the July number of the Quarterly Review
contained a warm recommendation of his
claims, from the pen of Mr. John Bailey.
But to the man-in-the-street he was unknown,
and probably the ordinary comment on his
appointment was, “I’ve never read a line
of him!” Now publicity has been given
to the facts that Dr. Bridges is sixty-nine
years old, was educated at Eton and Corpus
College, Oxford, has been a practising physician
and has produced a body of poetry which
includes plays and masques, metrical experi-
ments, lyrics, and even a few hymns, which
appear in the “ English Hymnal.”
If, however, the man-in-the-street has only
just been helped to the discovery of Dr. Bridges,
THE AUTHOR.
among his fellow-poets he has long been
honoured. He may certainly be called “a
poet’s poet.” It is remarkable that the
contributors to the volume entitled “‘ Georgian
Poetry, 1911—12,” unanimously inscribed
it with the name of Robert Bridges.
Mr. Asquith’s selection of a Laureate, there-
fore, may certainly claim the approval of an
influential band of artists ; for the ‘* Georgian
poets’ included more than one who was
looked on as a possible Laureate himself, and
not one who had not done something worthy
of note.
Before the appointment there was an agita-
tion, on the part of a few revolutionary folk,
that the Poet Laureateship should be abolished
as obsolete and meaningless. In resisting this
demand and choosing for the office a man with
whom the public was practically unacquainted
the Premier has taken an interesting step.
————— <> —____—_
AUTHORS AND AGENTS.
— +
I.—FrEES AND ACCOUNTS.
ISPUTES between authors and their
agents are constantly coming before
the secretary of the Society. These
disputes are of many different kinds, but
attention should be called to one serious
difficulty which is of frequent occurrence.
After an agent has placed a work, either a
dramatic piece with a manager, or a novel with
a publisher, all that remains to be done in the
future is to see that the accounts are regularly
rendered, to check them when they are re-
ceived to see that they agree with the former
accounts and are in accordance with the
agreement which has been fixed up between
the author and the party of the other part.
For this he draws 10 per cent. on the moneys |
received under the contract during the life |
of the author and fifty years afterwards. |
As, however, he is entitled under the form of
agreement on which he usually insists, from
which it is impossible for the author or drama-
tist to get free, to this 10 per cent. as soon as
he has placed the work, he often takes but little
trouble with the rest of his duties. In many
cases where the publisher delays sending in
the accounts, the agent does not push the
publisher for an immediate delivery, but makes
one or other excuse to the author. If he was
too exacting with the publishers, he might
prejudice his position so far as placing other
~ for the author.
THE AUTHOR.
contracts is concerned. It seems unfair that
the author should suffer because of this, as
the agent is, after all, the agent of the author
and not the agent of the publisher, though
from some of the agreements that are made,
the opposite deduction might be possible.
But when the accounts do come in the agent
has still no need to trouble. His 10 per cent.
is safe. So, as it would appear, he sends
them on to the author without any comment
whatever, whether they are right or wrong,
whether they are in accordance with the
agreement or opposed to it. Sometimes, in
fact, the agent sends on copies of his own
accounts without allowing the author to vouch
them by the sight of the accounts which have
been forwarded to him by the publisher or
manager.
It would have been unnecessary to draw
attention to these points if many and serious
difficulties had not arisen owing to the fact
that an author by his own insight has dis-
covered lapses and mistakes in the accounts
which ought to have been checked by the
agent. If the author has continuously to
watch the agent’s accounts to see that they
are rendered on the proper dates, to see when
they are rendered they are in accordance with
the agreement, he might as well not employ an
agent at all.
It seems, therefore, that there ought to be
two distinct transactions and two distinct fees
_in order that an agent’s position might be
| clear and unsullied ; to confuse the placing of
the work with the collection of monies may be
a good business for the agent but disastrous
The agent should receive:
(1) a certain fee for placing the work, and he
should be paid this fee by say, a slightly raised
percentage on the returns until the fee is
reached ; (2) after the fee has been covered,
he should receive a continuing percentage so
long as the author gives him the authority to
collect the money under the contract. For
this his percentage should not exceed 5 per
cent. ; but the second part, that is the authority
for collection of monies, should be able to be
terminated immediately by the author if
he found the agent was careless with the
accounts or indifferent to his interests, playing
for the hand of the publisher rather than for
the hand of the author. It should not be
possible for an agent to benefit by an action
which would be likely to prejudice the author
for whom he is working.
If some such arrangement as the one sug-
gested could be come to, then the agent would
not be taking 10 per cent. during the whole term
23
of copyright for merely placing the play or
making a contract for the production of a
book. Such terms are clearly extravagant ;
but if he continued, with the author’s authority,
to collect the moneys, and in collecting the
monies, to check the accounts carefully, he
would be, no doubt, saving the author from
a great deal of trouble and would be entitled
to his percentage so long as the author felt
it was worth paying for the protection.
At the present the agent, once secure in his
10 per cent., is inclined to neglect his future
duties.
II.—WuoseE SERVANT.
Tue author’s agent is constantly appearing
under a new character and in a new part.
We have had reason to complain that on
some occasions he acts as principal, on some
occasions for editors and on some occasions
for publishers when he ought to act solely for
those from whom he takes his percentage.
It is as well to draw attention to the
difficulties that may arise from this complex
action. First, when the agent acts as
principal. When he does so even in the purest
good faith he is taking away from the author
that very advice and assistance for which he
is being paid and causing the author a great
deal of extra trouble. But it has been known
that the agent has acted as principal without
letting the author know either that he is the
purchaser, or, if not the purchaser directly,
is interested in the purchase. Again, an
agent who is interested as principal will natu-
rally be more interested in pushing forward
those works in which he has sunk his capital
than those on which he merely gets a percen-
tage. This position is unfair to the other
authors who employ him. There are still
worse possibilities, but as they seldom occur
it is perhaps unnecessary to mention them.
Secondly, when the agent acts for editors.
Editors sometimes come to agents and ask
them if they can supply a story by a certain
author. If the author is not on the agent’s
books it not infrequently happens that the
agent does not say so, but tries to draw the
author into his net by holding before him
tempting offers.
This occurs more frequently when the agent
himself goes round to editors and asks them
whether they want a story from Mr. or
Mr. If the answer is in the affirmative
the author is pestered with letters and worried
24
till he finally yields, often to find that the con-
tract cannot be obtained.
Thirdly, when the agent acts for publishers.
There are certain agents who act for publishers
in selling those rights beyond the book rights
which the latter have taken from the author.
No wonder it pays the agent in settling a
contract to allow the author to give away his
minor rights to the publisher if the publisher
immediately hands them back to the agent to
place. In addition to making it easier for the
agent to settle with the publisher it enables
him to obtain a double fee. Again, there are
agents who appear to give certain publishers
the first refusal of the good work that comes
to their hands and in other ways to hamper
the freedom of the author.
The following example appears to represent
the very latest development. An author offers
a book to a publisher. The publisher inquires
when making a proposal for the acceptance
whether the author is employing a certain
agent whom he names. Resenting somewhat
the inquiry, the author replies that if an agent
were necessary the choice would be with
himself. The publisher then informs the
author that in that case he will be unable to
handle the book.
It is an interesting question whether the
publisher receives any consideration for his
sturdy championship. But one point is certain
—that such a position increases the author’s
servitude to the agent.
There are no doubt good agents and bad
agents, but no agent is good for all his authors
if he is employed by many and does not limit
his scope. Such an agent is bound to bring
his authors into competition and to assist one
at the expense of another. This has been
clearly pointed out by another hand in these
columns, but while in many cases an agent’s
livelihood depends upon his not being an ideal
agent, authors should be strongly warned
against many of the practices indulged in
which tend to make an agent a bad agent.
BOOK PUBLISHING IN THE U.S.A.
——_—— +
E have received a letter from a well-
known American author dealing with
; some points put forward in an article
in the June number on “ Book Publishing in
the United States,” and we have much pleasure
in putting forward his views. We regret
that it was impossible to insert it in the July
THE AUTHOR.
issue, and in consequence have had to hold
it over to the autumn.
He rather smiles at Mr. Brett falling back
on the old excuse ‘‘ that all the fault is due to
the rapacity of those derned authors ... .!”
and continues :—
“Mr. Brett points out that too many books are being
published and too few being sold; that the methods of
distribution employed by publishers are crude and anti-
quated, and that no improvement in conditions is possible
without improvement in those methods. And _ then,
appalled by his candour in confessing his incapacity for the
job he holds, and in deadly fear lest he be drawn into
adding something incriminating or degrading on the
subject of over-production, he lights hastily across the
street, and slams the unhappy author over the head for
wanting to make money enough to pay for his typewriter’s
ribbons—both kinds ! ”’
And he goes on to explain that the real fault
is with the publishers and not the authors, and
we think that these remarks may well apply
to the same conditions at present standing in
the English market. He says :—
“The public never kicks about paying $1.50 or thereabout
for a novel it thinks it really wants to read, but it is getting
awtully sick of being fed with novels (and works of general
literature—at a higher price, usually) which it has been
misled into purchasing by the imprint of a respectable
publishing concern, a flashy make-up, or the appetite for
something to read coupled with sheer human inability to
discriminate between one book and another of the thou-
sands that are annually shoved under its poor nose.
And this is so because the publisher, in his wild anxiety to
miss no bets, publishes three or four times as many books
as he ought to, simply on the off-chance that one or two of
them may pick up and prove winners; and then he
advertises them all (if he does advertise at all) in terms of
the most glowing praise, overprints in order that he may
fill the bookseller’s show-windows with “ displays,” and
make a respectable showing in quantity alongside the
output of other publishers on the bookseller’s shelves ;
thereby confusing the public until it can’t tell one book
from another, and stops buying through weariness of the
lottery.
‘* Several years ago Mr. Brett’s concern boasted that it
was publishing 365 books in the calendar year. Two years
ago (circa) another old-time firm announced (but not
publicly) that they had finished with being conservative
and were hereafter going to publish a great many books
per annum, regardless of merit, with small first editions
and no advertising to speak of, simply in order not to miss
any winners that might chance their way in disguise. Not
that this was any new thing; Appleton’s had been doing
the same thing for years, to their own profit, but unhappily
for authors, and to the confusion of the public. At the
same time Doubleday, Page & Co. were fomenting a
project, through the medium of the future ambassador to
England, to induce publishers to band together and agree
to publish fewer books, under the slogan ‘ Fewer books and
better!’ They even gave a luncheon to boost the project—
and the next season came forward with a list of fiction
longer than any they had ever fathered previously !
“The point of this business (of publishing a great many
books of small editions and with scanty advertising) is
as follows: The publisher doesn’t do it altogether because he
is afraid of losing a winner, but because it really pays him.
It works out this way: the average publisher puts out
THE AUTHOR.
upwards of twenty or thirty books every- spring and
autumn—I mean novels. He spends as little as he can—
naturally—on their make-up, advertises the titles, along
with a dozen others, only meagrely, and prints a first
edition of each that seldom exceeds 1,500 copies. Of this
edition he is almost sure of disposing among the several
thousand booksellers of the United States. He has a
mighty poor book salesman if he can’t induce each book-
seller to take a chance on at least one copy. All of which
nets the publisher a modest profit on each book, and a
comfortable one on the season’s output, with the minimum
of risk. And there is always the chance that one book out
of his score or so per season will on its own merits forge
ahead, make a hit with the public, and by word of mouth
advertising—one reader passing it on to another—create
a demand which will warrant the publisher in spending a
little more money giving it individual advertising, to push
it into the best-selling list. If this doesn’t happen, he
hopes it will next season; and meantime he hasn’t lost
anything—the authors are the only losers in this game.”
Thestatement contained in this last paragraph
is very interesting as it demonstrates so clearly
that what is happening in America has been
going on for a long time in the English market,
owing to the curse of the publishers demanding
in their contracts a series of books, and authors
being foolish enough to bind themselves to the
publishers for a series. The publisher puts
the book on the market. He does not take
much trouble in the matter except to push it
through sufficiently to cover his expenses and
to bring him in a profit ; he then lets the book
drop because he knows he is quite safe as the
author is bound to him for several more books.
If, as suggested by our correspondent, the book
looks like going, then he takes it up as a winner
and gives it individual advertising and turns
round and says to the author: ‘ Look what
I have done for you!” The fault is a very
serious one ; whether the publishers will make
any effort to remedy it, or whether the authors
will take any united action by refusing to bind
themselves in this absurd manner remains to
be seen.
Our correspondent
follows :—
“The truth of the matter is that two-thirds of us
haven't any right to be writing at all—we do it so poorly—
and would long since have turned, in warranted discourage-
ment, our abilities to some more profitable field of endea-
vour, if it were not for the rapacity of the publisher who
leads us on to believe we have some excuse for sticking to
the game simply that he may make his insignificant
profit per book and so swell his handsome profit per
annum.”
He seems to sum up the position so far by
saying :—
“The solution is not cheaper books. Brett had only
to investigate the conditions here and in France and
Germany to find that out ; assuming that he was ingenuous
in making the suggestion on the basis of conditions in those
countries as he understood them. The real solution is
that of Doubleday, Page & Co., ‘ Fewer books and better,
and a revolution in the method of attacking the public.’ ”
then continues as
25
He then gives an example of a certain pub-
lisher in Chicago who devotes himself exclu-
sively to selling the books of one man and with
unexampled success, both for the author and for
the company. American publishers, he says,
know of this thing, but they seem unable to
profit by the lesson it teaches, that even a
second-rate book at $1.50 can be unloaded by
the hundreds of thousands by concentration
and the employment of available, if new to the
publishing trade, avenues of distribution.
And he finally sums up by repeating what he
has already stated, that the cheap book is
not what is wanted in America any more than
it is wanted in England or in France, and that
after a time it is impossible to unload the
numbers of cheap books which it is necessary
should be unloaded in order to make a profit
for the publisher, for the author and for the
bookseller. And he points out by example,
that those American publishers who have
already endeavoured to make a success of the
cheap book have produced nothing but
failure. Perhaps it is as well to add that he
ends up his letter in the following words:
«These tumultuous thoughts are now beginning to sub-
side and it is nearly time for me to break off and chew
three Pepsin and Bismuth tablets and drink a bucket of
hot water and sit down at the luncheon table and hat> a
piece of dry toast, but if any of the stuff is useful, I allow
you to make free use of it.”
We have quoted his letter at some length
as the writer is not merely a person who writes
and then, leaving the work, places it in the
hands of an agent, but he writes as one in
authority with full knowledge of the trade n
the United States and the capacities of th»
publishers to endeavour, though unsuccess-
fully, to meet the real demands of the public.
——_—_1+—> +___
ARTISTS AND THEIR CRITICS.
—_—
FTER the correspondence which took
place last summer in the Morning Post
and other newspapers, or, indeed, with-
out reference to it, it is not necessary to prove
laboriously that artists at the present time, or a
large proportion of them, are discontented with
the conditions of art criticism, or rather with
the criticism which is produced under those
conditions, and that, on the other hand, a
certain number of art critics are profoundly
contemptuous with regard to the productions
of the artists who thus express their discon-
tent. The term artists is here used to include
all who earn, or try to earn, a living by painting,
26
sculpture, engraving and other similar arts,
without any attempt to define an “ artist,”
or to draw invidious distinctions between those
whose art is of the highest order, and those not
so gifted—mere academicians, perhaps, who
are just what they are, with no hope or perhaps
ambition for better things. It is not proposed
to discuss here the basic essence of art, or
whatever it may be, which should inspire the
artist before he is worthy of the name. It is
enough to say that if reviewers are sometimes
not altogether beloved by the reviewed, the
art critic, or art journalist, as some one has
recently labelled him, has even fewer admirers
in proportion to his enemies among those to
whom (according to some of them) he should
be guide, philosopher and _ friend. Why is
this ? - Is it possible to point out a reason—
an easier task than to suggest a remedy ?
It is a feature of art criticism, or art jour-
nalism, distinguishing it from book criticism,
that it is in very few hands. Dramatic
criticism, to some extent, resembles it in this,
but is produced under different conditions,
to which reference may be made hereafter.
Book criticism on most newspapers is entrusted
to a variety of reviewers. The author in a
particular instance may believe that his work
has been foredoomed by the selection of a
critic known to be hostile to the opinions likely
to be found in it, or may ascribe a lack of
appreciation of his virile style to the prejudices
of the editor’s, or proprietor’s, lady relatives
and friends. This, however, should be in
exceptional instances. On the whole, books
are distributed with a desire to discriminate
among persons believed to be suited by taste
and capacity to the task of reviewing them.
The same person would not be likely to review
for a leading daily or weekly paper a work on
military history, a novel written to prove
marriage superfluous, and a volume of rhymes
for the nursery. On most newspapers, how-
ever, in which art criticism is published, there
is but one art critic. On some there is not
quite so much—there is only part of one. The
same gentleman, or, possibly, lady, ‘‘ does the
art notices ”’ for two or possibly more papers,
and it may be insisted upon, though it should
hardly be necessary to labour the point.
that the fact of several criticisms of the same
work being written by one critic, whether in
art or literature, tends to create the idea that
there is a consensus of well-informed opinion
with regard to that work. That is to say, if
the critic writes to the same intent in two or
more papers he gives an impression of un-
animity that does not exist. . If he writes quite
THE AUTHOR.
differently in two or more articles, he must
almost necessarily be insincere in some of his
observations.
Apart, however, from this multiplication of
one man’s opinion, the fact of there being but
one art critic on a newspaper, and conse-
quently a very limited number of critics
writing on art topics, must have its effect.
It is not intended to discuss here whether such
a system is necessary, or desirable, or con-
venient, or conducive to consistent criticism.
It may be all of these, but at the same time it
may be responsible for much of the discontent
with art criticism certainly felt by many who,
whether it would be right to apply to them the
term “artist” in a laudatory sense or not, are
trying to make a living by art, and in the
popular meaning of the word are artists. The
art critic may be an acknowledged authority
on old masters, and he may be very much
more interested in them than in any modern
work. He may be warmly in sympathy with
the methods of our senior Royal Academicians,
or may have grasped and clasped to his
bosom the inner inwardness of Post-Impres-
sionism. The exhibitions of the Royal Water
Colour Society may be his ideal of what such
exhibitions should be, or he may find nothing
really to please him outside the new English
Art Club. Anyhow, he has got to have a
pretty catholic taste if he can assimilate them
all with enjoyment, and the cards for press
views that are showered upon him from the
editorial office will take him to more than
these. Bond Street and Regent Street, Pall
Mall, Piccadilly and the by-streets of St. James’s
are full of one-man shows, and the exhibitions
of minor clubs and societies. It is not sug-
gested that all are worthy of praise, or, indeed,
of notice at all. It is, however, submitted
that the works shown differ quite as widely
among themselves—in their aims, and in their
claims to public attention—as do the works
put upon the market by publishers, and that
to hand over all varieties for comment to one
critic is not very different from sending all
varieties of books to one reviewer.
The practice, no doubt, is due in part to
convenience, and in part to different concep-
tions of the functions of an art critic and those
of a literary critic—or should they be called
an art journalist and a book journalist? As
a rule, it is apparently thought that the book
journalist should be able and willing to accord
praise or blame to a book judged by the stan-
dard of books of its class; but that the art
journalist should judge all art productions by
canons of art formulated by him and others
no
16
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through the assiduous study and appreciation
of masterpieces. He may judge everything
that is submitted to him for criticism in the
public press according to standards which he
honestly believes are of universal application,
and may accord nothing but contempt,
outspoken or silent, to everything. which falls
Short of them. He is quite entitled to do so,
but at the same time men and women who make
no extravagant pretence of -conforming to
such lofty standards, but who are merely
trying to earn a living, perhaps. successfully
by selling pictures to persons who are quite
pleased to buy them, may think it a little
hard that: their admirers should be informed
that they are incompetent and futile charla-
tans. An artist of this class may say with
some show of reason that he does not pretend
to be a Rembrandt or a Turner, not to mention
the names of members of the newest art
societies of to-day, and that all he asks for
is to be judged according to the standard of
those with whom he obviously enters into
competition. Of course, he may be quite
wrong in this, but the point is worth putting
forward on his behalf. Dramatic criticism
has been referred to, and, no doubt, there is
on most papers one dramatic critic, Just as
there is one art critic. Something, however,
Seems to temper the wind in the matter of
dramatic ciiticism ; perhaps the comparative
importance of dramatic advertising, or the
fact that first nights clash and that thus very
often a variety of criticism and an allocation
of plays to the persons most likely to be in
Sympathy with them are brought about. At
any rate, one of the causes of the ill-feeling
which exists between a large body of artists
and a large proportion of the gentlemen
writing (often very ably) modern art criticism
has been suggested. One of its results has
been that recently an important society of
artists sent out no invitations to art critics for
one of its exhibitions, and another did not
assign the usual special day for the press view.
Recent outbursts of acrimonious correspon-
dence in newspapers have already been
referred to. Of course, a good deal may be
‘“e said in favour of art criticism being conducted
on from the point of view of the loftiest ideals in
“™% art, but would it not be equally right to say
no right to complain of critics who more or less
the same with regard to literature? It may
be said that a great many persons are trying
to make a living by art who had much better
be otherwise employed, and that these have
plainly tell them so. But might not the same
be said of many who live, or. try to live, by
THE AUTHOR.
27
literature, if similar principles of criticism
were applied to their works under a similar
system ?
Se ase
AUTHORS AND FREE LIBRARIES.
a
N UCH advance has been made of late
in the matter of protecting authors’
copyright. But that is not the same
thing as protecting the rights of authors. At
least one other form of much-needed protection
seems to have been overlooked: protection
from free libraries. Perhaps a case in point
will make this clearer.
A work of fiction was published in April of
the current year. It was in the free library of
a certain manufacturing. town within a month
of publication. Enquiries elicited the fact
that the library copy was in eager demand,
though the book was not selling in that par-
ticular town. It is easy to see that a librarian
promotes his own popularity by promptly
securing the newest fiction for free circulation,
but is such action fair to the writer? I sub-
mit that it is neither fair to author nor pub-
lisher. The money which pays for the books
in free libraries, is public money, raised by
local taxation. This differentiates the case of
the free lending library from that of private
lending. Now as things are, there is nothing
to prevent an enterprising free librarian, by
the clever use of a few copies of a book, and a
shortened time limit, from absolutely barring
the sale of that particular book in his particular
area. This is not as it ought to be.
A rule in force in the library of the British
Museum bars access to fiction within a certain
space of time after publication. A similar
rule should be legally in force in every free
library ; and the time limit should be so fixed,
that a book should be kept out of free circula-
tion for two years after publication. A book
is printed to sell. Supposing the author is so
full of the lofty aim of setting right a perverted
universe, as to be quite indifferent to remunera-
tion for his labours! Is it reasonable to expect
a publisher to take that point of view? I
think not. Unlike the plutocratic author, the
publisher has to eke out a precarious livelihood
by selling books. When he can no longer sell
books, he has finished with publishing. I
believe I could demonstrate—given time
that a book which cannot be published, had
better not be written.
This is a question of the public sense of
28
justice—concerted action on the part of
authors and publishers, and a small measure
passed through Parliament. Planting trees
on your own sand heap is a noble and soul-
lifting amusement. But the law does not
support you when you plant trees to shut out
the light from your neighbour’s window. It
is a fine thing to supply the free citizen with
taxed literature; but to do that, the dis-
bursers of public money have first to take
scisin of the regular meals which might other-
wise fall to the lot of a number of authors.
This legal gap in that fine old mandate “ Thou
shalt not steal ” ought to be filled up.
C. KE. S.
——————_-—~>— > —____
A ROMANCE OF WORDS.*
——»—+ —.
HETHER highly gratifying instances
of the rapid sale of works of real
merit are common is a question that
it might be dangerous to put before a body of
authors. The reply would be only too likely
to be some equivalent of the parliamentary
circumlocution “The answer is in the nega-
tive.” Indeed, it is difficult in the present
days not to be troubled with many misgivings
respecting the relations of popularity and real
value in the case of a book. All the more
cheering, therefore, is the prompt welcome
which has been given to Mr. Weekley’s
“Romance of Words.” Published first in
March, it reappeared in a second edition in
May, a most welcome indication of a sound
taste for work of substantial value, and of a
distinctly cultivated kind. The author has
been at great pains to make his treatment of
his subject appeal to those to whom it may be
new, and has been in this respect completely
successful, but he has, at the same time, had
the courage to treat his subject as it ought to
be treated, and we may say frankly that new
hope for the English reader has been inspired
into us by the revelation that a book about
words (of strictly philological value) can so
readily find itself a market. The experienced
philologist will not expect to mect here any-
thing that is new to him. What are to him
familiar words, familiar ‘‘ laws,” and familiar
phenomena occur on every page; but he will
be none the less delighted to think that an
author has had the courage, and the ability,
so to handle the history of words as to make“it
* «The Romance of Words,” London. Murray.
THE AUTHOR.
popular. To all who are not philologists the
book will prove full of novelties, and must
be recommended as one of the very best of
its kind. The various phenomena of word-
wanderings, word-manufacture, and so forth,
are explained in ‘several chapters, amongst
which by no means the least interesting will
be found to be the chapters on “ Semanties,”’
though the name may seem a strange one, and
that on Family names. The introduction of
a chapter on semantics is particularly laudable,
as the subject is of primary importance, and
in all teaching of languages generally over-
looked. In conclusion, amongst the many
merits of the book, must be mentioned this
one, that it lends itself readily to perusal in
odd moments, whilst no one can scan a page
of it without becoming better acquainted with
his own language.
————p---~«e
BOOK-PRICES CURRENT,*
——
Ne T., II. and III. of Book-Prices
7 | Current for 1913 are lying before us.
It is unnecessary to say that the pub-
lication maintains its high level of accuracy
and interest ; but most necessary to add that
no notice of the publication can convey an
adequate idea of the amount of valuable
information and the mass of interesting
matter to be discovered in these volumes.
Our practice has been always to select for
notice some of the more striking “lots,”
or such as seem most likely to be of more
immediate interest to authors; but this
amounts to merely skimming over the surface
of the subject, and looking out for what may
be of general interest, whilst the publication
is one that appeals essentially to individual
tastes. The book lover is very seldom bent
upon hearing of what is popular alone; he has
his own tastes and his own interests, often of a
very special and uncommon kind, and it is
these that he will find gratified if he will
for himself peruse the pages of Book-Prices
Current, where the enormous diversity of the
entries provides matter of the greatest interest
for every serious bookman whatsoever his
speciality may be.
Numbers IL., II. and III. for 1913 contain
records of the book sales for October 8, 1912,
* A bi-monthly record of the prices at which books
have been sold at auction. Vol. XXVII. » London:
Elliot Stock. 1913.
of
THE AUTHOR. 29
to March 13, 1913. At the sale of a selection
from the libraries of Mr. S. R. Crockett and
Mr. G. E. Cower (Sotheby), first editions of
Borrow’s works fetched prices running as high
as £125 (‘The Zincali”’). In the same sale
was offered Lewis’ ‘“‘ Tales of Wonder,” 1801,
containing the first poems published by Sir
Walter Scott (12s.). Lady Napier’s library,
sold on November 11, 12, 18 (Sotheby), con-
tained, among a number of interesting lots,
twenty-eight different works (art books and
others) by Stirling Maxwell, among which were
many privately printed or presentation copies.
In a miscellaneous sale (Sotheby, November 20,
21) “ Poliphili Hypnerotomachia,” 1499, sold
for £111. A few days later the same salesman
sold the “* Kelmscott Chawcer,’’ 1896, for £61.
The library of Mr. H. J. Adams, of Enfield
(Sotheby, December 2, 3, 4), exhibited a highly
interesting collection of works on_ natural
history. On December 16 Christie sold a first
edition of Charlotte Bronté’s ‘‘ Jane Eyre ”’ for
£27. Another particularly interesting collec-
tion of books was that of Mr. H. Clutton
(Puttick, December 17). It comprised a
number of first and rare editions of Dickens,
and the first English translation of ‘ Don
Quixote,” by Thomas Shelton; the latter
fetched £300. In a “Miscellaneous Collec-
tion” sold by Sotheby on December 20, were
included the rare second edition of ‘‘ Othello,”
1630 (£85), and Lord Byron’s “ Fugitive
Pieces,” 1806. Of this work only three other
copies (one of them imperfect) are known, and
the present copy must have been one of the
earliest printed, for it contains words that have
been altered in the others; it sold for £445.
This high price was exceeded by that paid for
the first edition of Walton’s ‘‘ Compleat
Angler,” 1635 (£500). Original drawings by
various artists for ‘‘ Nicholas Nickleby,”
“Old Curiosity Shop,” “‘ Our Mutual Friend,”
were sold by Puttick (January 23, 24, 1913) for
prices ranging from £4 15s. to £21. On
February 13 the same firm sold other original
drawings for the ‘“ Household Edition” of
“Old Curiosity Shop,” ‘‘ Our Mutual Friend,”
and “ Little Dorrit,’ at prices ranging from
£1 7s. 6d. to £9 10s. On February 11 and the
following days the very remarkable library of
Mr. M. G. Dunn was sold (Sotheby), consisting
of 684 lots of early manuscripts, incunabula,
and old bindings. Here we can only regret
that space does not permit of our quoting many
of the entries at full length. On February 24
Messrs. Sotheby sold a large collection of books
illustrating British and foreign military cos-
tumes formed by Mr. S. M. Milne. The collec-
tion sold for £2,759 14s. 6d. Another collection
abounding in interesting books was a miscel-
laneous collection sold by Messrs. Sotheby,
March 5, 6, 7. Among them is the very
noticeable entry, ‘‘ Erasmus Alphabetum
Hebraicum et Grecum. Gaza (Theodore) de
lingue Greece institutione liber secundus
Erasmo Roterodami interprete,”’ 1518; a
work that is apparently hitherto unknown.
From the prices paid at various sales it is
evident that among the works of recent authors
first editions of books by Kate Greenaway,
Andrew Lang, R. L. Stevenson, and Oscar
Wilde, are much sought for and command high
prices. The owners of such works should
treasure them, as they are certainly valuable.
Here, however, it may be added that Book-
Prices Current is the only work from which
any man can learn which of his books are
valuable and which are not, and what is the
actual value of those which are precious.
Prices vary capriciously, and reliance can be
placed only on this record, which is carefully
brought up to date.
———__+-—.—_ ——_
THE STAGE CENSOR.*
a
" ESSRS. FOWELL AND PALMER have
7 produced a book which is at once
entertaining and instructive. With
the entertaining side of it we are not concerned
here. Of the instructive side we shall attempt
to give an idea by sketching, after the picture
drawn by our authors, the origin of the Stage
Censor. (Although the book is called simply
“Censorship in England,” it deals only with
the stage censorship.) We shall not follow
the story down to the present day, but stop
short when the historical merges into the
modern and controversial.
The Censor of Plays is a descendant of the
old Lords of Misrule, who figured prominently
in the Christmas festivities of medizeval times,
both at Court and in the houses of the nobility.
The earliest reference which can be traced to
such a personage under the title of ‘** Master
of the Revels ” isin a document of Edward III.,
dated 1347. Such a title did not at first imply
permanence of office. In an account written
in Elizabeth’s reign we read as follows: ‘* The
Office of the Revels, as it shoulde seeme by
reporte, hath in tymes past bene in that order
that the prince beinge disposed to pastyme
woulde at one tyme appoynte one persone, at
* “Censorship in England,” by Frank Fowell and Frank
Palmer. London: Frank Palmer.
30
sometyme an other, suche as for creditte,
pleasaunte witte, and habilitye in learnynge
he thought meete to be the master of the
Revelles for that tyme, to sett fourthe suche
devises as might be most agreable to the
princes expectacion.”’ Since, however, people
as eminent as the Earl of Essex acted as
superintendent of the revels, we may, as
Messrs. Fowell and Palmer say, be sure that
it was not long before a minor, and possibly
permanent, official was appointed by the
superintendent, ‘‘ bothe to his own ease and
the prince’s good service’; and, as the work
of the office increased, several subordinate
posts were created. The love of the Court
for masquing provided the Master and his
assistants with a good deal of drudgery, for
““masks, dresses, stuffs, and ornaments had
to be obtained, architects, builders, carpenters,
tailors, and embroiderers to be engaged, and
the actual performances chosen and_ piloted
to an acceptable conclusion.”” So far we can
scarcely discern the germ of the censor.
With the appointment in 1544 of Sir Thomas
Cawarden as Master, the office became more
important. Cawarden was appointed for life,
his patent styling him Magister Iocorum
Revelorum et Mascorum-omnium et singularium
nostrorum vulgariter nuncupatorum Revells and
Masks. His jurisdiction did not extend
beyond the Court, though he tried to stretch
his powers, and the terms of the patent (which
were adopted as a model) were interpreted by
one of his successors, Sir Henry Herbert,
Master from 1623 to 1642 and from 1660 to
1663, as giving him a licensing authority over
shows and performances generally. Both under
Mary and under Elizabeth proclamations had
been issued against the too great freedom of
the stage, but the Revels office had not been
specially associated with such action. The
Masters exercised their selective and censorial
rights with regard to entertainments pre-
sented to the Sovereign. In 1574, however,
a definite extension of authority was made
necessary, when Elizabeth granted a patent
to the Earl of Leicester’s players to act in all
towns of the realm without molestation from
the local magistrates. As a check on possible
abuse of this privilege, the players were to have
their plays “ seen and allowed ”’ by the Master
of the Revels. Tilney, who became Master in
1579, seems to have given similar licences to
other companies, but thereby brought himself
into conflict with the Lord Mayor of London,
who claimed, and indeed exercised, a censorial
power within the City limits. So arose “a
struggle between the Court and the representa-
THE AUTHOR. :
tives of the people for the control of the
popular stage.”
In this struggle the Court prevailed. A
commission was appointed in 1589, the Arch-
bishop of Canterbury and the Lord Mayor
-being asked to nominate a representative each
to act with Tilney. Before these three all
companies of players were compelled to come
and submit their books. The result was to
make Tilney Licenser of Plays, his two co-
adjutors soon ceasing to take an active share
in the work. His successor, Sir George Buck,
continued the process of magnifying the office,
beginning tentatively to issue licences for the
printing of plays in 1606. But it was Sir
Henry Herbert who saw the real possibilities
of the job. Acquiring the Mastership by
purchase in 1623, he determined to interpret
the vague wording of the Cawarden patent to
the utmost personal advantage. He began to
claim the right to license every form of public
show or performance, including ‘‘ two droma-
daries,” ‘‘a show of pictures in wax,” “a
musical organ with divers motions in it,” ete.,
etc. He raised the fee for reading a play, once
only 7s. per play, to £1 and sometimes £2.
That this was a reading, not a licensing, fee is
shown by an entry made by Herbert himself
in his diary : ‘‘ Received from Kirke for a new
play which I burnte for the ribaldry and offence
that was in it, £2.” He revived Buck’s plan
for printing licences ; and in every way grasped
at what money could be made out of authors
and actors, so that previously to the Civil War
his income as Master was £4,000 a year. He
bought the office, we may add, for £150 a year.
After the Restoration, Herbert only
nominally resumed his old position. The
practical control of the stage passed by Royal
warrant to Sir William Davenant and Tom
Killigrew. Herbert fought against this usurpa-
tion, as it seemed to him, for a time, but finally
compounded with Killigrew and in 1663
abandoned his office to deputies of no import-
ance. When he died, ten years later, Killigrew
became Master of the Revels—‘ though it is
doubtful if his authority was in any way
increased by the appointment ’’—and_ con-
tinued in the post till his own death in 1683,
exercising his duties with extraordinary laxity.
His son Charles succeeded him, and under
William and Mary was obliged to be a very
different kind of Censor. It was the era of
Jeremy Collier’s “Short View of the Profane-
ness and Immorality of the English Stage”;
and the rake Tom Killigrew’s son “ assisted
the reforming movement with embarrassing
energy,’ indeed with oppressive austerity.
THE AUTHOR. 31
On his death in 1725 he was succeeded by
Charles Henry Lee, who “during nineteen
years exercised such authority as was not
opposed, and received such fees as were
willingly paid.” The tendency was for the
authority 1 in connection with the general con-
trol of the theatre to revert to the Lord
Chamberlain (who was all along the real power
behind the Censor), and the Revels Office was
discredited. The last Master seems to have
been Lee’s successor, Solomon Dayrolle; but
in 1737 the ancient jurisdiction of the office
was transferred to a legally appointed Stage
Licenser—who, by the Theatres Act of 2
George II., was ““the Lord Chamberlain of
the King’s household for the time being.”
The Duke of Grafton was Lord nee
at the time, and he, in February, 1738,
appointed W illiam Chetwynd as eae of
the Stage, with a salary of £400 a year, and
with a ‘deputy to assist him at £200 a year.
And so, through Larpent, Colman, Charles
Kemble, J. M. Kemble, Donne, Piggott, and
G. A. Redford, we arrive to-day at the
censorship of Charles Brookfield.
+8
++
CORRESPONDENCE.
— +
AUTHORS AND AGENTS.
I.
Dear Mr. WEtts,—I write to say that after
thirty years of authorship, I find myself in
agreement with you, rather than with Mr.
Bennett, on the subject of the likely agent.
I have never employed but one, once, and I
think I could show that I have not lost by
doing my business myself.
The essential informity of the position of the
agent as the representative of the author, is
admirably shown in the paragraph of your
Jetter in The Author, beginning, ‘“ Also let me
assure the beginner.”
It is the beginner who does not (perhaps may
not) see that it is the necessity “ for keeping
in’’ with the publishers, which makes the
agent indifferent as to whose 19 per cent. he
takes, except when the capital sum is going to
be a large one, and then it is the beginner who
suffers. If an author could have an agent
entirely to himself, the situation would be
quite different.
My experience (on the whole) has been, that
the agent is apt to become the servant of the
other man, though he is paid by you—and that
he is not generally of much use to you until
you can do without him.
At the same time I was well served by my
one agent in my single transaction, and have
on two occasions been truly well served by a
dramatic agent.
With kind regards,
Hau Carne.
P.S.—I can, however, very easily talk of
circumstances in which an intermediary may
do better for a man than he can do for himself.
But the handing of yourself over, body and
bones, in all the literary affairs of life, seems
to me, with all respects for Mr. B.’s opinion, a
childish absurdity.
[We have much pleasure, with Mr. Hall
Caine’s consent, in printing the above letter,
in continuance of the correspondence that
appeared in the July issue.—Ep1rTor. |
at
IL,
Sir,—Since the stars of the first magnitude
in the literary firmament have had their say,
the views of one that is scarcely visible may
be of interest.
Before I was so fortunate as to get into the
hands of one of the leading, if not the leading,
agents, I did my own business, and was
hundreds of pounds out of pocket thereby ;
indeed, I have paid somewhat heavily to buy
back rights I should never have signed away.
Since that time, my income has trebled, and
all business worries have been lifted from my
shoulders.
And this is the experience of most authors I
have spoken with who are in the hands of good
agents.
Quite as a matter of curiosity, it would be
interesting to know which of Mr. Wells’ books
was mishandled by an agent and valuable
rights parted with.
Yours, etc.,
Horace W. C. NEwrtme.
UNREVIEWED Books.
Dear S1r,—Mr. Herbert Jenkins takes up
the cudgels so valiantly for ‘ distressed
literary editors”? that one would almost
imagine him more at home in the editorial
office of a popular daily than on the turf—as
his closing paragraph implies! I do not think
that literary editors have so hy been very
mercilessly attacked in The Author, but
perhaps Mr. Jenkins feels himself vulnerable
in this matter and has haunting visions of piles
of neglected and unreviewed books—for I
prefer to look upon him as a littérateur (in spite
32
of his letter) and not as a “‘ bookie”! But, to
be serious, I don’t think his letter throws much
light on the vexed question, and I consider a
great deal of what he says is beside the mark
altogether. I like to think that literary
editors are guided by principles of sanity,
commonsense, and justice, and Mr. Jenkins’
remarks anent such incline one to infer that
those he alludes to are hardly qualified for their
responsible posts. But there are literary
editors and literary editors, and the class
that would be demoralised, and sit agape
when confronted with problematical ‘‘ Golden
Agates ’? by obscure authors, are outside the
ale.
Editors have their rules, customs, and prece-
dents, but the question is whether some of
these cannot be improved upon. But so many
aspects of the subject of reviews of books have
been already dealt with in The Author that I
suppose it leaves nothing fresh to Mr. Jenkins
to suggest, or he would point out a satisfactory
solution. I do not see why literary editors
should be singled out from among all members
of the human race for special care and con-
sideration; if they do their work conscientiously
and methodically, why in the name of all that’s
wonderful cannot they deal seriatim, day by
day, in a businesslike spirit, with their share
of the 18,000 books—a matter that comes
within their province? If the staff, or the
auciliary staff, is not adequate, the sooner
things are readjusted the better. Surely, if
13,000 books are published, a publisher has to
deal annually with a very large percentage of
a much bigger number of MSS. ? and publishers
either publish, or return unavailable manu-
scripts at their own expense. The “ sorting out
of ten thousand lots of stamps ”’ is too trivial
a point to dwell on, though it suggests straining
at a gnat and swallowing a camel !—for,
somebody’s conscience is elastic over the
volumes which have been perverted to some
mythical, though no doubt praiseworthy,
purpose ! It is refreshing to be told that books
sent in are acknowledged under the heading of
“Books Received,” but Mr. Jenkins should
not take ‘‘ Reviews” too seriously, and
imagine that in all cases they are inspired ;
neither should he confound a few inches of
space in a periodical with the winning post at
Epsom! for there are other tests, and if a
book is temporarily disqualified by non-
recognition in a certain number, or section of
august journals, it may yet win in the race of
Time. :
Yours faithfully,
F. R. M. Furspon.
THE AUTHOR.
Epirors AND THEIR CONTRIBUTORS.
Str,—Is there no unwritten law, no code of
manners for editors with regard to their
treatment of manuscripts? Have they no
rules for, no authority over the menials to
whom they entrust the task of returning the
work they cannot or will not use? These
emphatic queries have been engendered in me
by receiving in a torn, soiled, or disfigured
condition many a manuscript I had sent out
in an immaculate state. Sometimes when
the manuscript is too thick, it escapes the
maltreatment of being folded in new places,
but almost invariably when a thin new
manuscript of one or two pages, all crisp and
clean, is submitted, it is returned (when not
accepted) in a crumpled condition and folded,
with malice prepense, into a new shape. This
occurs even when envelopes of the proper size
are enclosed. What diabolical wantonness
actuates the office factotum needlessly to
fold an innocent manuscript into new and tell-
tale creases—thus ruining or debasing the
copy for use elsewhere—is beyond me.
Perhaps an author’s black list might do
something towards enforcing the rules of the
game ?
Editors have a certain right to refuse to
consider or read manuscripts, but in the light of
modern journalism and fair play they have no
right to damage, destroy, or confiscate the
property of others.
Another rank abuse which cries aloud for
regulation is the interminable length of time
a manuscript is sometimes retained before
publication. One of my own was held over
for more than six years. Then there are the
pericdicals which keep the author waiting for
weeks and months after publication ere they
deign to send him payment.
Lance-HEab.
EEG
REVIEWS IN FRANCE.
Srr,—If any authors who read this care to
receive notices of their books in La Nouvelle
Revue, will they ask their publishers to send a
review copy to the Editor, Monsieur Paul
Louis Hervier, 23, Rue de Beaumont, Bourges.
(Cher), France? He takes a great interest in
English literature, and gives interesting and
painstaking reviews. He cannot give space
to novels, but welcomes all other kind of books.
La Nouvelle Revue is one of the best known
reviews in France.
Yours truly,
Paris, MauprE ANNESLEY.
September 16.
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The Author, Vol. 24 Issue 01 (October 1913)
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<em>The Author</em>, Vol. 24 Issue 01 (October 1913)
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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Che HMutbor.
(The Organ of the Incorporated Society of Authors.
Monthly.)
FOUNDED BY SIR WALTER BESANT.
VoL. XXIV.—No. 2.
NOVEMBER 1, 1913.
[PRIcE SIXPENCE.
TELEPHONE NUMBER:
374 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
—_______+—~<>__
NOTICES.
OR the opinions expressed in papers that
K are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou. XXIV,
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
case. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
ees
THE SOCIETY’S FUNDS.
——— ++
"T\ROM time to time members of the Society
K desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
#2
34
matter closely connected with the work of the
Society.
(2) The Pension Fund _ This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
i
THE PENSION FUND.
—1—~>— + —_
N January, the secretary of the Society
laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4% Extension Shares, 1914,
£1C fully paid. The number of shares pur-
chased at the current price was twenty-five
anc the amount invested £296 1s. 1ld. The
trustees are also purchasing three more Central
Argentine Railway New Shares at par, on
which as holders of the Ordinary Stock they
have an option.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
£ $d:
Wocal Loans 9. ....5.....60... 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ........ 291 19 11
London and North-Western 3%
Debenture Stock ............ 250 0 0
Egvptian Government Irrigation
Trust 4% Certificates ........ 200 0 0
Caze of Good Hope 34% Inscribed
SOCK i ieee oie sa 200 0 0
Glasgow and South-Western Rail-
way 4% PreferenceStock .... 228 0 0
New Zealand 83% Stock ....... 247 9 6
Irish Land 23% Guaranteed Stock 258 0 0
Corporation of London 24%
Stock, 1927-57... a. oc: 438 2 4
Jamaica 34% Stock, 1919—49 .. 182 18 6
Mauritius 4% 1937 Stock ....... 120 12 1
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1988 ...... 198 8 8
Antofagasta and Bolivian Railway
5% Preferred Stock .......... 237 0 0
Central Argentine Railway Or-
dinary Stock ..5..6.....050.5, 232.0 0
THE AUTHOR.
Nominal Value.
s. d.
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ........... 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares ........... 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ............ 550 0 0
8 Central Argentine Railway £10
Preference Shares, New Issue.. 380 0 O
PENSION FUND.
—_—— +
THE list printed below includes all fresh dona-
tions and subscriptions (7.¢., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
January 3, 1913.
It does not include either donations given
prior to January, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913. £ sda
Jan. 8, Toynbee, William (in addi-
tion to his present sub-
scription).
Jan. 9, Gibson, Frank .
Jan. 29, Blaikley, Miss E. L.
Jan. 31, Annesley, Miss Maude
Feb. 6, Rothenstein, Albert .
Feb. 10, Bradshaw, Percy V.
April 8, Caulfield-Stoker, T. .
June 12,,Wimperis, Arthur .
June 16, Ballantyne, J. W.
June 16, Thorold, Rupert
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. : : :
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry ;
Oct. 21, Buchanan, Miss Meriel
_
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~
Ae Aaocannoewraocwonnse
GOrococooccr orm ooococo
Sooooocoocoeoooaances
Donations.
1913.
Jan. 1, Risque, W. H. j :
Jan. 1, Rankin, Mrs. F. M. . ;
Jan. 2, Short, Miss L.M. . :
Jan. 2, Mackenzie, Miss J. . :
Jan. 2, Webling, Miss Peggy .
ecooco
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Or
THE AUTHOR.
S 6 @
Jan. 8, Harris, Mrs. E. H. . 20 0 April 2, Hain, H. M.
H
or
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
_ Jan.
Jan.
Jan.
Jan.
Jan.
_ Jan.
Jan.
Feb.
Feb.
_ Feb.
Feb.
Feb.
' Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
_ Feb.
Feb.
Feb.
Feb.
Feb.
- Feb.
Feb.
. Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
8, Church, Sir Arthur,
K.C.V.O., ete.
4, Douglas, James A.
4, Grant, Lady Sybil
6, Haultain, Arnold. 2
6, Beveridge, Mrs. : :
6, Clark, The Rev. Henry .
6, Ralli, C. Scaramanja . £
6, Lathbury, Miss Eva . :
6, Pryce, Richard :
7, Gibson, Miss L. S.
10, K. :
10, Ford, Miss May : ‘
1. Greenstreet, W.J.. :
14, Anon 2 .
15, Maude, Aylmer
16, Price, Miss Eleanor .
17, Blouet, Madame
20,P.H.andM.K. . :
22, Smith, Herbert W. . :
25, Anon. . ‘ x
27, Vernede, R. E. :
29, Plowman, Miss Mary .
29, Todd, Miss Margaret, M.D.
81, Jacobs, W. W. : x
1, Davy, Mrs. E. M.. . A
8, Abraham, J. J. : :
4, Gibbs, F. L. A.
4, Buckrose, J. E. :
4, Balme, Mrs. Nettleton :
6, Coleridge, The Hon. Gilbert
6, Machen, Arthur
6, Romane-J. ames, Mrs.
6, Weston, Miss Lydia : :
14, Saies, Mrs. F. H. (in addi-
tion to her subscription)
14, Maunsell, A. E. Lloyd.
14, O’Higgins, HJ. ‘
15, Stephens, Dr. Ricardo
15, Jones, Miss E. H.
17, Whibley, Charles
22, Probert, W. S.
24, S. F. G. :
27, XX. Pen Club
7, Keating, The
Lloyd ;
7, Tharp, Robert C.
10, Hall, H. Fielding .
13, Moffatt, Miss Beatrice
14, Bennett, Arnold.
17, Michell, The Right Hon.
Sir Lewis, K.C.V.O.
Rev. J.
Mar. 17, Travers, Miss Rosalind
Mar. 26, Hinkson, H. A. ‘ :
Mar. 26, Anon. . : ‘
. April 2, Daniel, E. H. 2 :
naoroe Orroeococods SOM MOF OF ONKF OCOCOCOCKRH OFM OCOCOCOCOOCBRO WO OFN WH
ocouaror
rt
et et
bot
anette OH OM ONE NB OOR EF OF Or orore Oe Or OOH bo Oe
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SPOOF CAND OF
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acoce ooooo CSCoocacaace coooooaoaooenoanacoooooocooececeocoo
April 7, Taylor, Miss Susette M.
April 7, Harding, Newman .
April 9, Strachey, Miss Amabel
April 10, Aspinall, Algernon .
April 15, Craig, Gordon
April, Robbins, Miss Alice
June 12, Peel, Mrs...
June 13, Barlow, Miss Hilaré
June 18, Kynnersley, E. M. Sneyd.
July 5, Williams, Robert . 3
July 11, Broadbent, D. R. . :
July 22, Cameron, Mrs. Charlotte .
Sept. 29, Peacock, Mrs. F. M.
Sept. 30, Healy, Wallis 3 et
Oct. 7, Darwin, Sir Francis . 5 0
Oct. 9, Carroll, Sy dney Wentw orth 0 10
Oct. 21, Troubetskoy, ‘The Princess 1 0
We regret that a donation from Miss Alice
Robbins of £1 1s., made in April last, was
not chronicled in this list. We take this
opportunity of correcting the mistake.
NEE OCOORFROCOCOOM
—
NN eH eH OO OCC Oe ooo:
SAHeSnRCOCOCOCDONSC COSCO COOF
—
COMMITTEE NOTES.
a
HE October meeting of the committee—
the first meeting after the vacation
—was held on the 6th, at 1, Central
Buildings, Tothill Street, Westminster, S.W.
There was a very long list of agenda before
the meeting. After the signing of the minutes
of the previous meeting, the committee
proceeded with the election of members and
associates. The committee have pleasure in
reporting that the rate of election is still
steadily maintained, and that seventy-one
elections were recorded. These are chronicled
elsewhere in The Author. This brings the total
number for the current year up to “278. The
committee accepted, with regret, six resigna-
tions.
The seeretary and the solicitor of the Society
then reported on the cases taken. in hand
during the vacation, and also the progress that
had been made in those matters with which the
Society was already dealing. There were five
cases of infringement of copyright. The first,
Corelli v. Gray had been mentioned in former
issues of The Author. The solicitor reported
that the costs of the first action had been paid
into, court and that the matter was now
awaiting appeal. Two cases had been settled
after considerable negotiation.. In one case,
it appeared from the solicitor’s report that the
36
editor of a magazine had been deceived by his
contributor. ‘lhe fourth case, which had been
before the committee at previous meetings, but
which had been adjourned owing to lack of
evidence on certain material facts, the com-
mittee regretted, after consideration of the
solicitor’s opinion, that they were unable to
take up as the evidence was insufficient.
Should, however, the ‘member be able to
produce the evidence required, the committee
expressed their willingness to reconsider the
issues. The secretary reported that he had
heard from the lawyers in Switzerland respect-
ing a ease which had been proceeding for some
time in that country. The matter had now
been referred to the Highest Court of Appeal.
So far, the committee regret to report, the
decisions have gone against the Society.
There were five claims for moneys due to
members. Two of these had been settled
during the vacation. In a third case a
summons was pending, and with the two
remaining claims which had not been dealt
with previously, the committee instructed the
solicitors to proceed.
There were three cases in which accounts
had either not been delivered or were disputed.
In two cases against the same firm in England
the solicitors were instructed, as they had been
unable to get any satisfactory answer to their
questions, to issue the necessary summonses.
The third case dealt with a publisher in the
United States. The secretary reported that
it was being handled by the United States
lawyer. The next matter for consideration
referred to the liquidation of a firm of
publishers. As usual, the Society was taking
up the matter on behalf of the members
involved. The committee are pleased to
receive the report that it had been possible,
as in two previous liquidation cases this
year, to obtain the election of a member of
the Society on the Board of Inspection, to
look after the interests of authors. The next
matter had reference to a question of libel :
it is hoped it will be settled without any
further difficulty.
There were disputes arising out of the
interpretation of agreements. In the first,
which had been taken up some time ago, the
solicitor reported that, as no settlement had
been come to, he was now taking the necessary
steps to obtain an injunction to prevent the
further publication of the book contrary to
the terms of the contract. This case, if it
comes into court will be fully reported in The
Author. The second, relating to a contract
for publication, the committee regretted they
THE AUTHOR.
were unable to take up. Although the matter
was one involving undoubted hardship to the
composer it appeared in the circumstances
there was no legal remedy to justify the
committee in taking action on behalf of the
member. The details of the last case were
laid before the committee and fully discussed.
They found it impossible to take action. It
appeared clear that the contract was binding
and there was no reason why any court should
set it aside. The committee decided to take
counsel’s opinion on a difficult case of Inter-
national law referring to the reproduction of
music on mechanical instruments, and the
secretary reported that, with the sanction of
the chairman, counsel’s opinion had been
taken on a question relating to film rights
under a dramatic contract.
In a dispute between a member and an
agent, the chairman of the committee was
requested to write to the member concerned,
setting out the views of the committee.
The committee decided to take up a difficult
question of accounts in order to establish the
Society’s right to a formal investigation. In
former disputes on accounts the Society had,
without taking the matter into court, always
obtained the necessary statement from pub-
lishers, but for some reason, in this special
case, the publishers, through their solicitors,
repudiated liability. In consequence, the com-
mittee decided that the point must be clearly
established that an author, composer or
dramatist has full rights to investigate the
accounts, and to have them properly vouched
if necessary.
Another case of the construction of an
agreement was considered. The secretary was
instructed to obtain further particulars, as the
matter was one of serious importance, but one,
also, in which it was difficult for the committee
to act without fuller information. The case
was adjourned to the next meeting.
After the consideration of the cases, the
committee proceeded to confirm the appoint-
ment of Mr. Arthur Train, as the lawyer of the
Society in the United States in place of Messrs.
Byrne and Cutcheon, resigned. Mr. Train is
counsel to the newly-formed Authors’ League
of America, and the committee hope that his
appointment to represent the Society as lawyer
in the United States may be the means of
bringing the two Societies into closer union.
Two important questions connected with
International copyright were then put forward
—one relating to the United States and one
relating to Russia. The secretary received
instructions to write to the Board of Trade,
THE AUTHOR. 37
drawing the President’s attention to the
matters. At the suggestion of the Dramatic
Sub-Committee, Mrs. Pogson was appointed
the Society’s dramatic agent in Germany.
Her name is chronicled elsewhere in The Author
with the names of the other dramatic agents
of the Society.
The committee decided unanimously to
increase the secretary’s salary, and to grant
him a gratuity for past services. They further
expressed their very high appreciation of
Mr. Thring’s self-sacrificing services in the
interests of the Society. It was decided to ask
the Poet Laureate to join the ranks of the
Society of Authors by accepting his election
as a member of the Council.
The secretary drew attention to an article
in Phe Author dealing with the clauses which,
owing to the energy of Mr. H. J. Mackinder,
M.P., had been inserted in the Bankruptcy
Acts of England and Scotland. The committee
unanimously passed a vote of thanks to Mr.
Mackinder for his interest in the matter. The
secretary drew the attention of the committee
to an article in The Author dealing with the
question of editors and contributors. He
reported, as stated in that article, that various
names of editors willing to subscribe to the
resolution there set forth had been added to
the list during the vacation. The committee
decided that it was unnecessary to call
another meeting of editors at the present time,
and adjourned the matter for later con-
sideration.
Certain quotations are allowed from copy-
right books under section 2, sub-section 4,
of the Copyright Law. The Publishers’
Association thought that much vexatious
litigation might be avoided if some general
understanding was arrived at as to how ‘a
short passage ”’ should be defined under that
section. They put forward for the approval
of the committee of the Society of Authors the
following resolution, which resolution, after
careful consideration, was approved by the
Committee of Management.
“The council of the Publishers’ Associa-
tion is of opinion that it will be to the
interest of everyone concerned if any
publisher proposing to make use of copyright
matter in a school book in accordance with
the provisions of the Copyright Act, 1911,
section 2 (iv.),* gives notice of his intention
to the owner of the copyright.
* The section referred to provides that the following
shall not be an infringement of copyright :—
“The publication in a collection, mainly composed of
non-copyright matter, bona fide intended for the use of
**2. The council considers that vexatious
litigation may be avoided if some general
understanding is arrived at as to what
constitutes ‘a short passage’ from a
published literary work, and they beg to
suggest the following :—
““(a) ‘A short passage’ from a_ prose
work should not exceed one thousand
words.
‘““(b) ‘A short passage’ from a poetical
work should not exceed one hundred
lines.
** Provided that ‘a short passage ’ should
not in either case contain more than one
third of the complete poem, essay, address,
story or other literary work from which it
is extracted.”
The secretary then reported that a conference
of composers had been called for Saturday,
October 11.
- The draft circular which it was proposed to
send round to members, dealing with the
Collection Bureau, had to be adjourned to the
November meeting owing to the mass of
business on hand. The committee approved
an article to appear in The Author on the
question of agents and stock rights in
America.
The date of the Society’s Dinner was fixed
for November 27. Due notice, with full
particulars, will be sent out. It is hoped there
will be a large gathering.
A question of loans to authors and dramatists
on contracts was adjourned, as well as the
question of the International meeting of
authors to take place in San Francisco in 1915.
A draft royalty agreement which had been
sent round to members of the committee was
approved, subject to one or two slight
alterations. It was decided to set it up in
time for a final reading at the next meeting of
the committee.
The most important question before the
committee is chronicled here, at the end of
the notes, although it was discussed earlier at
the meeting, the question of the difficulties
connected with the policy of the libraries in the
matter of book circulation. The committee
decided to invite a conference composed of
two authors, two publishers, two members of
schools, and so described in the title and in any adver-
tisements issued by the publisher, of short passages from
published literary works, not themselves published for the
use of schools in which copyright subsists: Provided that
not more than two of such passages from works by the
same author are published by the same publisher within
five years, and that the source from which such passages
are taken is acknowledged.”
38
the Libraries’ Association and two booksellers.
The conference so invited to discuss the whole
question with a view to bringing about some
solution of the present difficulty. Before,
however, the committee proceed they proposed
to call a meeting of the Council of the Society
to approve the course suggested. This meeting
is reported below. In order to elucidate the
position and to put clearly before the committee
before any decision was arrived at the
difficulties with which various authors have
had to contend, and the suggestions put
forward by members of the Society, the
secretary read letters he had received from
Messrs. Hall Caine, W. B. Maxwell, Eden
Phillpotts, John Galsworthy, and others,
and reported in detail the result of various
interviews with members of the Publishers’
Association, Mr. Acland of Messrs. Smith &
Son, and other parties interested in the
solution of the difficulties. The action of
the members of the conference if summoned
will be chronicled in due course and referred
back to the committees of the various associa-
tions represented. The committee feel that
the question is one of great importance,
surrounded by great difficulty, and one to be
dealt with as a matter of principle apart from
any individual book or any individual author.
+
Counci, MEETING.
A meetING of the Council was held at
No. 1, Central Buildings, Tothill Street, West-
minster, S.W., on Thursday, October 16,
at four o’clock, for the members to consider,
and, if thought fit, to approve a suggestion
of the committee in regard to the position of
the library question.
The committee’s proposals ran as follows :—
1. To invite a conference composed of two
authors, two publishers, two members of the
Libraries’ Association, and two booksellers ;
the representatives of such conference to be
appointed by the standing committees of their
respective associations.
2. The conference so invited to take counsel
with a view to solving the existing difficulties.
The chairman explained in a few words the
reason why the committee had made these
suggestions and the reason why they referred
them to the Council.
Mr. Maurice Hewlett moved the following
ynendment :—
“That this question (that is, the question
on the agenda) be referred back to the
THE AUTHOR.
committee, with a full report of what takes,
place at this meeting of the Council.”
He stated, at full length, his reasons for
putting forward his amendment, and expressed,
very strongly, his feelings in regard to the
question generally. He also made a suggestion
which he desired should be placed before the
committee.
Mrs. Belloc Lowndes seconded the amend-
ment. ‘
The question was fully discussed in all its
phases. Mr. Hewlett’s amendment was then
put and carried. With, the fresh information
thus obtained which will be reported to the
committee, the whole matter will be re-
discussed at their next meeting.
It is impossible to make a more detailed
statement of the proceedings until the final
discussion by the committee of the fresh issues
raised.
ee
DraMAtic SUB-COMMITTEE.
Tue first meeting of the Dramatic Sub-
Committee after the Vacation was held at the
offices of the Society, No. 1, Central Buildings,
Tothill Street, Westminster, S.W.
The first matter dealt with was the dramatic
cases.
The attention of the sub-committee was
called to the first case by members of the
Dramatists’ Club, and the secretary was
instructed to deal with the matter by a note
in The Author. The second related to the:
infringement of copyright of a member's play
by a London manager. The sub-committee:
asked the secretary to convey to the
Committee of Management a recommenda-
tion that the member be given the best’
assistance possible, as the infrimgement ap-
peared to them to be a very serious one. The
secretary then reported the successful termina-
tion of a case undertaken by the Society in
Winnipeg, Canada, on behalf of a member.
He explained that damages had been obtained.
and the matter settled. A dispute with a
dramatic agent for non-delivery of accounts
was next referred to the sub-committee and
the secretary was instructed to recommend to
the Committee of Management to take up
the action.
The Managerial Treaty next came before
the committee, and a letter received from
Mr. J. E. Vedrenne, secretary to the Society
of West-End Managers was read. After
careful consideration of the letter, the secretary
was instructed to write to Mr. Vedrenne
suggesting another meeting of the delegates:
\
of the West-End Managers’ Association, with
a view to careful consideration of the points
raised.
A letter from the Dramatic Clubs’ Associa-
tion was laid before the committee, and the
committee decided, in accordance with a
promise made before the vacation, to ask
delegates from the Association to meet the
sub-committee at their next meeting.
Counsel’s opinion which had been taken on
behalf of one of the members, dealing with
film rights under a dramatic contract made
before the passing of the new Copyright Act,
was read to the sub-committee, and a dis-
cussion arose as to the present value of film
rights. It was decided to ask Mr. Cecil
Raleigh whether he would not write another
article on the question for the benefit of
members of the Society, from the new evidence
and particulars of terms of contracts which
had been gathered.
A series of letters that had been received by
Mr. Shaw from an American dramatic agent,
and by Mr. Louis J. Vance, from a representa-
tive of the same firm, were laid before the
sub-committee. The letter received by the
secretary from the German Society of Authors
and also terms of a proposed contract were
considered. The secretary was instructed to
write to the German Society, pointing out
that the Constitution of the Society of Authors
would not permit of its making a contract on
the lines proposed, but that they hoped the
German Society would, outside a formal con-
tract, work with the English Society with a
view to mutual assistance in dramatic matters.
A letter received by one of the members of
the sub-committee, from Mr. F. H, Dickinson,
of New York, in regard to the publication of
a work entitled ‘Chief Contemporary Dra-
matists,’’ with the terms offered to Authors,
was read, as also was a series of letters
received by the secretary of the Society from
members whose works it had been proposed
to issue.
The next matter was one of considerable
importance, and dealt with the question of
stopping piracies in the colonies and foreign
countries. The secretary stated that during
the vacation he had thought that the existing
‘difficulty of giving prompt instructions to
lawyers abroad might be overcome by using
powers of attorney, drafted in such a way
that they could not be operated without a
cablegram from the Society’s office. He
suggested that Dramatist members of the
Society who thought fit, should have three or
four powers of attorney, one for each foreign
THB AUTHOR. 39
country, and that these should be placed in the
hands of the Society’s lawyers in the countries
concerned. If, then, the lawyers heard of a
piracy they would communicate with the
Society, and if the member thought fit, the
lawyer would receive cabled authority to take
immediate action. Thus it would be possible
to overcome the great drawback in these
cases of delay. The sub-committee considered
the suggestion and instructed the secretary
to obtain a draft settled by counsel for the
members.
Mr. Justin McCarthy, Mr. Jerome K.
Jerome, and Mr. G. Herbert Thring, the
secretary, were voted a sub-committee to deal
with the question of a draft agreement, and
it was decided that the agreement, when so
settled, should not be referred back to the
sub-committee. The sub-committee, however,
indicated certain lines along which the contract
should be drafted, and added that the con-
tract should be accompanied by a statement
explanatory of the clauses and of the rights
with which it was proposed to deal.
The question of the dramatic contract in
Holland was also discussed.
The secretary was instructed to thank
Mr. Reyding, the agent of the Society in
Holland for his letter, and to express the desira
of the sub-committee that in future contracts
for Holland the name of the author should be
substituted for that of the agent, as principal.
—
Composers’ SuB-COMMITTEE.
A MEETING of the Composers’ Sub-Committee
was held on Wednesday, October 8, at the
offices of the Society at eleven o’clock in the
morning. The meeting discussed fully the line
of procedure to be followed at the Conference
of Composers which was held on Saturday,
the 11th of the same month.
The next question before the meeting was
the Evening News competition, and the
secretary was instructed to write an article
on the subject which, with the chairman’s
consent, should appear in the next issue of
The Author.
II.
The second meeting of the sub-committee
was held at the Society’s offices, No. 1, Central
Buildings, Tothill Street, Westminster, S.W.,
on Saturday, October 18, at eleven o’clock.
The first matter under discussion was what
should be made to the
recommendation
40
Committee of Management in order to assist
them to deal with the Resolutions passed by
the Conference of Composers on October 11,
and the sub-committee passed the following
resolution :—
“That the Committee of Management be
asked to appoint delegates in accordance with
the resolution unanimously passed at the
meeting on October 11, and to confer as to
the best means of reaching those composers
who were not members of any Society.”
Mr. Cecil Forsyth’s name was suggested as
one of the delegates, and Mr. Forsyth consented
to act if appointed. It was decided that
paragraphs should be inserted in the daily
papers setting out the fact that the Society
of Authors dealt with the works of composers
as well as with those of dramatists and writers,
and that composers were entitled to the same
benefits as were accorded to other members.
The sub-committee felt that this course was
perhaps the best means to bring the work the
Society did for composers to the notice of
those who were members of no organization.
It was decided, also, with Mr. MacGillivray’s
sanction, to publish, in pamphlet form, his
speech delivered at the Conference of Com-
posers setting out in detail the rights held by
coon and how best they could be dealt
with.
The next question brought forward was the
question of settling a draft agreement, and the
secretary was instructed to draft an ideal form
to be submitted to the next meeting of the
sub-committee.
A question having arisen respecting the sale
of stamps to reproducers of music by mechani-
eal instruments, on “sale or return,’ the
sub-committee considered the matter, but came
to the conclusion that the suggestion made by
the companies was not one they could support,
as it would be likely to lead to much confusion
in the minds of composers. At the same time
they were willing to give their serious
or to any arguments brought before
them.
The secretary read correspondence with the
Ammre, and was instructed to ask whether
the German Society could not give some
guidance as to the kind of music they would
like submitted to them with a view to
reproduction on mechanical instruments.
Finally, the question of the collection of
fees in France was discussed, and the secretary
was instructed to write to his correspondents
with a view to ascertaining what steps could
be taken to collect members’ fees on mechanical
reproductions in that country.
THE AUTHOR.
Cases.
Durine the past month twenty-two cases
have passed through the secretary’s hands.
Of these, eight were for overdue accounts.
Four of this number have been settled and
the accounts delivered to the authors. Of
the remaining four, one is a Canadian ease,
one against a publisher notoriously unbusiness-
like in delivery of these statements, in the
third delivery has been promised, and the last
will also, it is hoped, be settled without
difficulty. There have been three claims for
money. In one of these—against a magazine
—the editor has promised to forward a cheque
in advance of publication; the second is in
the United States and sufficient time has not
yet elapsed for an answer to the secretary’s
letter, while the last has only just come into
the office.
Four claims have been put forward for MSS.
retained by editors and others. In one ease
the MS. has been returned. In the second
some of the MSS. have been returned. In the
third it has not been possible, so far, to get.
a response to the secretary’s letters, but the
matter is still proceeding. In the fourth it has
been impossible to locate the defendant,
although there is some hope of finding him
eventually.
There have been two cases in which the
authors demanded fuller particulars of accounts
rendered. In one case the information has
been given and the author is satisfied with
the explanation. In the other the publisher
has, so far, failed to respond and the matter is
being pressed.
Disputes on agreements account for three
cases. In the first the dispute was settled by
the author making part payment of the sum
claimed. This payment was made, not because
of any legal liability attaching to the author,
but because the author wished to meet the
other side. In the second an offer has been
made to the publisher, but at the time of
going to press the time fixed for acceptance
had not expired. The matter will be dealt
with further next month. In the third the
defendants gave way and adopted the view
of the contract put forward by the secretary
on behalf of the member.
There were two cases relating to copyright.
In one an American magazine had made use
of a member’s work, altered it, and re-published
it contrary to the arrangement with the author,
The secretary has written to the magazine, but
sufficient time has not yet elapsed’ for the
answer to come through. The second : case
relates to a threat by a foreign author to make
So far,
no actual infringement has occurred, and the
secretary has written to the solicitor of the
foreign author warning him that the action
contemplated by his client will amount to an
infringement of the member’s rights.
There is one claim open from the former
month. This relates to a claim for money
against a magazine.
The editor has admitted
liability, but has delayed fulfilling his promise
to make the necessary payment.
It is hoped
to report, next month, that the money has
been paid.
———+—__
October Elections.
Baker, Ernest A., M.A.,
D.Litt.
Bennett, T. Armitage
(“ T. Armitage ’’).
“* Blakeney Cley’’.
Buchanan, Miss Meriel
Byars, Gilbert . .
Carr, Sydney Herbert .
~~ Carroll, Sydney Went-
worth.
‘Chute, Miss Margaret .
Coulter, The
Frederic W.
de Castro, J. Paul
Rev.
Douglas, Mrs.
Drummond, Miss Flo-
rence.
- Elgar, Sir Edward, O.M.
Frankish, Harold
, Gardiner, H. Balfour .
Gregory, Mrs. Octavia .
‘Greves,
Hyla.
Guise, Major Henry
Miss Barbara
3, H. R., MA.
F.S.A,.
St. James’s Lodge,
Kidbrook Park
Road, S.E.
Church House, Wal-
singham, Norfolk.
British Embassy,
St. Petersburg,
Russia.
C/o. Messrs. Rey-
nolds & Co., 13,
Berners Street, W.
Linden Lodge, Teign-
mouth, S. Devon.
22, Dorset Square,
N.W.
173, Lisburn Lane,
Liverpool, E.
1, Essex Court,
Temple, E.C.
6, Spencer
Wimbledon.
4, Learmouth Ter-
race, Edinburgh.
Severn House,
Hampstead, N.W.
The Laurels, Aikley,
Barnet, Hertford-
shire.
7, Pembroke Villas,
Kensington, W.
Melville, Parkstone,
Dorset.
Rodney House,
Bournemouth.
Royal Societies’
Club, St. James’
Street, S.W.
22, King Henry’s
Road, N.W.
Hill,
THE AUTHOR.
use of the work of an English writer.
Hardinge, Henry
Charles Maurice.
Harris, Miss Vera A.
Hodgkinson, Ivan T. .
Hodson, Henry Edward
“Jan Paulus” .
Jones, Daniel, M.A.
Leonard, Miss Emma
Hill.
Little, Philip Francis .
Liversedge, Alfred John
Lofting, Miss Kitty
MacGill, Patrick .
_. Malloch, George Reston
Mason, Stuart
Maude, G. H. ; 5
Milburn, Mrs. G. Hart-
ley.
Muspratt, Horace
Nepean, Mrs. A. Evan .
Pearce, John
Phillips, Mrs. Alfred
(“ Blanch Eryl’’).
Pinder, Miss Eva
Price, Julius M. . :
Pugh, Capt. George
Farrer.
Rees, Rosemary .
Robertson-Scott, Mrs.
(“* Elspet Keith ’’).
Rombach, John George
Rumbold, Hugo .
Sellon, The Rev. M. St.
Juste.
Seton, Walter Warren .
_Shaw, Martin
41
184, Ebury Street,
S.W.
6, Oaklands Road,
Bedford.
Kingston,
Somerset.
The Moors, Church-
down, Cheltenham.
Wells,
University
W.C.
College,
85, Eccles
Dublin.
63, Northampton
Road, Croydon.
Street,
The Cloisters, Wind-
sor Castle.
The White Cottage,
Chingford, Essex.
6, Molyneux House,
Molyneux Street,
W.
Broom Hall, Horsell,
Surrey.
15, Alexandra Drive,
Sefton Park, Liver-
pool.
Berners, St. Albans.
57, Carlton Mansions
Maida Vale, W.
Lyceum Club, 128,
Piccadilly, W.
C/o. H. G. Hale, Esq.
144, Cromwell
Road, S.W.
22,Golden Square, W.
20, Monmouth Road,
East Ham.
19, The Mansions,
Hillfield Road,
West Hampstead,
London.
68, Fonthill Road,
Aberdeen.
Bachelors’
S.W.
North Finchley, N.
Club,
University College
Hall, Ealing, W.
72, Haverstock Hill,
N.W.
42
N.
Sidgwick, Blanche
Simpson, James Young,
D.Sce., F.R.S.E.
Singer, Ignatius .
Spencer, The
Frederick, A. M.
Spiers, K. C.
®
Shearman, The Rev. J.
Rev.
Staley, Alfred Emlyn
Standen, Bertha P.
Stevens, Percy .
Terry, J. E. Harold
Thompson , Harold
Stuart.
Tillard, Miss Irene
Venton, Horace William
, Walpole, Hugh Seymour
Walsh, Miss
Donegan.
Whitelaw, David
Wile, Frederic William
Wilkinson, The Hon.
Mrs.
Wilson, C. Carus
Wood, Mrs. Fanny
Morris.
Wyndham, Percy
Wynne, Harry .
Yetts, W. Percival
Marie
fe
THE AUTHOR.
Shankill Rectory,
Ballygomartin
Road, Belfast.
25, Collingham Road,
S.W.
25, Chester Street,
Edinburgh.
3, Parkfield Road,
Bradford.
Brasenose College,
Oxford.
Newlyn, Romsey,
Hants.
Highfield, Bishop’s
Taunton, Barn-
staple.
Savage Club, Adel-
phi, W.C.
69, Norton Road,
Letchworth.
115, Albert Palace
Mansions, Batter-
sea Park, S.W.
« Elia,’ Lansdowne
Road, Hands-
worth, Birming-
ham.
16, Hallam Street,
Portland Place,
W.
C/o. Messrs. Sebasti
and Reali, 20,
Piazza di Spagna,
Rome.
The Cliff, Brighton.
Helmstedterstrasse
6, Wilmersdorff,
Berlin.
Dringhouses Manor,
York.
54, Worcester Street,
Wolverhampton.
13, Wharncliffe
Road, Sheffield.
Clouds, Hast Knoyle
Salisbury.
Beaconsfield Road,
Weston-super-
Mare.
Junior United Ser-
vice Club, S.W.
BOOKS PUBLISHED BY MEMBERS.
—_+—+
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have,
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
ART.
Tue ART oF SILHOUETTE. By Desmonp Coxe. 9 x 5}.
231 pp. Martin Secker. 10s. 6d. n.
“Tue ANGELS APPEARING TO THE SHEPHERDS.” By
Veasquez. A Critical Study. By M. H. Spre:many.
10} x 73. 34 pp. The Medici Society. 2s. 6d. n.
Tur Watuace Coutection. By J. Rutrer. 6} x 44.
166 pp. (National Treasures.) 2s. n.
Oxtp Eneuise Furniturn. By F. Fenn and B. WYLLIE.
91 pp. xciv. plates. Batsford’s Collectors’ Library.
9 x 52. 6s. n.
BIOGRAPHY.
Mrs. Jorpan, Cuitp or Naturs. By Purp W. Szr-
qaeant, B.A. With photogravure plate and 20 other
illustrations. Hutchinson & Co. 16s. n.
Mary QurEn or Scots. By WatteR Woop. Illustrated
in Colour by Sir Jamus Linton, R.I.,and JAMES ORROCH.
R.I. Edited by W.Saaw Sparrow. 8} x 6. 151 pp.
Hodder and Stoughton. 6s. n.
Rusxiy. A Study in Personality. By A. C. Buyson,
7k . 5. 264 pp. (Cheaper Re-issue.) Smith Elder.
3s. 6d. n.
Tur RoMANCE oF AN ExpreRLy Port. A Hitherto Un-
known Chapter in the Life of George Crabbe, revealed
by His Ten Years’ Correspondence with Elizabeth
Charter, 1815—1825. By A. M. Broapiny and W.
JERROLD. 9 xX 53. 309pp. Stanley Paul. 10s. 6d.n.
A VagaBonp Courtirer. From the Memoirs and Letters
of Baron Charles Louis von Pollnitz. By Eprrn E.
CuTHEtt. 2 Vols. 9 Xx 53. 688 pp. : Stanley Paul.
24s. n.
Spnenpip Farurns. By Harry Grawam. 9 X 53.
268 pp. Arnold. 10s. 6d. n.
Tue Court oF CHRISTINA OF SWEDEN AND THE LATER
ADVENTURES OF THE QUEENIN Exite. By F. GRIBBLE.
9 x 53. 356 pp. Nash. 15s. n.
Tur AUTOBIOGRAPHY OF CHARLOTTE AMELIE PRINCESS OF
ALDENBURG, née PRINCESS DE LA TREMOILLE, 1652—
1732. Translated from the French of the original
manuscript and Edited by herdescendant, Mrs. AUBREY
Lz Buonp. 9 xX 6. 3867 pp. Nash. 15s. n.
BOOKS FOR THE YOUNG.
Jupitu’s Victory. By L. E. TrpEman,S8.P.C.K. 2s, 6d.
Trixy anD Her Trio. By L.E.Tippeman. Jarrold. 2s.
Oxp Trstammnt Ruymes. By Rosert Hucu Benson.
Illustrated by Gaprren Pirret. 10} x 9. Longmans.
Is. n.
Tutnas To Maxr. By A. Wuuiams. 430 pp. Nelson.
82 x
3s. 6d. ,
Suiran Jim, Emprre Burwper. By H. StRAne.
5}. 372 pp. Frowde and Hodder and Stoughton.
Tue Sworp or Detiverance. A-Story of the Balkan
War, the Battle of Lule Burgas, and the Siege of Adria-
nople.. By C.Gruson. 82 x 5}. 346pp. Nisbet. 6s.
THE AUTHOR. 43
THE TWINs IN CEYLON, AND MorE ABOUTTHE Twins. By
Betua Sipney-Wootr. Illustrated by A. E. Jackson.
74 x 54. 131 pp. Duckworth & Co. 3s. 6d.
Att THE OLD Nursery TaLes. By Guapys Davipson.
Illustrated by Marcarrr TaRRANT. 84 < 6. 248 pp.
Pilgrim Press. 3s. 6d.
A History or Germany. By H. E. Marswary. 10 x
74. 449 pp. Frowde and Hodder and Stoughton.
7s. 6d. n.
THe Untucky Faminy.
HENRY DE LA Pasture. 7} x 5. 284 pp.-
and Hodder and Stoughton. 3s. 6d.
Eneuisu Farry Tates. By Ernest and Grace Rays.
Illustrated by H. Connand R. A. Bett. 128 pp.
Tue Book or Nature. Edited by W. P. WEsTELL, F.L.S.
94 x 64. 355pp. Frowde and Hodder and Stoughton.
5s. TD.
THE CRUISE OF THE Gyro-Car. By HERBERT STRANG.
74 x 5. 243 pp. Frowde and Hodder and Stoughton.
1s. n.
THe Story Book Grirts. By CHRISTINA
Wuyte. (New Edition.) 72 x 54. 339 pp.
and Hodder and Stoughton. 3s. 6d.
THE PRIZE AND THE Buank. By M. E. F. Hytanp. 7?
x 5. 224 pp. S.P.C.K. 2s.
A Waywarp Girt. By Mrs. Bartitie REYNOLDS.
54. 268 pp. Partridge. 3s. 6d.
Herpert Strane’s Annuat. 104 x 7}.
Frowde and Hodder and Stoughton. 5s. n.
Tue ADVENTURES OF Dick TREVANION. By H. StRana.
7% < 54. 399 pp. Frowde and Hodder and Stoughton.
3s. 6d.
Tue Race Rounp tHE Worup. Being the Account of the
Contest for the £100,000 Prize offered by the Combined
Newspaper League, of the Invention of Methylite, and
certain passages in the life of Mr. Wang. By Caprain
C. Giuson. 72 x 5. 283 pp. Frowde and Hodder
and Stoughton. 3s. 6d.
Tue ScHoot Across THE Roap. By Drsmonp CoKE.
7? X 5}. 336 pp. Frowde and Hodder and Stoughton.
3s. 6d.
SETTLERS AND Scouts.
A Book for Children. By Mrs.
Frowde
GowANS
Frowde
7h x
208 pp.
A Tale of the African Highlands.
By HerBertTStranc. 7} x 53. 374pp. Frowdeand
Hodder and Stoughton. 3s. 6d.
Now anp Ten. Chronicles of Half-Text History. By
A. R. Horn. 72 x 5}. 336 pp. Black. 3s. 6d.
GENTLEMAN Jack. An Adventurer in East Africa. By
H. A. Hinkson. 72 x 5. 222 pp. S.P.C.K. 2s.
BOOKS OF REFERENCE.
Firtrentu Century Booxs. A Guide to Their Identifi-
eation. With a List of the Latin Names of Towns and
an Extensive Bibliography of the Subject. By R. A.
Peppiz. 74 x 5. 89 pp. Grafton. 5s. n.
CLASSICAL.
Evriripes anp His Acr. By Giupert Murray, LL.D.
6% x 4. 256 pp. (Home University Library.) Williams
and Norgate. ls. n.
DRAMA.
Tue Fuorrtve. A Play in Four Acts.
worRTHy. 63 x 5. 95 pp. Duckworth. ls. 6d.
Spomine THe Broru, anp OTHER Puays. By Brertua N.
Granam. 63 x 4%. 202 pp. Chapman and Hall.
1s. 6d. n.
Piay-Maxinc. A Manual of Craftsmanship. By W.
Arcuer. (New and Cheaper Edition.) 7% x 5.
323 pp. Chapman and Hall. 2s. 6d. n.
FICTION.
Biggs ee
LETT. 8 xX 54. 306 pp. Macmillan. 6s.
By Joun GaAts-
Sussom. By C. Marriorr.
and Blackett. 6s.
Writin Water. By Srpney C. Grier.
Blackwood. 6s.
THE Sout or A SUFFRAGETTE, AND OTHER SroriEs. By
W. L. Courtney. 7} x 5. 292 pp. Chapman and
Hall. 6s. :
GaRTHOYLE GARDENS. By Epcar Jepson. 74 x 5.
320 pp. Hutchinson. 6s.
Ricwarp Furtone. By E. Tempie Tuurston.
391 pp. Chapman and Hall. 6s.
Scenes From a SuBALTERN’s Lire.
74 x 5. 325 pp. Blackwood. 6s.
THe Woman Furncues. By Mrs. Frep REYNOLDS.
7} < 5. 310pp. Chapmanand Hall. 6s.
WHEN Love Cattep. By A. W. Marcumont.
318 pp. Hodder and Stoughton. © 6s.
THE Coryston Famiry. By Mrs. Humpury Warp.
72 x 5. 360 pp. Smith Elder. 6s.
Tue Dark Flower. By Jonn GaLsworTHY.
302 pp. Heinemann. 6s.
Tue Rest. By E. Hamirton Moore. 7} x 5}.
E. Macdonald. 6s.
THe Door Tuat Has No Key. By Cosmo Haminton.
7 X 5. 328 pp. Chatto and Windus. 6s.
Diana anp Two Sympuontes. By F. Toyz.
304 pp. Heinemann. 6s.
A Dovstrut Cuaracter. By Mrs. Battitre REYNOLDS.
7? x 5. 315 pp. Hodder and Stoughton. 16s.
GREEN Girt. By Mrs. Henry Tippett. 73 x 5.
384 pp. John Long. 6s
Tue Grey Cat. By J. B. Harris Buruanp.
316 pp. Chapman and Hall. 6s.
Tue Grie oF THE Past. By Joun A. Stevart.
319 pp. Hodder and Stoughton. 6s.
Lorp Lonpon. A Romance of To-Day. By KEBLE
Howarp. 74 x 5. 294 pp. Chapman and Hall.
68.
Tue Surest Bonn.
72 x 5. 335 pp. Hurst
7} x 5. 349 pp.
it x 5.
By C. L. Girson.
7% x 54.
ik <5.
282 pp.
iz x Dt
72 x 5.
7% x 5.
By Errrz ADELAIDE RowLanps.
72 <x 5. 294 pp. Chapman and Hall. 6s.
Lrerrers to My Son. By Winirrep JamEs.
Cheaper Edition.) 63 x 44.
Hall. 1s. n.
THe Magic Fire. By Frances Hammonp.
286 pp. Chapman and Hall. 6s.
THE CHILDREN OF THE SEA. By H. pz VERE STACPOOLE.
74 x 5. 357 pp. Hutchinson. 6s.
A Master or Lire. By Pair Gisss. 72 x 5. 312 pp.
Cassell. 6s.
288 pp. Hodder and Stoughton.
(New and
169 pp. Chapman and
je x5
Tue SECRET OF THE SEA.
Curlewis). 72 x 5.
3s. 6d.
No Puace Like Home.
469 pp. Constable. 6s.
Joan Tourspay. By Louis J. Vance.
Grant Richards. 6s.
FLowsr or THE GoLpen Heart. By VioxeT A. Srmpson.
7% x 5. 300 pp. Chapman and Hall. 6s.
Tue Truants. By A. E. W. Mason. 62 x 44. 321 pp.
Hodder and Stoughton. 7d. n.
Tue Girt From NowHere. By Mrs. Barre Reynowps.
62 x 44. Hodder and Stoughton. 7d.
Tue Greatest Wish In THE WorLD. By E. Trempie
' TuHurston. (New and Cheaper Edition.) 63 x 44.
392 pp. Chapman and Hall. Is.
Lonpon Lavenper. By E. V. Lucas.
7 x 44. 286 pp. Methuen. 5s.
Tue Story or Warr Situ Baxter. By Kats Doveras
Wicern. 7} x 5. 314 pp. Hodder and Stoughton.
68. {
Tue Joy or Youtn. By Epren Puiwirotts. 73 x 5.
312 pp. Chapman and Hall. 6s.
By J. Trevena. 74 x 5.
7} x 5. 363 pp.
Seventh Edition.
44
Mrranpa. By M. E. Brappon. 7} x 4. 420 pp.
Hutchinson. 6s.
THe Evrasian. By H. Bruce. 73 x 5. 320 pp. John
Long. 6s.
Tur HonovuraBLe Mr. TAWNISH.
Tllustrated by C. E. Brock.
Sampson Low. 6s. n.
Tur BEWILDERED Benepict. The Story of a Superfluous
Uncle. By E. Burke. 73 X 5. 386 pp. Jenkins.
6s.
Tue PAUPERS OF PoRTMAN SQUARE.
72 x 5. 319 pp. Cassell. 6s.
Mrntronarre’s Isuanp. A Veracious Story of a Man, Two
Women, and an Idea. By Max PEMBERTON. 7} X 5.
312 pp. Cassell. 6s.
‘By JEFFERY FARNOL.
8 x 6}. 118 pp.
By I. A. R. WYLIE.
Weeps. By Ouave Porrer and Dovaias SLADEN. 8 X
5. 399 pp. Hurst and Blackett. 6s.
Younc Eve anp OLtp Apam. By Tom Gaon. 7} x 5.
320 pp. John Long. 6s.
Biack Smuence. By Marie Connor LeIcurTon. 7} X 5.
347 pp. Ward, Lock. 6s.
A PREACHER OF THE Lorv. By Atice and CLAUDE
Askew. 7% x 5. 311 pp. Cassell. 38. 6d. n.
Captain Davy’s Honeymoon. By Hatt Carne. 6} X
4}. 320 pp. Hodder and Stoughton. 7d.
Tue Day THat CHancep THE WorLD. By Haroip
Brose. (Popular Edition.) 74 Xx 43. 159 pp.
Hodder and Stoughton. ls. n.
Tue INSBPARABLES. By J. Baker. (Popular Edition.)
72 x 5. 329 pp. Chapman and Hall. 2s. n.
Tur GentteE Lover. A Comedy of Middle Age.
Forrest Rum. 74 x 5. 319 pp. Arnold. 6s.
Somerumne Arar. By MAxweLiuGrRay. 7} Xx 5. 363 pp.
Arnold. 6s.
Asput Hamip’s DAUGHTER.
By
The Tragedy of an Ottoman
Princess. By Metex Hanoum and Grace ELLIson.
73 x 5. 307 pp. Methuen. 6s.
Tue Perrect Wire. By JosepH Keatinc. 7? X 5.
280 pp. Heinemann. 6s.
NovempBer Jon, THe Detective ofr THE Woops.
Hesxetu PritcuarD. Illustrated.
Hodder and Stoughton. 6s.
Tur BIRTHRIGHT OF GRIMALDI.
72 x 5. 372 pp. Kegan Paul.
By
7% x 5. 323 pp.
By Horr Huntiry.
6s.
GARDENING.
GaRDEN TREES AND Survss. Illustrated in Colour. By
W.P.Wricut. 9} x 63. 337pp. Headley. 12s. 6d.
HISTORY.
Monastic ScHoots IN THE MippLE Agus. By G. G,
Covutton. (Medieval Studies, No. 10.) 94 x 6.
44 pp. Simpkin, Marshall. 2s. 6d. n.
Tus WESTERN REBELLION oF 1549. By F. Rosu-Trovp.
83 x 53. 520 pp. Smith Elder. 14s. n.
Tur JOURNAL OF A British CHAPLAIN IN Paris Durine
tHE Prack Negotiations or 1801—2. From the
Unpublished MS. of the Rev. Dawson Warren, M.A.
Unofficially attached to the Diplomatic Mission
of Mr. Francis James Jackson. Edited by A. M.
Broapiey. 9 xX 53. 283 pp. Chapman and Hall.
15s. n.
British Barrtes: Porrrmers. By Hare BeEtxroc.
63 x 44. 118 pp. Rees. ls. n.
Earty Wars or Wessex. Being Studies from England’s
School of Arms in the West. By A. F. Masor. Edited
by the late Cuas. W. WuistiteR, M.R.C.S. 9 x
* a + 238 pp. Cambridge University Press.
3. 6d. n.
THE AUTHOR.
LAW.
A Digest oF EneiisH Crvm Law. By Epwarp Jenks
(Editor), anp OrnerRsS. BookIII. Section III. to XIL
Property, Continued. By Epwarp Jrenxs. 10 x 6}.
pp. 793—977. Butterworth.
LITERARY.
Tue Views or Vanoc. An Englishman’s Outlook. By
Arnotp Wauiuire. First Series. Third Impression.
419 pp. Second Series. 367 pp. 64 x 4}. Kegan
Paul. 1s. n. each volume.
PERSONALITY IN LiteRATURE. By R. A. Scott JamEs.
9 x 53. 243 pp. Martin Secker. 7s. 6d. n.
Water Pater. A Critical Study. By E. Tuomas.
83 x 53. 232 pp. Martin Secker. 7s. 6d. n.
Tue Piuarn Man AnD His ‘Wirz. By ARNnoLp BENNETT.
7i x 5. 143 pp. Hodder and Stoughton. 2s, 6d. n.
Lorrere’s Harvest. A Book of Essays. By E. V.
Lucas. 62 x 4}. 255 pp. Methuen. 5s.
Pox anv His Portry. By Lewis Cuasz, Pxu.D.
64 x 44, Harrap. 10d.
GLANCES OVER PASTAND PruseNT. By Arnsiiz Dovenas
Ainsyig. 73 x 5}. 327 pp. Edinburgh, Douglas.
2s. 6d. n.
Tue Press AnD Its Story. By J.D. Symon. 7} x 5}.
328 pp. Seeley Service. 5s. n.
SEVENTEENTH CENTURY STUDIES.
C.B. 7} x 5. 350 pp.
mann. 6s. n.
Tue ErcuincHaM Lerrers. By Exua Futter MAITLAND
and Sir FrepERIcK Potiock, Bart. (EHighth Impres-
sion. Fourth Edition.) 7} x 5. 328 pp. Smith
Elder. 3s. 6d. n.
Tue Quest or THE Hoty Gra. By Jessie L. WESTON.
7k x 5. 162 pp. Bell. 2s. 6d.n.
Tue Reporters’ GALLERY. By MicnarL Macponacu.
82 x 5}. 452 pp. Hodder and Stoughton. 12s. n.
Critican Kit-Kats. By Epmunp Gossz, C.B. 73 X 4}.
309 pp. Heinemann. 6s. n.
MISCELLANEOUS.
By Mr. Auzec. TWEEDIE.
ls. n.
129 pp.
By Epmunp Gossz,
(Fourth Edition.) Heine-
Busy Days. 52 x 44. 127 pp.
Routledge.
MUSIC.
Tur Perrect WacNerite. ACommentary on the Nieb-
lung’s Ring. By Bernarp Suaw. 7} X 5. 150 pp.
Constable. 3s. 6d. n.
NATURAL HISTORY.
My Doc. By Maurice Marreruinck. Translated by
A, TerxeRIA DE Mattos. With Illustrations in Colour
8i x 6. 64pp. Allen.
PHILOSOPHY.
Our Erernity. By Maurice Maxrrerrincs. Trans-
lated by ALEXANDER THIXEIRA DE Marros. 7 X 4.
243 pp. Methuen. 5s. n.
Tur DIscoveRY OF THE FuturE. By H. G. Wetis. (New
by CEcrL ALDIN. 3s. 6d. n.
Edition.) 7 x 44. 60 pp. Fifield. 1s. n.
POETRY.
Opxs. By Laurence Brnyon. 7$ x 5. 72pp. Elkin
Mathews. 2s. 6d. n.
Sonas From Books. By Rupyarp Kirrine. 302 pp.
Macmillan. 6s.
Tur Darropi, Frecps. By J. Masgerierp. 73 x 5.
110 pp. Heinemann. 3s. 6d. n. ,
Opp Numpers. By Dum Dum. 7} x 5. 92 pp. Con-
stable. 3s. 6d. n.
FounpEep on Fiction. By Lapy Sysm Grant. Illus-
trated by G. Morrow. 10 x 73. 96 pp. Mills and
Boon. 3s. 6d. n.
Tur Mottey Musr. (Rhymesfor The Times.) By Harry
Granam. 8} x 63. 120 pp. Arnold. 3s. 6d. n.
{ POLITICAL.
Tue Passinc or Empire. By H. Fretpine-Ha tt.
5}. 307 pp. Hurst and Blackett. 10s. 6d. n.
REPRINTS.
Tue Oren Roap. Compiled by E. V. Lucas. (New
Edition.) Illustrated in Colour by CLauprE A. SHEPPER-
son, A.R.W.S. 10} x 72. 300pp. Methuen. 15s.n.
Tue WAVERLEY EDITION OF THE WORKS OF CHARLES
Dickens. With Introductions by Hall Caine, Max
Pemberton, John Galsworthy, A. C. Benson, and Ber-
nard Shaw. The Waverley Book Co. 2s. 6d. n. each.
THe Works or Tennyson. With Notes by the Author,
Edited with a Memoir by Hattam, Lorp Trnnyson.
8 x 5}. 1032 pp. Macmillan. 10s. 6d. n.
SCIENCE.
Tue Science or THE Sciences. By H. J. Brooxs. 74
x 5. 312 pp. Nutt. 3s. 6d. n.
SOCIOLOGY.
Tue New Man. By Puirip Gress.
Pitmans. 3s. 6d. n.
Tue Errects oF THE Factory System. (New Edition.)
By Auten CuarKE. Crown, 8vo. Cloth. J. M. Dent
& Sons. Ils. n.
8 x
14 x 43. 257 pp.
SPORT.
63 pp. Coacutna Days anp Ways.
64 pp. (British
Illustrated by G.
Hodder and Stoughton.
Fox anp Hovunps.
62 pp. Covert AND FreLtp Sport.
Sport Series.) By E. D. Cumine.
Drennotm ARmouR. 9 x 63.
1s. 6d. n.
TECHNICAL.
A Practican Manuva or Woot Dyerna.
Botton. Heywood & Co., 150,
12s. 6d. n.
TECHNOLOGY.
SIMPLE GARMENTS FOR CuI~DREN (From 4 to 14).
M. B. Synee.
57 Pieces.
3s. 6d. n.
By CLEMENT
Holborn, W.C.
By
With Paper Patterns, Comprising in all
Illustrated. 84 x 64. 47 pp. Longmans.
THEOLOGY,
THE PRESENT RELATIONS OF SCIENCE AND RELIGION. By
THe Rey. Prorzssor T. G. Bonnuy, Sc.D., F.R.S.
82 x 54. 212 pp. R. Scott. 58. n.
Rome versus Jesus. By Etystan M. Brarpstzy, 7} X
54. 186 pp. Melrose. 6s. n.
Tur New Testament 1n MopERNn Spercu. By the late
Ricuarp Francis WrymourH. Edited and Partly
Revised by E. Hampprn-Coox. (Pocket Edition.)
5% X 3%. 638 pp. Clarke. ls. 9d. n.
Tur Brste anp Moprrn Criticism. By Sir Ropert
Anperson, K.C.B., LL.D. With a Preface by the
Ricat Rev. Hanptey C. G. Moutz, D.D. (Seventh
Edition.) 84 x 54. 281 pp. Nisbet. 2s. 6d.
Human Destiny. Arrer Drarp—Wuat? By Sir
Rozpert Anprrson, K.C.B., LL.D. (Seventh Edition.)
1% x 54. 226 pp. Nisbet. 2s. 6d.
PaRADOXES OF CaTHOoLIcIsM. By Rosert HucH BEnson.
8 x 54. 174 pp. Longmans. 3s. 6d. n.
TOPOGRAPHY.
RAMBLES IN THE Nortu Yorxsuire Dates. By J. EF.
Bucxrosr. 73x 5. 192pp. Millsand Boon. 3s. éd.
THE AUTHOR.
45
Tue Pitcrim From Cuicaco. Being more rambles with
an American. By Curistian THAaRLE. 9} xX 653.
349 pp. Longmans. 7s. 6d. n.
THE Romance or THE CAMBRIDGE COLLEGES. By
Francis GRIBBLE. 7} X 5. 268 pp. Mills and Boon.
6s.
TRAVEL.
AMERICA AS I saw IT, oR AMERICA REVisITED. By Mrs.
pg TweEepiz. 82 x 654. 395 pp. Hutchinson.
s. 0.
UmpriA, Past AND PRESENT. By Mary Lovett CAMERON
7% x 5. 324 pp. Sidgwick and Jackson. 6s. n.
THE CITIES OF RoMAGNA AND THE Marcues. By Epwarp
Hutton. 7} x 5. 309 pp. Methuen. 6s.
Tue DotomitEs: Kina LAvRIN’s GARDEN. Painted by
E. Harrison Compton. Described by REGINALD
FaRRER. 9 X 64. 207pp. A.andC. Black. 7s. 6d.n.
ee
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
ba
N October 3 there was published by
() Messrs. Macmillan & Co. a practically
complete collection of the poems and
chapter-headings in verse scattered throughout
Mr. Rudyard Kipling’s prose works. The
volume is entitled ‘“‘ Songs from Books.”’
Mr. Thomas Hardy’s new volume of prose
fiction, *“* A Changed Man, The Waiting Supper,
and other Tales, concluding with The Romantic
Adventures of a Milkmaid,” appeared on
October 24, the publishers being Messrs.
Macmillan.
H.M. the King has been pleased to accept a
copy of ‘‘ On the Track of the Abor,” by Major
Mark Synge (Powell Millington).
A copy of Sir James Yoxall’s “‘ A.B.C. about
Collecting,’ the predecessor of the volume,
‘* More about Collecting,” mentioned in these
Notes last month, has been graciously accepted
by H.M. the Queen. The publishers are
Messrs. Stanley Paul & Co.
‘“* Turkey in Agony,” translated by Bedwin
Sands (Mr. George Raffalovich) from the 37th
edition of M. Pierre Loti’s ‘‘ Turquie Agoni-
sante,’’ has been published for the Ottoman
Committee by the African Times and Orient
Review, Ltd.
Mr. Alfred Perceval Graves has brought out
a volume called ‘‘ Irish Literary and Musical
Studies ”’ (Elkin Mathews, 6s. net).
The Gresham Publishing Co. announce
‘* Leaders and Landmarks in European His-
tory,’? by Mr. A. R. Hope Moncrieff and the
Rev. H. J. Chaytor. This work presents a
gallery of biographical sketches illustrating
the course of European history by the lives
of men and women who have made that
history what it is.
46
Captain Harry Graham’s “ Splendid Fail-
ures,” a volume of biographical essays which
Mr. Edward Arnold is issuing, takes for its
subjects people well known by name, though
few are acquainted with their personal his-
tories. Among them will be found Wolfe
Tone, “the first of the Fenians”; George
Smythe, whom Disraeli took as his model for
the hero of ‘‘ Coningsby ” ; Hartley Coleridge ;
and the ill-fated Archduke Maximilian.
Mr. Philip W. Sergeant’s * Mrs. Jordan,
Child of Nature”? (Hutchinson & Co., 16s.
net), was published on October 29.
Miss Alice E. Robbins’ “‘ Book of Duchesses”
has been published by Andrew Melrose.
Messrs. J. J. Bennett, Ltd., are the publishers
of Mr. Charles F. Moxon’s ‘‘ On the Track of
Truth,” a book of essays dealing with person-
ality, heredity, free-will, and kindred topics.
The price is 6s. net.
Miss Myra Swan had in the October number
of the Empire Review an article in eulogy of
Shakespeare, the title being ‘‘ England’s
Birthday.”
Mr. M. D. Haviland’s ‘‘ Wild Life on the
Wing,” with illustrations by Mr. Patten
Wilson, is announced for early publication by
Messrs. Black. These stories of bird-life by
field, wood, and moor, by a close observer,
are intended for all nature-lovers.
Under the title of ‘“‘ America as I saw It:
or America Revisited,’’ Messrs. Hutchinson
have brought out in this country Mrs. Alec
Tweedie’s impressions of her third visit to the
United States, with a coloured frontispiece
by Mr. Perey Anderson, and some cartoons
by Mr. W. K. Haselden. The Macmillan Co.
are the New York publishers of the work.
‘“‘ Busy Days ” is the name of a birthday-book
containing quotations from Mrs. Tweedie’s
fourteen volumes, issued by Messrs. Routledge
at 1s., or, bound in grey suéde as a Christmas
gift-book, 3s. Mrs. Alec Tweedie also con-
tributes a preface to Mrs. Beattie Crozier’s
“‘ Children’s Games and Parties,’’ a collection
of forty-eight articles on entertaining children,
illustrated with over 100 photographs by the
author (Routledge, 3s. 6d.).
“‘ Social Worship—for use in Families,
Schools, and Churches,” is the title of two
quarto volumes (about 1,000 pages), which
will be published this month by George Allen.
They contain Ethical Scriptures compiled and
edited by Dr. Stanton Coit ; while the musical
editor is Mr. C. Kennedy Scott. The selections
have been made from the point of view that
‘true religion is history and law transfigured
by moral idealism or, rather, it is moral
THE AUTHOR.
idealism made real and potent by an infusion
of the nation-building powers of the universe.”
The price is £2 2s. net.
We are informed that 300 copies of “‘ Russian
Flashlights,’ by Mr. Jaakoff Prelooker (Chap-
man and Hall, 10s. 6d. net), have been placed
at the disposal of public libraries in the
poorer districts of the United Kingdom by an
anonymous “friend of public instruction.”
Libraries desiring free copies should, when
applying to the Spriggs Publishing Agency,
indicate their annual income and enclose 5d.
in stamps for postage.
Mr. E. S. Bellasis, M.I.C.E., has published
during the year, through Messrs. E. and F. N.
Spon, ‘‘ River and Canal Engineering ” and
“Irrigation Works,” the prices being 8s. 6d.
and 8s., net, respectively.
Mr. Rowland Kenney’s ‘‘ Men and Rails,”
dealing specially with the railway problem in
relation to the workers, is issued by Mr. T.
Fisher Unwin at 6s. net.
Mr. George Ford, author of ‘‘ The Larramys,””
has brought out a new novel, “ The Hoop of
Gold,” published by Messrs Allen & Co.
Captain Charles Gilson has contributed
throughout the past year to Blackwood’s, the
Dublin Review, and other magazines. Messrs.
William Blackwood & Sons, of Edinburgh, have
published his “Scenes from a Subaltern’s
Life,” a selection of sketches of very varied
interest. Captain Gilson still continues to
produce a number of stories for boys. Messrs.
Nisbet have just published ‘‘ The Sword of
Deliverance,” a tale of the Balkan War,
illustrated with drawings and photographs by
Mr. H. C. Seppings Wright, the war corre-
spondent (6s.) ; and Messrs. Henry Frowde and
Hodder and Stoughton, ‘‘ The Race Round the
World,” an aeroplane story for younger boys,
illustrated by Mr. Cyrus Cuneo (3s. 6d.).
Captain Gilson has also a serial running in
The Captain, entitled ‘‘ The Fire-Gods ”’—a
tale of the West Coast of Africa.
Miss Grace Ellison translates and edits a
story by Melek Hanoum, heroine of Pierre
Loti’s “‘ Désenchantées,”’ lifting the veil from
harem life in Constantinople under the old
régime (Methuen & Co.)
Messrs. John Long, Ltd., will shortly publish
a new novel entitled, ‘‘ The Eurasian,” by
Mr. Henry Bruce, author of “ The Native
Wife,” ete. This is a study of the unhappy
sub-race which has resulted from our two
centuries’ possession of India.
Mr. Archibald B. Spens is engaged on a
novel of Indian life, a further outcome. of the
trip to the Peninsula already described in
THE AUTHOR.
£ “Mr. Spens’ “A Winter in India” (Stanley
f Paul & Co.)
Among the novels announced by Messrs.
Herbert Jenkins are “‘ Sheila Intervenes,” by
Mr. Stephen McKenna ; and “ The Bewildered
Benedict : the Story of a Superfluous Uncle,”
| by Mr. Edward Burke.
Mr. John Bloundelle Burton’s new romance,
* * Fortune’s Frown,” is concerned largely with
' the Spanish Fury in Antwerp and the continued
© oppression of the Netherlands for some time
. after that terrible event. But for the book-
¢.. binders’ strike this novel would have appeared
before now.
The title of Miss Editha L. Blaikley’s novel
‘of mentioned in last month’s issue should have
-od been ‘‘ Dorothy Gayle.”
Mr. A. R. Hope’s new book for prizes, school
- tf libraries, etc., is “‘ Half and Half Tragedy ”’
) (A. &. C. Black, 5s.)
[ Messrs. C. Arthur Pearson, Ltd., publish
= at 2s. 6d. Mr. Christopher Beck’s ‘‘ The
: ) ‘Crimson Aeroplane.”
} Owing to the sustained demand for ‘“‘ The
Twins in Ceylon ’’ and “* More about the Twins
in Ceylon,” by Bella Sidney-Woolf (Mrs. R.
H. Lock), Messrs Duckworth & Co. have
«i brought out a combined edition of the two
-o! books in one volume at 3s. 6d. The books
of have been placed upon the prize-list of the
sf London County Council.
Mr: Charles T. Jacobi, managing partner of
4% the Chiswick Press, has issued a fourth edition
‘9. of ‘*Some Notes on Books and Printing”
)} (6s. net.). A sixteen-page pamphlet, extracted
.if from this, instructs authors how to correct
= aproof. Copies of this are lying at the Society’s
4 office and may be obtained by members on
8 application.
1 4 We understand that Messrs.. W. and G.
| Foyle have opened a Foreign Book Department
« at 5, Manette Street, next to their headquarters
' in Charing Cross Road. In this new depart-
' ment they propose to furnish their customers
* with books in every language on every
* conceivable subject. The books will be ar-
“| ranged in strictly classified order. Messrs.
_ Foyle inform us that they have the largest
@ stock of second-hand foreign books in this
°°9 country, and they invite readers of The Author
to inspect this collection.
The Daily Express announces that it has
* arranged with Messrs. Stanley Paul that they
% shall acquire the book rights of the story
which wins the prize in the Express serial
competition, provided that it is the work of
_ an author who has never had a story published
) 1£ in book form before. Stories by new authors
47
must therefore be submitted on the distinct
understanding that the work considered by
the judges to be the best will be bought as to
the serial rights by the Express for £200, and
as to the book rights by Messrs. Stanley Paul
for £100.
Mr. Ernest Whatson sends us a copy of his
novel, ‘‘ Pauline,’”’ of which he personally has
undertaken the whole burden of publication,
in the belief that “the six-shilling novel is
out of date,” that ‘the libraries merely buy
just sufficient copies to spoil the sales amongst
the general public,” and that ‘the royalties
offered to the author are, as a rule, absurdly
disproportionate to the time and toil which he
must spend on his work.’’ He is selling
** Pauline ’’ at 1s., in paper covers, and proposes
to issue others of his novels in the same way.
** We hope,”’ he says, ‘‘ to be able to produce a
readable book at a popular price, which will
tempt the public to buy instead of borrowing,
which will at the same time allow a reasonable
margin of profit to the writer and retailer.”
We shall be interested to hear the financial
result of Mr. Whatson’s venture.
DRAMATIC.
At the Ambassador’s Theatre on October
17, Madame Lydia Yavorika presented a new
four-act play by the late Pierre Berton, “A
Daughter of France.”? Miss Constance Maud
was the author of the English version of
this.
At the Court Theatre on October 20,
Miss Horniman put on for a short run
Mr. Eden Phillpotts’ ‘‘ The Shadow,’’ which
was previously seen at the Gaiety Theatre,
Manchester. Another play by Mr. Phillpotts,
“The Mother,” was seen at the Liverpool
Repertory Theatre on October 22.
Mr. G. K. Chesterton’s fantastic comedy,
“Magic,” will be produced at the Little
Theatre.
During the Christmas holidays The
Children Theatre will produce three plays
by Miss Netta Syrett, entitled ‘The
Fairy Doll,” ‘The Strange Boy,” and
‘*The Enchanted Garden,” and one by
Mrs. Percy Dearmer, entitled “‘ Kit and the
Cockyolly Bird.”
“The Sea Power of England” is the
name of a play for a village audience, by
Amabel Strachey. The play has been pub-
lished in book form by A. C. Curtis, Ltd.,
and Humphrey Milford, Oxford University
Press, Mrs. St. Loe Strachey contributing an
introduction.
48 THE AUTHOR.
PARIS NOTES.
—oaee —
a ES CHOSES NOIENT,” by Edouard
Estaunié, is one of the most original
novels. The author tells us a-story
which, in itself, is an admirable psychological
study. Each individual lives and has a
strongly defined personality. The house in
which the various scenes take place is in Dijon,
and the atmosphere of the provincial town
pervades the whole story. The author has
heard everything he tells us from the house
itself. The furniture and the very walls have
witnessed all that has taken place, so that,
with an artist’s intuition, the writer has only
had to tell us what he has gathered from the
apparently silent habitation. Some years ago
this author gave us ‘“ La Vie Secréte,’’ and he
was awarded an Academy prize for his earlier
novel, “‘ L’Empreinte.”
“Le Chemin de la Victoire,” by Emile Nolly,
might be called a colonial novel. A former
book by this author won an Academy prize,
and the prize given by La Vie Heureuse this
year has been awarded to Emile Nolly for his
admirable book, ‘“‘ Gens de Guerre au Maroc.”
The present novel is dedicated to the author's
comrades, ‘‘ The officers of the French Colonial
Army.” The story is more or less the diary
(not written as a diary) of a certain officer who
takes part in active service in the French
colonies. It is a story very true to life, told
simply, showing both the prosaic and poetical
side of a soldier’s existence.
“‘ Billes Nobles et Magiciennes,”” by Humbert
de Gallier, is the third volume of the curious
series entitled ‘‘ Les Moeurs et la Vie privée
d’Autrefois.”” From this study of the women
of the old aristocracy, we understand how it
comes about that modern Frenchwomen, as a
rule, are such excellent housekeepers and
hostesses. Going back to the sixteenth cen-
tury, the author introduces us to the convents
in which so many women of good society lived.
In many of these convents, or cloisters, it was
not necessary to take religious vows. Many
women and girls of good family lived there for
a certain time, paying a certain sum of money
annually, just as in our modern boarding-
houses. The girls were trained for their
future réle in the world, and no details of
household management were considered un-
important. We see the daughters of the oldest
families in France keeping the accounts,
attending to the house linen, the sweeping of
the rooms, the trimming of the lamps, etc.
They were also expected to be efficient in the
sick-room and in the drawing-room. In another
chapter, speaking of the Frenchwoman of
to-day, M. de Gallier says that the future alone
can decide whether the woman of to-day (with
her appeals to the law for a certain authority
which she evidently fears she ean no longer
obtain by means of her husband’s affection and
the respect of her children)is in a better position
than her grandmother, who knew how to obtain,
thanks to her own hands, and without any
uproar, the place that was her due.
‘““Marie Antoinette, Fersen and Barnave
(Leur Correspondance), published by O. G. de
Heidenstam, is a delightful addition to the
Marie Antoinette litérature. In the old castle
of Léfstad (belonging at present to the Countess
Emilie Piper, a descendant of Fersen’s sister)
are two packets of letters. The one contains
be)
those written by Fersen to his sister, acknow- ’ -
ledging to her his chivalrous love for the
unfortunate queen. The other packet con-
tains the political correspondence between
Marie Antoinette and Barnave. Thanks to
the permission of the present owner of these
letters, M. de Heidenstam has been able to give
us a volume of immense interest.
The great event in the theatrical world has
been the resignation of the Director of the
Comédie Francaise, Jules Claretie, after so
many years of arduous work. M. Claretie is
well known to the English public as an author,
and, on looking at the long list of his novels
and other books, one wonders how he could
have found time for the absorbing task of
administrating the affairs of a State theatre.
Mr. Albert Carré succeeds M. Claretie as
director of the ThéAtre Francais. M. Carré
began his career as theatrical manager at
Nancy. In 1885 he came to Paris as manager
of the Vaudeville. His next theatre was the
Gymnase, and in 1898 he was appointed
director of the Opéra Comique.
Another event in the theatrical world this
season was the inauguration of the marvellous
ceiling painting at the Comédie Frangaise, on
which Albert Besnard has been at work for
some eight or nine years. It is indeed a
wonderful piece of work, with all the boldness
and delicacy and the exquisite harmony of
colouring of which Albert Besnard alone has
the secret.
Atys HAiarD.
‘Les Choses Noient.” (Perrin.)
“ Wjlles Nobles et Magiciennes.”’ (Calmann-Lévy.)
“Marie Antoinette, Fersen and Barnave (Leur Corres-
pondance).” (Calmann-Lévy.)
—_——_+ <>
)@: agreement.
|. pieces,
UNITED STATES STOCK RIGHTS AND
AGENTS.
— +
a HE Dramatic Sub-Committee again desire
to eall the attention of members to the
value of stock rights in the United States.
{ The number of towns in the United States
4) that have stock companies is very large as
‘6 anyone can see from the lists issued by the
J United States dramatic agents. Favourite
running generally for a week at a
© time, are being revived again and again.
To obtain the full advantage | from the
+ leasing of these stock rights it is almost
» essential that an author should have an
agent in the United States to guard his
interests.
This is the course adopted by most of the
‘} dramatists who have a market for their work
ai in the United States. It is of the utmost im-
“ portance, however, that authors should be
» careful in their choice of agents. There are
ag agents who think their sole duty lies in taking
any fees that come their way, and in passing on
‘the accounts without ever checking them or
> seeing that they are in accord with the
One agent who was held up for his
=
1s carelessness stated that all he had to do was
» to forward all the fees. This kind of agent is
/ >. very unsatisfactory as he forces the author to
Bok RY
a, undertake work for which the agent receives
® commission; besides, it is often impossible for
4) the author to check the accounts as the agent
“4 usually holds the agreement.
Again, there are.agents who act as principals.
f These are also very unsatisfactory. They
may make an offer of a capital sum for the
stock rights. They may do so stating openly
_ that they are purchasing for themselves. They
may do so without making such a statement,
leaving the author to deduce that the offer
has come from someone else.
In either case the position is unsatisfactory
as the agent is using his special knowledge for
his own advantage, which should be wholly at
‘J the service of his principal.
_ However upright or straightforward an
1% agent may desire to be, if he acts as principal
if he always runs the risk of having the charge
@ brought against him that his advice is not
BR
ies
ial disinterested and that his statements are
sh tainted.
In no circumstances, therefore, should an
‘® author employ an agent who at any time acts
‘& 2S principal or is interested as principal in
® others’ work.
The committee of the Society consider it
THE AUTHOR.
49
necessary to put forward this warning owing to
certain information which has been laid before
them, not only with regard to agents in the
United States but also with regard to agents
this side of the water.
<> — ____.
A PRIZE COMPETITION.
All songs must be forwarded on or before November 15,
addressed to the Editor of the Evening News, Carmelite
Street, E.C., and marked outside, ‘‘ Song Competition.”
Competitors must write pen-names only on _ their
manuscript and enclose their own names and addresses,
with the pen-names, in separate envelopes.
A number of the best songs will be chosen by a com-
mittee of well-known singers, who will act in conjunction
with the Editor of the Evening News.
These songs will be submitted to the vote of the audience
at a great concert to be organised by the Evening News,
and the decision then reached as to which is the best song
in each class will be final.
£100 will be the prize for the best song for male voices,
and £100 for the best song for female voices.
If collaborators have sent in a winning song, they must
arrange between themselves as to the proportion of prize
money each one takes. The Hvening News will not accept
any responsibility as to the division of the money.
The winning compositions will become the property of
the Evening News, which is to make arrangements for their
publication. Royalties at a rate to be agreed upon will be
paid to the successful competitors on the sale of the songs.
Where the song is by collaborators, they must arrange
between themselves the proportion of the royalty proceeds
each is to take.
The Evening News is to have the right to publish any
song sent in, upon the same royalty terms (and, of course,
without any £100 prize) that are paid in the case of the
prize songs.
ROM time to time The Author has had
4 reason to draw the attention of members
to the unsatisfactory and _ indefinite
drafting of the terms set out by proprietors of
papers “when they offer prizes for literary or
other copyright work. The rules printed
above comprise the rules as issued by the
Evening News for a song competition.
There are several points to which the atten-
tion of our members should be drawn. It
would be very interesting to know who are
the committee of well-known singers about to
act in conjunction with the editor of the
Evening News. This is not a matter of vital
importance, but such knowledge would no
doubt inspire confidence in those who are
sending up their works, although—the editor
might consider this point—it is very doubtful
if any self-respecting composer would care to
submit his work to the judgment of a com-
mittee of singers and the general public. It
would also be interesting to know whether this
50
competition emanates from some publishing
house, or is merely a money-making suggestion
arising from the proprietors of the Evening
News. This point also is not a matter of vital
importance, but again it would inspire con-
fidence if it was distinctly understood that the
offer came from the Evening News and that no
music publisher was at the back of it. —
There are, however, other points which are
of very vital importance. Although the date
is fixed when the compositions should be sent
in to the Evening News, no date is fixed when
the great concert is to be given ; no statement
is made as to how the votes of the audience are
to be taken, and no date is given when the
prize money is to be paid. It is clear from the
tules printed above that royalties are to be
paid on the winning compositions in addition
to the £100 which the winners receive, but the
royalties are “at a rate to be agreed upon.”
Does this mean agreed upon between the
editor of the Evening News and the prize
winners, or merely agreed upon by the editor
of the Evening News? If the royalty “ to be
agreed upon” is to be settled between the
composer and the editor of the Evening News,
this may give rise to great difficulty. If the
parties cannot agree, what solution of the
difficulty does the editor suggest ?. This point
should have been clearly dealt with. It
would have been much better if the editor had
clearly stated what royalty he was willing to
pay on the publication of the winning songs.
Then each composer would have had a fair
chance of judging whether it was worth his
while to compete for the prize, receiving £100
for the sale of the full copyright, and in addition
a royalty on the sale of each copy of the songs.
It would appear, however, that if the song was
converted into a valse, or dealt with in any
other fashion, no royalty would be payable.
There is no undertaking that the songs will be
published by a certain date, or that the com-
posers’ names will be attached to the songs
when they are put on the market. All these
points should have been definitely and clearly
set forth. It would then be a matter for the
composer to decide whether it would be worth
his while to compete on the chance of winning
the prize,
We desire to draw the special attention of
members to the last paragraph. Though it
might be worth while for a composer to com-
pete and win the prize, he would have to
consider very carefully whether it would be
worth his while, in case he did not win
the prize, to be bound by the last para-
graph. Here again no statement is made as to
THE AUTHOR.
the date when the songs are to be published.
No statement is made as to what royalty is to:
be paid, except that it is to be the same
royalty as is paid in the case of the prize songs.
If the rate of royalty had been fixed by the
rules, every competitor would know how he
stood, but the rate of royalty which a composer
who receives £100 down might be willing to
accept may prove very inadequate and unfair
to the other composers who have not got the
prize.
Again, though it is clear that “the pro-
perty,” z.e., the whole copyright of the prize
songs, belongs to the Evening News, it would.
seem from the rules that ‘“‘ the property ” in
the other songs would not belong to the
Evening News, but the proprietors would
merely have “ the right to publish the song,”
and would have no further rights in the matter.
If this deduction is not correct, then the pro-
position as put forward seems open to doubt,
and in that case the editor should have set
forth the terms much more accurately for the
benefit of those composers who are competing.
We do not desire to discuss the amount that
is given, for it must lie entirely with the com-
poser to decide whether it is worth his while to-
accept the financial side as it stands, but we do-
desire to lay stress upon the point that in
many ways the offer is too indefinite, and that
it would be much better if the Evening News,
before setting out the terms, had taken pains
to see that no mistake or misunderstanding: .
could possibly be made by those who are
desiring to enter the competition.
We feel quite sure that the proprietors of the
Evening News desire to do everything that is.
fair and right by the composers, but it is clear
that, from the terms set out, misunderstand-
ings and dissatisfaction may arise. This
might easily have been avoided with a little
care.
Te
LITERARY TREATY BETWEEN
GERMANY AND RUSSIA.
—-—>———
ERMANY has not long delayed following
the example of France and arriving at
a treaty with Russia for the reciprocal
protection of copyright property in the two
empires. The new treaty came into force on
August 14 last, and has a duration of five
years, after which it remains in force year by
year for one year until it is denounced by one
of the contracting parties.
i
it @
THE AUTHOR.
On the whole the terms of agreement
«»- resemble those between Russia and France.
Citizens of both countries now enjoy in both
countries the rights accorded them by law;
and the stipulations apply equally to authors
of any nationality who publish in either
country. The term ‘“‘literary or artistic
works ”’ is interpreted in the wide sense given
to it in modern copyright enactments, and
embraces architectural, choreographic, panto-
mimic works, etc., and every production of any
literary, scientific, or artistic character whatso-
ever, no matter what may be the form of
reproduction, or the merits or demerits of the
work. Photographs, or works produced by
any process similar to photography, are
included. Authors have an exclusive right of
translation for ten years, on condition that
this right is reserved on the title-leaf (on either
side of the leaf), a particular to which the
German publishers attach importance, or in
the preface. This exclusive right of translation
is, however, lost if the author does not make
use of it within five years, and, in the case of
translation of scientific, technical, or educa-
tional works, within three years. In this last
particular the Russians have been far from
generous, and we gather from the columns of
our valuable contemporary Le Droit d’ Auteur
(September, 1913), to which we are indebted
for our information, that it was not without
a struggle that the German delegates secured
even this very scanty protection. The Russian
Government was indisposed to grant German
Scientific, technical, and educational works
any protection at all, desiring that they should
remain entirely at the disposal of Russian
translators. The right of translation of un-
published works will be calculated from
January 1 of the year of publication; and
which day is January 1, will be determined in
accordance with the calendar of the country
in which the work is published.
The following are explicitly enumerated as
illicit reproductions—unauthorised transfor-
mations, adaptions, and arrangements of
music, transformations of novels or poems
into dramatic pieces, and vice versa.
Excepting serials and_ stories, articles
appearing in journals are not protected, either
in the original or in translations, unless their
reproduction has been expressly forbidden.
Mere news is not protected.
Dramatic authors, whether their works are
published or not, enjoy, in the original, pro-
tection during the whole period of copyright ;
in a translation, only during the period accorded
to translation. Composers are protected if
51
the inhibition of public performance of their
works is mentioned on every copy. In the
cases of discs, etc., for the mechanical perfor-
mance of music, and in the case of photographs
it is necessary that every copy should indicate
the name of the firm or author and the date
of publication. It suffices that the inhibi-
tion of reproduction should be expressed
in the language of the country of manu-
facture. It will be here perceived that
the protection accorded is thus not absolutely
unconditional,
The agreement is not retro-active, but
applies to all the territories of the signa-
tories.
Le Droit d Auteur, at the conclusion of am
exhaustive article on the new treaty remarks
with great reason :—
““The new agreement is a document
elaborated with methodical care and with a
constant attention to defining and ameliorating
international relations. In this respect it
deserves not only the praises which have been
bestowed upon it by German authorities and
the German press (which anticipates as a
consequence of the new treaty the suppression
of many abuses and a future increase of
intellectual exchange between the two nations),
but has also a right to the approbation of the
more extended group of countries either
already bound up, or about to be bound up
with Russia in the domain of reciprocal
protection of writers and artists. Finally,
it will be noted with satisfaction by the republic
of letters which acclaims all drawing together
of civilised nations on the pacific grounds of
the defence of common interests of a higher
order.”
re
MAGAZINE CONTENTS.
ao
British REVIEW.
The Poetry of Francis Thomson.
CoNTEMPORARY.
Shakespeare and Public Affairs. By Sir Sidney Lee.
EneuisH REVIEW.
The Poetry of Chaucer. By Henry Newbolt.
FortNIGHTLY.
The Plays of Granville Barker. By P. P. Howe.
Emile Verhaeren. By Horace B. Samuel.
Charlotte Bronté. By Augustus Ralli.
Mussorgsky’s Operas. By E. A. Baughan.
Drama for the Common Man. By W. L. George-
HOW TO USE THE SOCIETY.
oo
t, VERY member has a right toask for and to receive
K advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. | The
Secretary of the Society is a solicitor ; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel 8
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination,
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of thesafe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
7. Many agents neglect to stamp agreements,
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members,
This
The
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society ; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s.
er
annum, or £10 10s. for life membership.
et
WARNINGS TO THE PRODUCERS
OF BOOKS.
—1— +
: ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I, Selling it Outright.
This is sometimes satisfactory, if a proper price can be
THE AUTHOR.
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
Il. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to :*
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements,
(3.) Not to allow a special charge for ‘office expenses,"
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher,
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement, It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth, From time to time very important figures connected
with royalties are published in Zhe Author,
IY. A Commission Agreement.
The main points are :-—
(1.) Be careful to obtain a fair cost of production,
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book,
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous te the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
C1.) That both sides shall know what an agreement
means,
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
a eee ney ceniennenieany
WARNINGS TO DRAMATIC AUTHORS. |
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
THE AUTHOR.
(2.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum in advance of percentages. A fixed
date on or before which the play should be
performed.
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (#.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (}.) apply
also in this case.
. 4, Plays in one act are often sold outright, but it is
6, better to obtain a small nightly fee if possible, and a sum
“® paid in advance of such fees in any event. It is extremely
‘/@\ important that the amateur rights of one-act plays should
i be reserved.
* 5, Authors should remember that performing rights can
uit @ be limited, and are usually limited, by town, country, and
time, This is most important.
aE 6. Authors should not assign performing rights, but
«@ should grant a licence to perform. The legal distinction
got @ is of great importance,
7. Authors should remember that performing rights in a
ale pisy are distinct from literary copyright. A manager
‘6 holding the performing right or licence to perform cannot
( print the book of the words.
8. Never forget that United States rights may be exceed-
® ingly valuable. They should never be included in English
~@ agreements without the author obtaining a substantial
«1@; consideration,
9, Agreements for collaboration should be carefully
seu) drawn and executed before collaboration is commenced.
10. An author should remember that production of ed
© is highly speculative: that he runs a very great risk of
: “a delay and a breakdown in the fulfilment of his contract.
re He should therefore guard himself all the more carefully in
oo6e the beginning,
11. An author must remember that the dramatic market
» is exceedingly limited, and that for a novice the first object
& is to obtain adequate publication.
ee As these warnings must necessarily be incomplete, on
4u3S @ecount of the wide range of the subject of dramatic con-
\@°e@ tracts, those authors desirous of further information
\ @& are referred to the Secretary of the Society.
——— Or 2
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
1
oe. typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
‘the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2a. 6d. per act.
53
DRAMATIC AUTHORS AND AGENTS.
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author’s rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
ee
WARNINGS TO MUSICAL COMPOSERS.
eas
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
—_—————_—>—e- —___
STAMPING MUSIC.
—_———+ —
The Society undertakes to stamp copies of music om
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,””
———
THE READING BRANCH.
—_—
EMBERS will greatly assist the Society in this.
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach, The term
MSS, includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The:
Readers are writers of competence and experience, The
fee is one guinea,
So
REMITTANCES.
4
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Vain of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
—
a Society undertakes to collect accounts and money
due to authors, composers and dramatists. :
1. Under contracts for the publication of their
works. :
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
‘books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1, Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
‘of Management will discuss the possibility of reducing the
commission. oe
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland ; é . A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
GENERAL NOTES.
——
THE ANNUAL DINNER.
THE annual dinner of the Society of Authors
is fixed to take place on November 27,
at the Criterion Restaurant. Mr. Hesketh
Prichard, the chairman of the Committee of
Management, will take the chair. Notices to
this effect have already been circulated.
NOVELISTS AND Fitm Ricurts.
THE importance of the moving picture
rights in novels must be apparent to all
frequenters of picture palaces. Manufac-
turers are increasingly utilising the work of
the novelist in order to make their entertain-
ments more attractive to the public. All the
signs point to a distinct future for the novel
easily adaptable to the cinematograph.
We feel it is necessary therefore to impress
upon our members the necessity for guarding
very carefully the picture rights in their
novels, and to sign no contract with a publisher
which contains any provision relating to these
rights without first referring to the Society.
Already it is apparent that the publishers
of books are anxious to gain control of this
THE AUTHOR.
new right, just:as the publishers of music have
been anxious to gain control of the mechanical
instrument rights in music. The author must,
therefore, be sure not to part with any right
beyond the licence to publish in book form
properly limited.
Properly marketed, the moving picture
rights of a novel may be extremely valuable to
the author. In the hands of the publisher
there is a very real danger of their being
treated as a useful source of a little additional
revenue, but hardly worth any very strenuous
effort to place on a profitable basis.
Morratr v. MAuUDE.
THE question of how far a dramatist has
power under a clause in his contract to dictate
to the manager on the choice of his cast must =
in all circumstances depend upon the wording +
of the clause; and the question how far a
dramatist is entitled to damages for breach of
such a clause by the manager must in all
circumstances depend upon the facts of each
case, and the interpretation the judge and
jury place upon the facts.
This doctrine has been fully exemplified by
the judgment in the case of Moffat v. Maude.
The point has been laboriously considered in
the Dramatic Sub-committee. It has again
been raised by the Dramatists’ Club. The
sub-committee desire to impress upon the
dramatist members of the Society the necessity
for insisting on a clause in their contracts
giving them, if they can obtain it, the virtual
control of the casting of the chief parts; if
they cannot ‘insist so far, then a contract
subject to a mutual right of veto.
The sub-committee consider the matter is
of great importance to Dramatists, and while
they regret the decision in the case mentioned,
they do not think that it upsets in any way
the general recognised principles of law by
which these questions are determined, nor is
it likely to modify the value of such a clause
as the one which they recommend.
“Mary Goes First.”
In the Observer of October 19 appeared an
qe *
ita
fis b
dhe igs
ape
at
wea
aE
oe]
and
amusing letter, nearly two columns long, »
written by Mr. Henry Arthur Jones, through
his secretary, on the subject of ‘‘ Names in
Plays.” It is stated that the letter is in
answer to a threat of an action for libel if
Mr. Jones’s play, ‘‘ Mary Goes First,” is
published without certain revisions. As we
junderstand the matter to be sub judice still,
i we are precluded from comment upon it. But
ve cannot refrain from registering our opinion
hat the present condition of the law of libel
s very serious for authors and urgently
equires attention. Cases which have been
ecided in court more or less recently have
made this painfully clear, and authors cannot,
n justice to themselves, remain apathetic.
Tue U.S.A. AuTHors’ LEAGUE.
__ WE read with interest the Bulletin of the
Authors’ League of America, as it comes to
us regularly, and we are exceedingly interested
o see the gradual increase of the League, and
ope to hear of its membership reaching
|,000 very shortly. At present we find the
members at 518, but fresh names are being
dded steadily from month to month. There
_. 31s not the least doubt that the Authors’ League,
_. aithrough its executive, may be able to give the
_ aAuthors’ Society very valuable information
Mifrom time to time, and our committee have
> gexpressed their willingness to give the Authors’
-o League every help and assistance that is in
heir power. We hope that the two societies
will be drawn closer together by the fact that
‘Hour Society has asked Mr. A. Train, the
9% General Counsel, to act as the Society’s legal
“> = representative in the United States.
ANTHOLOGIES.
_ Our attention has been drawn to the Preface
of a book entitled ‘‘ Lyric Masterpieces by
i Living Authors,”’ which is published by Gowans
and Gray, Ltd., Glasgow and London.
From this Preface it appears that the editor
who made the selection thinks it a mistaken
plicy that certain living authors object to
aving their works reproduced in other books
without payment. This attitude seems to
have annoyed him, and in carefully expressed
phrases he has shown his annoyance. It is
impossible, of course, to know whether the
compiler of the selection has been paid for such
compilation. Most probably he did not do the
work for his own pleasure. But it may fairly
be deduced that the publishers would not have
put the book on the market unless they hoped
to make it a commercial success and to profit
by the sales. The Author has on former
occasions dealt with this question of Antholo-
gies. It does seem unfair that a publisher
should make a profit out of the use of other
é
THE AUTHOR.
5
people’s property without paying for it. Why
should. ‘‘some poets and _ publishers” . be
generous in a matter of this kind, which is a
matter purely of business.
Many well-known writers have very strong
objections to allowing the product of their
brains to be taken from them for the financial
benefit of others in whom they are not in the
least interested.
The editor of the book, as we have pointed
out, thinks that the demand for payment by
the poet is a mistaken policy. We wonder
whether, having made the selection, he would
like another publisher to produce the same
selection without any payment whatever to
himself for the work undertaken.
——_————_+—>——_-—__—_
PUTTING A NOVEL ON THE
MARKET.
+
By F. G. Browne or F. G. Browne Co.
[From the ‘‘ Bookseller, Newsdealer and
Stationer,’ New York.]
S HE author has made a very attractive
book of this.”
A reviewer on a western newspaper
wound up his review of one of our latest
publications with these words. The sentence
well illustrates something of the confusion that
obtains in the public mind regarding the art of
book making. 2
Few persons reading the latest book of
fiction ever give a thought as to how the book
has been put into their possession. To the
average readers a novel is a novel; they read.
it, enjoy it, or condemn it, as an expression of
individual taste, and put it aside. Its mission
has been fulfilled.
Beyond knowing the names of perhaps a
half dozen of the ‘‘ stars,” probably nine out of
ten persons do not give a thought to the
personality behind the writing of a book, much,
less the making of it... The work and planning
and execution of the myriad details which have
made it possible to put this latest volume in
their hands for $1 or $1.25 rarely are
considered. :
The production of a book of fiction involves
many personalities. First, the author, who
conceives and writes the story; second, the
publisher, who selects the story from among
many, many manuscripts and decides to stake
a portion of his capital and energy in making it
56
into a book; third, the artist, whose talents
and imagination must be devoted for perhaps
several months to the task of visualising
characters and situations so that the man who
runs may be attracted to read ; fourth, the
printer, who, following the specifications of the
publisher, converts the manuscript into type,
and the type into electrotype plates, and on his
presses prints the sheets that are to be the basis
of the book ; fifth, the engraver, who places his
technical skill at the disposal of the artist and
ublisher in reproducing the illustrations in
heautifal multicolour plates or simple black
and white halftones, as the case may demand ;
sixth, the paper maker, who must have his
product finished and in the printer’s hands
when the book is ready to print ; seventh, the
binder, who takes the printed sheets and sews
and stitches and trims them and incases them
in the permanent cloth cover.
SALE AND DISTRIBUTION.
These and others are concerned in the
making of the book. Its sale and distribution
require the labour of another set of craftsmen—
the publisher’s travelling representative, who
lays the book before the bookseller and
unblushingly asks for an order for it of twice
the quantity he dares expect ; the bookseller,
who gives the book a chance of reaching the
eye of the public by tying up sundry dollars
of his capital in an order usually one-fourth the
size suggested (for he likely has looked at
twenty new stories that morning and listened
to glowing statements of the potential qualities
of all as ‘best sellers ”); the newspaper,
through whose advertising columns the enthu-
siastic publisher announces the story as a
discovery peculiar to the century, in order to
anticipate and discount the judicial statements
later of the same newspaper’s literary editor
as to the book’s real value and reason for
being.
The finished typewritten manuscript _ is,
therefore, but the beginning. The author has
done his part. The labour of those who must
contribute to the book’s success is just opening
up, and in fact the publisher’s work began
before the manuscript was submitted.
First of all, the publisher must read hundreds
of manuscripts. It is one of the routine
labours of his day’s (and night’s) work. From
a mass of a hundred manuscripts he selects
perhaps one that he believes has “ the punch ”
and may become a good “seller.” For the
publication of fiction no longer is considered
from the literary standpoint: it is published
THE AUTHOR.
from the viewpoint of dollars and cents, what
it will make for the author and what it will net
the publisher. It has developed into a § ©:
commercial proposition pure and simple—the 61%
merchandising of literature. :
The recording, reading, considering, packing, |
and returning of unavailable manuscripts alone Sic!
involve work on the part of the publisher and Bus *
his assistants which represents a large actual [jit
loss of time and money. But it is all a part of To ww
the game, for the publisher who lands one good Bue!
seller out of a hundred manuscripts counts
himself fortunate. :
I am constantly reading manuscripts at all
manner of odd times outside of my business ©
hours. I wouldn’t, under any circumstances, |
publish a volume of fiction unless I personally
had read it through. I think most successful
publishers follow the same rule. That means
that the manuscripts I read have been “ sifted ”
by regular ‘‘ readers,” and those that have any
promise at all laid aside for me. It is done on
somewhat the same principle that a man ©
follows in buying horses—others may recom- _
mend, but he must examine the animal himself é4
and try him out before he invests his money |.
in him.
The manuscript accepted for publication, the 4
next point to be determined is, what kind of a -
book shall be made of it ? This means the selec- -— ©
tion of type, the size of the volume, the choice OF
of artist to illustrate it, and so on. Book
manufacturing details are usually worked out
carefully and nothing left to chance. The
number of words is estimated, the size of type
is decided upon—this being regulated by the
number of words the manuscript contains and
the number of pages the book is to have—the
kind of paper, the style of illustration, the
scheme for cover design and paper ‘“ jacket,”
and the size of the edition.
.....,
ati re
From a MercuaNDISE STANDPOINT.
Nowadays, as I have said, fiction is treated ms
from a merchandise standpoint. A story that
can be made into a book of 400 pages can be
retailed for about $1.25; a book of 500 pages
for $1.85. In the manufacturing of the book [ele
there must be a fixed relation between what the | = i)
book is going to cost and what the probable |e
returns from the sale will be. A margin of [%.
profit must be set by the publisher below which s#@* °
he cannot safely operate. :
The number of copies ordered for the first pe
edition varies, of course, according to the pet
prominence of the author. My experience is | % °
that a minimum first edition of at least 3,500 7a
i copies is necessary, or the cost per copy will be
too high to yield any profit. The manufac-
turing cost naturally is affected by the number
| of copies printed, because the cost of the
plant ’’—typesetting, the making of electro-
| type plates, the artist’s fee, the engraving, and
the other items in getting the book ready to
print—is just the same whether 1,000 or 10,000
copies of the book are printed.
A 400-page book consumes about a pound
and a quarter of paper. Our fiction is printed
"on sheets of paper measuring 303 by 41 inches.
“|. A sheet that size will print sixty-four pages of
the book, thirty-two pages on each side, giving
a volume 54 by 72 inches, which now is the
popular fiction size.
The revision of a manuscript and_ the
4 reading of the printers’ proofs often involve a
heavy labour. I have known cases where as
many as a thousand changes of individual
words and phrases in a single manuscript have
been made after its acceptance. As a rule,
three proofs of the type are pulled. One of
these is read by the printers to see that it con-
forms to the manuscript copy, another set is
read by the author himself in order that he may
improve the work if possible, and the third set
is read in the publisher’s office, and final
changes made as necessary. All these changes
cost money, and usually the publisher has to
defray this expense himself.
I have mentioned the paper “ jacket,” or
wrapper. This theoretically is for the purpose
of protecting the cloth cover, but really is
treated purely from the advertising standpoint
—that is, it is artistically printed and decorated
attractively in order to catch the eye of the
buyer looking over a table of new novels.
These are some of the more essential details
and problems involved in producing a volume
of fiction. The author has, to be sure, made
the volume possible, but his share in its produc-
tion is not so burdensome as that of the
publisher nor does he risk so much. The
publisher risks his capital and his experience
and energy, and for a time he must LIVE that
book until he can feel that it is going to repay
his investment by its sale. ,
The publisher, of course, has to attend to all
the details of selling. Books are sold by means
of advance samples which are carried by
travelling representatives direct to the book
trade. It is not an unusual thing for the
publisher to secure, in advance, orders for an
entire edition of a volume that is not yet off the
press. The size of these advance sales, how-
ever, depends a great deal upon the reputation
and popularity of the author, but energy and
THE AUTHOR.
57
confidence can make a successful sale for the
first book of an unknown author. For the use
of his own travelling representatives and the
travellers of the book jobbing houses the
publisher has to have made up at considerable
expense a number of “dummy” books—
showing the cover, properly die stamped, a
sample picture, and a few sample pages of the
contents—and this often months before the
actual printing of the book has begun.
Review Copies BEFORE PUBLICATION.
The review copies for the newspapers and
periodicals must be distributed shortly before
the book is published. This work falls to the
lot of the publisher. Some publishers give
away a good many copies to men identified with
the book trade—clerks, buyers, store managers,
etc. These are sent out in advance in order
that the persons who receive them may
familiarise themselves with the volume before
it is displayed on their counters. Every story
has its own individual problems. They are
problems which the publisher alone can
unravel. Sometimes he sends out a thousand
free copies of a new volume, and a fair average
for books of fiction might be about 500 copies.
The matter of advertising is and always will
be the big problem with the publisher. He
must decide in advance how much he is
warranted in spending in promotion and
publicity, and he must decide how and where
to spend it. Certain trade journals that
circulate chiefly among book dealers and
librarians are necessary mediums. Adver-
tising announcements are printed in these
periodicals as a matter of routine. Cosmopo-
litan newspapers of wide circulation in the
territory in which they are published are the
mediums relied upon to attract the buyer
personally. Trade advertising also includes
posters, circulars and window cards. Every
book of fiction must be provided with an
attractive poster, and these posters represent
the outlay of considerable money, often
being printed in several colours.
The publisher must plan his newspaper
advertising campaign so that he can assure the
book trade in the different sections of the
country that the book will be brought to the
attention of consumers in those sections on the
day of publication. Then he must judge from
the advance orders he receives from different
sections just how much he can afford to con-
tinue to spend in each section, for he must,
above all things, guard against the expenditure
of a lot of money in a field which will yield only
58
small comparative returns. The usual method
in exploiting a new book of fiction is to concen-
trate on a few large cities. The representative
papers of these big cities reach a multitude of
small towns in and about them, as most of them
circulate in a wide territory.
EsTIMATES ON EXPENSE.
The publisher must have a pretty good idea
of the various proportions of the different items
.of expense in publishing a book of fiction. For
instance, if a volume wholesales at 75 cents—
the publisher’s estimates always are based on
the wholesale price of a book, not on the retail
price—he must know how much of that amount
should go for manufacture, how much for
advertising, how much to general overhead
expense—in other words, the book’s share of
the firm’s expense of doing business—how
much to the author and how much should be
left for himself.
An author receives anywhere from 10 to
20 per cent. of the retail price, and the usual
royalty is 10 per cent. up to 5,000 copies and
then 124 per cent. This is a fair royalty, and,
as a matter of fact, a firm’s authors will receive
a larger share of money returns in the year’s
business than the publisher can make for
himself. This statement may be challenged,
‘but the fact remains, nevertheless.
To sum up, the successful publisher must be
something of a Jack of all trades. He must
have literary and artistic instincts sufficient to
enable him to know the real from the false ; he
must know something of the mechanical
‘processes by which a book is made—printing,
engraving, paper making, binding; he must
have the ability to invent advertising, he must
have the selling ability; and, last and not
least, he must have the courage to risk money
on a gamble, for the publishing of popular
“fiction nowadays is a great deal of a gamble.
—_——_+-—~»—+ —____
PLAYS AND THE RIGHT TO A TITLE.
, —— oe
L. The Author of October, 1906, I was
4 allowed to make some observations upon
the conditions which arise when an author
-uses a title which has been applied to a work
previously published by some one else, upon
the law applicable to the situation and upon
the remedies which, from time to time, have
been proposed. Everyone knows that there
as no copyright in a title, and I endeavoured to
show that the proposal to give something in
the nature of copyright was not likely to be
granted by the legislature, and that protection
THE AUTHOR.
by some form of registration akin to that of a
trade mark would be attended by practical
difficulties disproportionate to the advantages — :
which it might be expected to secure for those
interested. It will be found also, by anyone
who can refer to the back-number in which |
my article appeared, that I made the further
suggestion that anyone who differed from me ~ er
and who thought that special protection for |
titles might be granted by the legislature —
should not merely make his proposals in outline
but should give them a definite form by drafting
the clauses in which he would like to see them ~ / r
submitted to the House of Commons. I do
not remember reading in The Author anything
upon the lines suggested, so I am inclined to
conclude that either what I wrote met with
general acceptance or that those who differed | ~
from me as to the practical possibilities of the — |
ease did not consider the matter of sufficient
importance for the discussion to be carried ©
It has, however, been suggested to ~
further.
me recently, that in the case of dramatic
compositions there should be less difficulty
than in that of books in securing titles from
infringement, voluntary or involuntary, and _
that there is more opportunity for the author of
a play to be damaged by a subsequent author *
taking his title. That is to say, there should be
less danger of the writer of a play taking a title
already used because there are comparatively
few plays, so that investigation should more *
easily discover a previous user, but on the
other hand, plays are liable to be revived and
re-acted long after they are first produced, so
that there is considerable difference between —
their “‘ lives ’’ and the “ lives ”’ of novels.
This matter of comparative longevity is,
As the law stands —
perhaps, worth considering.
the writer of a book which has been published
can prevent a second writer from using his—
title if he can show that the second use of the
title is injurious to him or is likely to be so,
If he can prove that he has suffered damage
by such use he can recover compensation.
In practice this means that the author of a_
book which is being sold can prevent the
offering of another book under the same title
on the ground that it would be likely to be ~
mistaken for his, and that money intended to *
be spent on his book might thus be spent on _
A great many .
the work of another writer.
books, however, when a few years have
elapsed since their publication, are not being —
sold any longer, and are, to all intents and —
purposes, dead. There may be a possibility —
of recovery, but, as a rule, the book that dies _
remains dead, particularly when it is a novel, >
and its author suffers no damage and is likely
to suffer none if another writer uses his title.
i A play, however, which has been acted and
laid aside, so far as London is concerned, may
continue to be played, perhaps at intervals,
in the provinces, and may be acted here and
£ there by amateurs—let us hope with the
knowledge and to the profit of its author.
) Or, again, when it has seemed almost forgotten
in London, it may be revived there and again
i win success. ‘‘ Diplomacy’? and “ Jim the
,|.. Penman” are recent revivals which may be
“given as instances of a surprising kind of
vitality and longevity in dramatic works.
Robertson’s plays would supply a long list
of revivals, and there is no reason why they
should not continue to be acted at intervals
in the Metropolis and elsewhere. All these,
however, have no doubt enjoyed a steady and
more or less continuous existence on the boards
. elsewhere, apart from their appearances in
“+ London. I do not know whether a really
“ys unsuccessful play, laid aside and, in fact,
|. forgotten by managers and audiences alike,
has ever been revived and made successful
some time afterwards, but it is conceivable
that some might so recover, having owed their
premature inanition to lack of capital on the
part of their produccrs, want of advertising,
and, more important still, to inadequate acting.
It may, therefore, be submitted for considera-
tion that infringement of the title of a play
should be treated with greater stringency than
is necessary in the case of books, and that the
infringer should give way when he possibly
‘’ «an in order to prevent injuring a fellow
writer. To give way in all cases where it is
0G possible must always be the more courteous
“ig .and considerate course to adopt.
i The comparatively smaller number of plays
suggests the possibility of a register of all
licensed plays being made capable of inspection
14 by dramatic authors, in order that they may
see whether their titles have already been used.
They should, however, still endeavour to
ascertain whether they are adopting titles
l@ already used by novelists as whether they can
_ be prevented legally from doing so or not,
no one should lay himself open to the charge
of plagiarism or of lack of originality.
E. A. A.
eS op Ey
Rost mm Rue ot ee
A MORAL SENSE.
SBCET ae
N looking through almost any popular
periodical, one must notice that
authors and artists are having their
work exploited for the benefit of the
THE AUTHOR.
59
advertisers. The general tendency is for the
articles, stories and pictures to improve, and
for the advertisements to become worse.
What the reading public gains in one way it
loses in another, and, of late, it is taking
greater risks of being deluded by the adver-
tisers than of being uplifted by the work of
the artists. Some periodicals are notorious,
in that they admit to their advertising pages
announcements which any person of average
intelligence can identify as unfit for public
perusal. Yet these periodicals contain con-
tributions from some of the most eminent
writers of the day. There is a certain
incongruity between the printed words of the
distinguished novelists and the invitations of
notorious advertisers contained within the
same covers. It is unlikely that the authors,
whose work is bought, would care to be seen
in the company of advertising quacks and
get-rich-quicks, but authors seem to think it
does no one any harm for the pearls of wisdom
they produce to be used as the vehicle for
getting known to the public various noxious
drugs, opium, and alcohol disguised under
trade names. It is as though the authors
were too particular and respectable to be seen
in the company of cheap-jacks, bucket-shop
proprietors, quacks and gamblers, but, for a
consideration, would allow themselves to be
used for the purpose of introducing the public
generally to these harpies. For, of course,
the periodicals are bought and read for what
the authors have contributed; and what the
authors have written is bought by the owners of
the periodicals only in order that the circulation
may be increased and a larger revenue be
derived from the advertisers.
In former days a writer often knew his
editor and publisher personally, and had
sufficient confidence in character to under-
stand that his ‘‘ effusion’? would not appear
amidst matter which would harm either
himself or the public. Now, with some agent
as middleman, price is everything ; a “* good ”
publisher or editor is one who can be depended
upon to pay at the date named ; where, how,
when, with what or without what, the “‘ stuf -
shall appear is not the concern of the author.
Divided responsibility is no responsibility.
The author will contend that his responsibility
is confined to his own work, and if that satisfies
him, what the buyer does with it is no practical
concern of his.
In short, one may contend that an author is
indifferent to the use made of his product.
It may serve as a lure for innocents, it may
lead the guileless into a trap from which
60
escape is impossible, it may be printed in the
worst company, but the author 1s not respon-
sible. He has parted with all control an
exchange for a cheap-jack’s money. His
such an author any moral sense ? :
There is no necessity to uphold any particular
morality, or the lack of it, except that it 1s
inconsistent for the authors whose professed
purpose it is to inculeate morality, to become
a vehicle for advancing what is the opposite.
It is no excuse to say that the newspapers are
as bad, and that “‘ everybody’s doing ite
—-most authors are ; but though they may lead
the world in thought they are laggards in
action. Some men still act in accordance
with their principles. In a Tacoma gaol a
prisoner went to the punishment cells rather
than help in repairing the gallows ; in Mantova
many bricklayers refused to work in building
a gaol; in Milan, in Paris, and in Rome,
compositors and press-men refused to produce
papers containing comments which might
prejudice the cause of workpeople on strike.
These humble people had convictions, and
acted upon them. With them any honest
man would be proud to shake hands. They
are the real leaders of to-day and to-morrow.
The author is going to be relegated to a rear
rank, having shown already that he is willing
to go anywhere an “ agent ’’ recommends, or
wherever pay is highest.
WILuiAM GREENER.
—___—_+~> +
PROFESSIONAL JOURNALISM.
———
[T may prove to be somewhat difficult to
eliminate the personal element in the
discussion of the fine line which deline-
ates the professional journalist and literary
** dilettante’; but the little that I have to say
on the subject must perforce ring truer if the
abstract and composite scribe is conscien-
tiously substituted for the concrete and, per-
haps, disappointed dweller in ‘‘ Grub Street.”
The topic was suggested to me by a pro-
fessional journalist, employed in the office of a
big provincial newspaper, who holds, with me,
that while the routine work of the newspaper
office is well left exclusively to the regular
staff, there should be no editorial or pro-
fessional jealousy of literary competitors out-
side. If my informant is correct, there exists
in many offices some ill-defined but well-
understood _ test of who is, and who is not, a
professional author and journalist. Member-
hip of this Society, or of the Institute of
THE AUTHOR.
Journalists, does not necessarily carry weight,
and, indeed, the ‘‘ rose would smell as sweet a
by any other name, if one could make sure of
culling it.
Over and over again we have been told, in
this and other literary periodicals, that intro-
ductions do not count, and over and over
again the inexorable logic of facts, in concrete,
cases, disproves the assertion, that only merit
wins in the long run. And the “‘ run ” may be
so very long that it culminates in the dead-
stop that comes sooner or later to all workers
in all vineyards, for we all constantly meet
with or hear of mediocrities, as well as truly
talented men and women, whose introduction
to a big literary syndicate has resulted in
regular work and a more or less calculable
salary.
Is there, therefore, no ‘‘ media via,” no
“golden mean,” between the arbitrary label-
ling of a writer, who joins a literary society or
association as a ‘‘ dilettante’? man of letters,
and the classifying of those who, having
graduated in ‘‘ Grub Street ” and acquired or
improved their gift, are worthy of the title
‘ professional journalists ” ?
I should hardly advocate diploma work after
the fashion of the Royal Academy, following |
election, which neither there nor here would be |
an all-sufficing test of efficiency, but it would |
appear that, without lowering the status of |
this Society or the Institute of Journalists,
some form of declaration, based upon pub- —
lished work, might assist in the legitimate
introduction of competent writers to editors
and publishers. And in this connection I
would comment upon the enormous amount of
unsigned work which, for various reasons,
finds its way into print and into really high-
class papers and periodicals, for we all know —
and appreciate the value of the advertisement —
which connotes the duly attested signature.
Proof, then, of the various types of contri-
butions to newspapers and periodicals might
be either published in this organ of the Society,
or furnished to editors, as desired, by members,
who should have qualified by ‘bona fide” —
work for this advertisement of their com-
petency. B
I do not suggest that such a policy would
break down cliques and “ rings,”’ if such there —
be; but, if a good understanding should thus —
be established between members of the Society —
and the purchasers of intellectual wares, it 15 _
more than likely that the beneficent action of
the council would tend to open doors for ~~
eligible suitors. Nor would such a new depar- :
ture transform the Society into a literary — Me
THE AUTHOR.
agency, as all that the responsible officials
could affirm would be, that such and such a
writer, being a member of the Society, had
i tendered proof of having contributed to such
and such newspapers and periodicals, and, on
that basis alone, was forthwith recommended
to editors in the monthly or quarterly list of
u approved contributors. The Society would
not force its opinions on any syndicate, firm
; or editor, but would merely advance adequate
~ . proof of the competency of the writer named,
or otherwise dealt with, as a candidate for
tr employment.
r This suggestion may serve to recall Marshal
Le Boeuf’s notorious ‘ dernier bouton,” but
'» even a button or a label, aptly applied, may
have their uses.
F. C. Ormspy-JOHNSON.
THE PUBLISHERS’ DICTIONARY.”
TPFNHIS is a lexicon, in seven languages, of
terms used in the publishing trade, and
a work whose exhaustiveness, accuracy,
Me and lucid composition assure its being of the
very greatest value.
The present volume replaces the ‘‘ Vocabu-
laire International Technique de 1|’Editeur ”’
published, in accordance with a resolution of
/ the congress of publishers, in 1910, and will be
v°. found to represent a great advance. The plan
adopted is to give the key words, in French, in
the first column, accompanied by the necessary
definitions of the various meanings which are
indicated by numbers, the same numbers
accompanying the equivalents in the six other
languages, placed in parallel columns. At the
end are added appéndices containing the
duration of copyright in different countries,
an index of copyright enactments, a summary
of the extension and limitations of the Berne
Convention, the various formats of books, the
names of the different founts of type, sizes of
paper, examples of correction of proofs in the
different languages, and alphabetical indexes
of words in languages other than French, with
cross references. We have tested both the
text of the seven-fold lexicon, and the cross
references of the indexes, and have in every
* “Vocabulaire Technique de I’Editeur en Sept
Langues: Francais, Deutsch, English, Espafiol, Hol-
' landisch, Italiano, Magyar.” Berne. Congres Inter-
“ national des Editeurs. 1913. 4°.
61
ease found the results completely satisfactory.
As the labour of compilation, of which very
modest mention is made in the preface, must
have been enormous, it is difficult to express
adequate admiration of the excellence of the
work. We regret only that the editors in the
case of Magyar should have permitted them-
selves the modern vulgarity of printing c for
cz, a practice most justly condemned by the
Hungarian Academy.
The work is printed in London, by the
Ballantyne Press, and no notice of the book
would be adequate which did not mention that
the volume is a marvel of exquisite typography.
——— +o
CORRESPONDENCE.
np
UNREVIEWED Books.
S1r,—I have read with interest Mr. Fursdon’s
rejoinder. to my letter, not in praise of literary
editors, as he implies, but in justice to them.
The suggestion that I should be ‘‘ more at
home in the editorial office of a popular daily ”
I will pass as a pleasantry, remembering that
Dr. Johnson once said that ‘the reciprocal
civility of authors is one of the most risible
things in the farce of life.”’
Mr. Fursdon is obviously vexed, first with
literary editors and later with me. He says,
‘“There are literary editors and _ literary
editors’; just so, as with eggs. Can Mr.
Fursdon imagine himself the unhappy victim
at whom is hurled some 13,000 volumes during
the year’s 365 days? I fear it is not Reviews,
but Mr. Fursdon that I err in taking “ too
seriously.”” For any man seriously to expect
an editor to indulge in what is obviously an
unnecessary correspondence is scarcely reason-
able. It is no argument to say that he must
increase his staff. First of all his paper has
to be made a commercial success, and increased
staffs mean increased expenses.
I quite agree with Mr. Fursdon, and I confess
that the sensation is refreshing, that ‘ there
are other tests, and if a book is temporarily
disqualified by non-recognition in a certain
number or section of august journals, it may
yet win in the race of time.” I have no doubt
that literary editors will be quite content to
leave the verdict with posterity—the ever and
overburdened.
I am, Sir,
Your obedient servant,
HERBERT JENKINS.
62
* ONLY.”
Sir,—There is a common use of the word
“only,” scarcely less irritating than the split
infinitive, to which I would politely draw the
attention of writers, in the hope that they may
be practical enough to profit by the hint. On
my holidays I usually read a good many
novels, and I find the fault to which I refer
almost universal. For instance (and I purposely
select my example from the work of a well-
known writer), in “‘ The Last Hope,” which I
am now reading, Mr. Henry Seton Merriman—
may his shadow never grow less !—perpetrates
the following, on page 213 (Smith, Elder,
1904): ‘‘. . . the tide had only turned half an
hour ago.” Of course Mr. Merriman means
nothing of the kind. He does not wish to tell
the reader that ‘‘ the tide had only turned,”
but that the tide had turned only “ half an
hour ago.” And since he means this, why does
he not say so?
«= 1 am,
Your obedient servant,
RicHarD FREE.
ee ee
AutHuors AND FrEE LIBRARIES.
Your correspondent ‘“‘ C. E. S.” has formed
an extraordinary opinion about what he (or
she) designates “ free librarians.” I say this
after an intimate relationship with many
librarians of so-called “‘ free ”’ libraries extend-
ing to nearly half a century, and I emphatically
rebut the suggestion that these gentlemen and
ladies are actuated by the petty motives
suggested by “ C. E. S.”
Your correspondent gives his case away
when he states that a certain book was unknown
in a certain town until the fact of its existence
was made known by the public library
authorities. This was a grand advertisement
for the book, and a cheap one, too.
I venture to assert that rate-supported
libraries give an impetus to general reading,
and make it possible, through their support,
for some books to prove a financial success.
Does ‘“C. E. S.” know how many “ free ”’
libraries there are in the United Kingdom ;
and has he thought about the enormous
number of new books, including novels, that
are purchased for them during any year?
Then novelists are assisted through the con-
stant renewals of soiled copies, ,
No, “C. E. D.,” libraries assist novelists
very considerably.
J. P. B.
THE AUTHOR.
CARRARA,
Dear Avutuor,—In Mr. Wells’ letter in
your last July number he writes: “T had
to live—and so I learnt to write before I
thought of a book.” According to Aristotle also,
“To learn to play the lyre we must play the
lyre.”
ae. the bone of contention between
author and publisher plus agent is—
1. That it is always superevident to the
author, obscure or otherwise, that those who
profess to be his allies won’t see to it that, as.
Emerson says, ‘‘ He who does the work has the
power, but he who does not the work has not
the power.”
2. That between buying kitchen utensils.
or a motor, for instance, and exchanging (?)
“crim brains’? for lucre (that, chiefly, the
author doesn’t get) there is a distinction with
the difference. The one is mercantile. The
other—vicarious.
When Michael Angelo received orders from
Lorenzo de Medicis he set off on foot from
Florence to Carrara to select his own marble.
At Carrara he personally supervised its quarry-
ing so as to secure as far as possible a flawless
block. Sometimes this took a year, some-
times only six months. Having secured it,
Michael Angelo trudged doggedly on foot again
all the way home from Carrara to Florence so
as to steady his precious purchase every inch
of the way with his own hands to keep it from
getting broken.
There could be an amicable point of contact
between author and publisher plus agent,
that is, the exercise of conscience.
We authors “‘ have to live.” We “ play the
lyre.” We laboriously trudge every inch of
the way to Carrara and back to supervise the
perfecting of our tools. We don’t (save the
mark !) fatten on the results of others’ labour.
We don’t sweat anyone knowingly, for two
reasons: (1) because to renounce one iota of
our privilege we should damage our secret
ideal; (2) because to walk every inch of
the way ourselves is the only real way not
to fail.
Won't The Author adopt two devices for its
escutcheon—the first, “‘ To learn to play the
lyre we must play the lyre;’ the second, “ f
had to live—and so I learnt to write before I
wrote a book ’’ (the italics this time are not
Mr. Wells’)}—and have authors, publishers
and agents repeat them every night of their
lives in unison with the Lord’s Prayer on their
bended knees ?
JUSTICE.
Dublin Core
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The Author, Vol. 24 Issue 02 (November 1913)
Subject
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<em>The Author</em>, Vol. 24 Issue 02 (November 1913)
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Publication
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1913-11-01-The-Author-24-2
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The Author
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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The Author
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<em>The Author</em>
Description
An account of the resource
A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1890–1914
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1913-12-01
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24
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3
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63–92
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19131201
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Che Butbor.
(The Organ of the Incorporated Society of Authors.
FOUNDED BY SIR
Monthly.)
WALTER BESANT.
Vor. XXIV.—No. 3.
DECEMBER 1, 1913.
[PRIcE SIXPENCE.
TELEPHONE NUMBER:
874 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
ge
NOTICES.
4
| ae the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou. XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be.
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
case. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
——_—_——_——_+—_—___—_
THE SOCIETY’S FUNDS.
—— ++
ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
“9
64
matter closely connected with the work of the
Society. . : 8
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
————__+—>—_+—___—_
THE PENSION FUND.
—
N January, the secretary of the Society
I laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4% Extension Shares, 1914,
£16 fully paid. The number of shares pur-
chased at the current price was twenty-five
and the amount invested £296 1s. 1ld. The
trustees are also purchasing three more Central
Argentine Railway New Shares at par, on
which as holders of the Ordinary Stock they
have an option.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
£8. dk:
Bocsl Loans. 2.6.0.6 boss chien 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ........ 291 19 11
London and North-Western 3%
Debenture Stock ............ 250 0 0
Egyptian Government Irrigation
Trust 4% Certificates ........ 200 0 0
Cape of Good Hope 34% Inscribed
StOCk = 0.6, 200 0 0
Glasgow and South-Western Rail-
way 4% Preference Stock .... 228 0 0
New Zealand 34% Stock ....... 247 9 6
Irish Land 23% Guaranteed Stock 258 0 0
Corporation of London 24%
Stock, 1927—57 ..1......5.... 438 2 4
Jamaica 34% Stock, 1919—49 .. 18218 6
Mauritius 4% 1987 Stock ....... 120 12 1
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1988 ...... 198 3 8
Antofagasta and Bolivian Railway
5% Preferred Stock .......... 237 0 0
Central Argentine Railway Or-
dinary Stock ,........ 0... -. 282 0 0
THE AUTHOR.
Nominal Value
£ sd.
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ........... 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares .........+. 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ............ 550 0 0
8 Central Argentine Railway £10
Preference Shares, New Issue... 80 0 0
PENSION FUND.
+
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
January 8, 1913.
It does not include either donations given
prior to January, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913.
April 8, Caulfield-Stoker, T. . ;
June 12, Wimperis, Arthur . :
June 16, Ballantyne, J. W.
June 16, Thorold, Rupert
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. : ; :
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry :
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. .
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Novy. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
OR et Or
MOCO COOOHO OOO OHOHOM
coceoococooscoosooooooOF®
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Donations.
19138.
April 2, Daniel, E. H. .
April 2, Hain, H.M. . : :
April 7, Taylor, Miss Susette M. .
April 7, Harding, Newman . .
April 9, Strachey, Miss Amabel_ .
April 10, Aspinall, Algernon .
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THE AUTHOR.
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RON OOOO OO ON DN & et OO Or OTe ee
April 15, Craig, Gordon : .
April, Robbins, Miss Alice . .
June 12, Peel, Mrs. . :
June 13, Barlow, Miss Hilaré .
June 13, Kynnersley, E. M. Sneyd.
July 5, Williams, Robert . :
July 11, Broadbent, D. R. . :
July 22, Cameron, Mrs. Charlotte .
Sept. 29, Peacock, Mrs. F. M. :
Sept. 30, Healy, Wallis : :
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetskoy, The Princess
Oct. 27, Frankish, Harold :
Oct. 30, Rossman, Miss . :
Nov. 3, Holland, Theodore
Nov. 3, Steane, Bruce ‘
Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elvington, Miss Helen
Noy. 10, Waterbury, Mrs.
_
-_
MOSS SOSOSHOMNON HEH COCO Eh
pat
SmMASSSSCORSOARGCOCCOCOOOCCO®
—— a
ComPpLETE List or ANNUAL SUBSCRIBERS.
Ir is the custom of the Committee of
Management of the Society to publish, once a
year, the full list of subscribers to the Pension
Fund. Owing to an oversight, the list was
not published in the October issue. As from
time to time members of the Society complain
that the list doesn’t contain the names of
many well-known authors, the Committee
desire to point out that when the Fund was
started and since its foundation, there have
been many liberal donations by well-known
authors, which donations have been chronicled
from time to time in these columns. It does
not follow, therefore, that because an author’s
name is not down as an annual subscriber,
that he has not on previous occasions been a
liberal donor.
i}
AMonocnononkKH aoe.
Abbott, The Rev. E.
Acland, Mrs. C. D.
Allen, Mrs. Grant .
Anderson, Arthur
Andrews, Miss C. C.
Annesley, Miss M.
Anonymous .
Anonymous
Armstrong, Frances
Arnold, Mrs. J. O.
Askew, Claude
Avery, Harold. ; . :
Baden-Powell, Miss ; : >
Bagnall, Miss L. T. :
_
—
—_
ecaccoooaococo®
ecoeoorSoorooerth
Baker, E. A. :
Baldwin, Mrs. Alfred _.
Ballantyne, J. W.
Banks, Mrs. M. M.
Barne, Miss M. C.
Barnett, P. A.
Barrie, Sir J. M.
Barrington, Mrs. R.
Bashford, H. H.
Beale, Lady . :
Bedford, Miss Jessie
Begbie, Harold _.
Bell, Lady . .
Benecke, Miss Ida
Benjamin, Lewis .
Bennett, Arnold .
Berkeley, Mrs. F.R.
Blaikley, Miss Editha L.
Bland, J.O.P. . :
Bland, Mrs. Nesbit
Blow, Frederick
Bolton, Miss Anna
Bond, R. Warwick
Bosanquet, E. F. .
Bowen, Miss Marjorie
Bradshaw, Percy...
Brandon, Miss D. .
Breakell, Miss Mary 5
Brend, C. Cunningham .
Brinton, Selwyn
Brodhurst, Spencer
Broster, Miss D. K.
Brown, R. Grant .
Buchanan, Miss Meriel .
Buckley, Reginald
Budgen, Miss ;
Bungey, E. Newton
Burmester, Miss F.
Burton, J. B. :
Caillard, Miss E. M.
Caine, William
Calderon, George .
Cannan, Gilbert
Capes, Bernard
Capes, Mrs. . :
Carlyle, ‘Rev. A. J.
Carr, Miss M. E. . :
Caulfield, Kathleen M. .
Caulfield-Stoker, T.
‘Channon, Mrs. Frances .
Chase, Mr. and Mrs. L. N. -
Chesterton, G. K.
Child, Harold H. .
Clifford, Lady
Clifton, Mrs.
Clodd, Edward .
Clough, Miss B. A.
. —
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66 THE AUTHOR.
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Freshfield, Douglas
Fuller, Sir Bamfylde
Galsworthy, John
Garvice, Charles
Gay, Mrs. Florence
Geddes, Mrs,
George, W. L.
Gibb, A. :
Gibson, Frank ;
Gidley, Miss.E. C..
Giles, Miss Edith J. F.
Gilliat, The Rev. E.
Gilson, Capt. Charles
Glenconner, Lady
Gonne, Capt, C.
Gosse, Edmund
Graham, Capt. Harry
Graves, A. P. :
Greig, James
Gribble, Francis
Grier, Miss Julia M.
Griffin, Miss V. C.
Grogan, W. E.
Guthrie, Anstey
Haggard, Mrs.
Hain, H. M.
Halford, F. M.
Hamilton, Henry .
Hands, Mrs. Morris :
Hannay, The Rey. Canon J. O.
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Cohen, Mrs. Herbert ;
Collier, The Hon. John .
Colquhoun, A. R.
Cooke, W. B.
Cooper, Miss Marjorie
Cotesworth, Miss L. E.
Coulton, G. G. :
Cox, Miss M. Roalfe
Cromartie, Countess of .
Crommelin, Miss May
Crozier, Dr. J. Beattie
Cuming, E. D.
Curwen, Miss Maud
Dailley, R. H. ;
Dale, Miss Nellie .
Darbishire, Otto .
Davy, Mrs. E. M..
Dawson, Forbes
Dawson, Warrington
De Brath, Stanley
De Morgan, William
Desborough, The Lerd .
Dillon, Mrs. .
Dixon, A. F.
Dixon, Miss H. M.
Dixon, W. Scarth
Dobson, Austin
Drake, Maurice F.
Drummond, Miss F. :
Dummelow, Rev. J. R..
Dunsany, The Lord Harland, Mrs.
Durand, Ralph —. Harraden, Miss B.
Durand, The Right Hon. Sir Henzy Harris, Miss Jessie
Mortimer . Harrison, Austin .
Diiring, Mrs. Harrison, Mrs. Darent .
Edgington, Miss May Haultain, Arnold .
Ellis, Miss M. A. Hawkes-Cornock, Mrs. . é
Escott, T. H. S. Hawkins, A. Hope : j ia
Esmond, H. Vv. . Heath, Miss E. : :
Eyre-Matcham, Mrs. Heath, Miss H.
Fagan, J. B. Heath, Sidney
Felkin, A.L. Hecht, Mrs. Arthur
Felkin, The Hon. Mrs. Hedgecock, FOAL :
Fenwick, Miss Sik. Heming, Lieut.-Col. D. :
Festing, Miss Henderson, R. W. Wright .
Fiamingo, Carlo. . Henley, Mrs. Z
Field, The Rev. Claude . Hepburn Thomas
Fieldhouse, Arthur Hills, Mrs. M. :
Fitzgerald, Colin . Hitchens, Robert .
Fitzgerald, Mrs. E. A. Hitchings, F. W. .
Fleming, Mrs. A. D. Hollins, Miss D.
Forbes, Lady Helen Holme, Miss.
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Forrest, Sir G. W. 2 Holmes, Miss E. -
Forrester, J. Cliffe 5 Hood, Miss Agnes J acomb 1 :
Forster, R. H. 1 Hughes-Gibb, “Mrs. ‘ e
Fox, A. Dd. : 5 Hutchinson, Rev. H. N.
Francis, René 10 Hutton, Edward . :
HOC.
Inkster, C. L
Jackson, €.S:
James, Henry
James, Miss S. Boucher
Jane, i. Cecil
Jerome, Jerome K.
Jessup, A. E.
Jones, Henry Arthur
Jones, W. Braunston
Keene, Mrs.
Kelly, W. P. :
Kennaway, Miss E.
Kenny, Mrs. L. M. Stacpoole .
Kersey; W.H. . . :
Kilmarnock, The Lord .
Kupling, Rudyard
Kitcat, Mrs.
Lambe, J. Laurence
Larden, Walter
Larken, E. P.
Laurance, Lionel .
Laws, T. C. . :
Lee, Rev. Albert .
Letts, Miss W. M. :
Lewis, The Rev. Arthur.
Lewis, T. C. :
Liddle, S
Lincoln, C. .
Lion, Leon M. :
Little, Mrs. Archibald
Locke, W. J.
Longe, Miss Julia .
Lueas, E. V.
Macdonald, Greville
Mackenzie, Miss H.
Macnamara, Margaret
Macnaughton-Jones, Dr. H.
Macpherson, J. F.. ;
MacRitchie, David
Madison, Miss G. R.
Malcolm, Mrs. Ian
Malet, Lucas :
Mann, Mrs. Mary E.
Maquarie, Arthur .
Marchmont, A. W.
Markino, Yoshio
Marks, Mrs. M.. .
Marriott, Charles .
Martin, Miss Violet
Masefield, John E.
Matheson, Miss Annie
McCormick, E. B.
Meredith, Mark
Middlemas, Miss Jean
Miller, Mrs. .
Miniken, Miss B. M. M.
THE AUTHOR.
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Moffat, ‘Miss B.
Montgomery, Miss K. i
Montresor, Miss F. F.
Morton, Michael
Mulliken, Mrs. :
Murdock, W. G. Barn.
M. W. :
Narramore, William
Nembhard, Miss M.
Newton, Miss A. M.
Nicholls, F. C.
Niven, Frederick .
Northeote, The Rev. H
O’Brien, Rev. G. E. :
O’Donnell, Miss Petronella
Orezy, Baroness :
Osgood, Irene
Owen, Charles :
Pakington, Hon. Mary .
Parr, Miss O. K. . ‘
Parry, Sir Hubert
Paull, H. M.
Pearce, John
Pearson, Mrs. Conny
Pendered, Miss M. L.
Pettigrew, W. F. .
Phillipps-Wolley, C.
Phillpotts, Eden
Phipson, Miss Emma
Pickthall, M. W.
Pinero, Sir Arthur
Plunkett, G. N., Count .
Pollock, Miss E. . :
Pollock, The Right
Frederick, P.C. . :
Pope, Miss Jessie .
Portman, Lionel
Prelooker, ad:
Prideaux, Miss S. T.
Probert, W. S.
Pryor, Francis
Punshon, E. R.
Rawlings, Burford
Rees, Miss R. :
Reynolds, Mrs. Baillie
Reynolds, Mrs. Fred
Rhys, Ernest :
Richardson, Mrs. A.
Riley, Miss Josephine
Rittenberg, Max
Roberts, D. G.
Roberts, Morley
Roe, Mrs. Harcourt
Romanes, Mrs.
Ropes, A. R.
Rorison, Miss E.
‘Rossetti, W. M.
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Rotherstein, A. D.
Rumble, Mrs.
Russell, G. H.
Rutter, Frank
Sabatini, Raphael
Saies, Mrs. . :
Salmond, Mrs. .
Salter, Miss E. K.
Salway, Reginald .
Sanders, Miss E. K.
Schwartz, Prof. E. H.
Scott, G. Forrester
Scott, Mrs. C.
Seaman, Owen
Sedgwick, Prof. A.
Sedgwick, W. : 2
Selincourt, Mrs. Basil de
Sergeant, Miss Constance
Seton-Karr, H. W.
Sharp, Miss E.
Shaw, Fred G.
Shaw, Mrs. Bernard
Shepherd, George H.
Shera, Miss B. M.
Sherwood, Miss A.
Shiers-Mason, Mrs.
Shipley, Miss Mary
Simpson, Miss Gaynor .
Simpson, W. J. .
Sinclair, Miss Edith
Sinclair, Miss May
Skrine, Mrs. J. H..
Skrine, Rev. J. H.
Slaughter, Miss F.
Smith, Bertram
Smythe, A. .
Snell, Miss Olive
Somers, John : :
Somerville, Miss E. Ck. .
Speed, Lancelot
Spens, A. B.
Spiers, Victor :
Sproston, Samuel, Junr.
Spurrell, Herbert . ‘
Stanton, Miss H. M. E. .
Stawell, Mrs. R. :
Stayton, Frank
Stein, Sir M. Aurel
Steveni, W. Barnes :
Stewart, J. C. McDougal
Stockley, Mrs. ‘ ‘
Stott, M. D. :
Sturt, Geo... ;
Sullivan, Herbert .
Summers, J. ‘ ‘
Sutherland, The Duchess of
Sutro, Alfred.
THE AUTHOR.
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Taylor, Mrs. Basil.
Tearle, Christian . ;
Teixeira-de-Mattos, Alex
Tharp, Robt. C. . :
Thomson, Lieut.-Col. J..
Thurston, E. Temple
Todd, Miss Margaret, M.D.
Todhunter, Dr. J. :
Toynbee, Paget
Toynbee, William
Travers, Miss Rosalind .
Trench, Herbert
Trevelyan, G. M. .
Trevor, Major P. .
Truman, Miss Olivia
Tuckett, F. F. :
Turner, G. F. é
Turner, Reginald .
Tuttiett, Miss M. G.
Twycross, Miss M.
Tyrrell, Miss Eleanor
Underdown, Miss E.
Vachell, H. A.
Vacher, Francis
Vernede, R. E.. .
Von Holst, Gustav
Voynich, Mrs. E.L. .
Waldstein, Sir Charles .
Walkley, T. . ; :
Walshe, Douglas .
Ward, Mrs. Humphry.
Ward, The Rev. F. W. Orde .
Warden, Miss Gertrude .
Watt, A. P.. Z :
Weaver, Mrs. Baillie
Weston, Miss J. L.
Westrup, Miss M. .
Weyman, Stanley J.
Wheelhouse, Mrs. . :
Whishaw, Mrs. Bernhard
Whiteing, Richard
Willard, Mrs. ‘
Williams, W. Wynn
Wills, The Rev. Freeman
Wilton, Margaret W.
Wimperis,.Arthur
Winchelsea, The Countess of .
Woods, Miss Mary A..
Worsley, Miss A. .
Wright, E. Fondi .
Wynne, Miss May
Yolland, Miss E. .
Young, Ernest
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THE AUTHOR.
COMMITTEE NOTES.
aed
HE Committee of Management held their
November meeting on Monday, Novem-
ber 8, at 1, Central Buildings, Tothill
Street. After the reading of the minutes of the
previous meeting, the committee proceeded
with the election of members and associates.
They are glad to record the election of thirty-
eight members and associates. The full list
appears elsewhere. The total elections for the
year number 315. The committee accepted,
with regret, three resignations.
The solicitors reported on the cases passing
through their hands during the month.
In a ease of breach of agreement by a pub-
lisher, the matter had been settled when the
solicitors of the Society had given notice of an
injunction. In the second case, against the
proprietor of a magazine, the amount and costs
paid into court had been accepted, and the
matter was ended satisfactorily for the author.
In two claims against a music publisher, the
accounts had been delivered and the moneys
paid. In a case against a magazine, an agreed
sum had been paid and handed over to the
author. There were two very small cases in
which arrangements had been made for pay-
ment by instalments. This statement will
show that many of the cases open from the
former month have now been closed. The
solicitor reported on a serious question which
had been mentioned at the former meeting,
where a publisher had refused facilities for
vouching his accounts. The publisher had
2 since withdrawn his objection, and the solicitor
VE was instructed to see that the accounts were
'y duly vouched. Two cases were reported in
‘+ which no final decision had been arrived at.
One related to the infringement of authors’
rights in America, and the other dealt with
the rights of publication in England. The
solicitor explained that it was necessary to wait
for fuller information before any practical
decision could be come to, and the matters
were accordingly adjourned to the next
meeting.
A dispute between a member of the Society
and her publisher respecting the publication
of a book was fully discussed by the committee.
The solicitor explained the details. The
committee regretted that it was impossible to
take any further steps than those which had
already been taken, and instructed the solicitor
that the member concerned should be informed
of this decision. The last case mentioned by
the solicitors was a dispute between author and
69
publisher as to the fulfilment of a contract
commissioned by the publisher. After full
consideration of the evidence, the committee
decided it was not possible to proceed further,
as it appeared that the author had no ground
of action.
The secretary then reported one or two cases
in his hands.
He stated that an action for infringement of
dramatic copyright in Winnipeg had_ been
settled, and the author had offered to pay the
Society’s expenses. The committee thanked
the author for his generous acknowledgement
of the Society’s work by the offer that he
had made. A serious question of alleged
infringement of dramatic copyright came
before the committee, and after due considera-
tion it was decided to give the member all
possible assistance and to guarantee a sum
towards counsel’s fees on certain conditions
laid down by the committee. The next four
eases related to complaints in America and
Canada. In the first, against a dramatic
agent, the secretary was empowered, if he did
not receive satisfaction, to place the matter into
the hands of the Society’s American lawyers.
The second, against an American magazine
for breach of an author’s rights, it was decided
to place into the hands of the Society’s Ameri-
can lawyers immediately. In the third case
the secretary reported that a_ satisfactory
arrangement had been made by the American
publishers for the payment of the debt by
instalments each month, which arrangement
had been accepted by the author. In the
fourth case—against a Canadian publisher—
the secretary was instructed to place the matter
in the hands of the Society’s lawyers in Toronto,
A case against an English publisher con-
cerning an agreement was discussed at full
length, and the committee decided to instruct
the Society’s lawyers to proceed, as it appeared
to them that the agreement was wholly unfair
and unreasonable. The secretary reported
that, during the past month, on the authority
of the chairman, an important case had been
placed before counsel with reference to
dramatic contracts, cinematograph rights, and
international law. The committee confirmed
the action taken. Another case, referring to
the infringement of rights in Australia was
deferred for further consideration.
Counsel’s opinion bearing on a difficult
question of mechanical rights in Germany was
placed before the committee. As that opinion
was in favour of the member, it was decided to
accept counsel’s advice and to commence
action.
70
Lastly, the secretary was instructed to write
to a publisher with reference to the alleged
publication of an author’s books contrary to
an existing agreement, and to ask for an exX-
planation from the publisher.
The committee then proceeded to consider
the question of the appointment of their
nominees for the committee election at the end
of the year. The names will appear in The
Author in accordance with the Articles of
Association. :
The secretary reported on the question of
the appointment of nominees to mect the
Societies of Composers with a view to obtaining
their adhesion to the Society of Authors. At
the suggestion of the Composers’ Sub-Com-
mittee, Mr. Cecil Forsyth was elected a
delegate, and Mr. Stanley Leathes was
suggested as a second delegate to accompany
Mr. Forsyth. Failing him, the secretary was
instructed, in conjunction with the chairman,
to choose some other member, and when the
delegates had been finally settled to make
arrangements to meet the Society of British
Composers or any other Society acting for
composers.
The proposals put forward by the com-
mittee in the matter of the banning of books
by the libraries and referred back to that body
next came forward for consideration. Mr.
Maurice Hewlett kindly attended, and put
before the committee one or two important
points. The matter was then discussed at
great length, and all the points raised by the
Council were fully considered. The committee
decided, after careful deliberation, to abandon
the proposal which had been made to call a
conference, as such proposals appeared con-
trary to the desires and wishes of the Council
of the Society.
A draft circular respecting the Collection
Bureau, which the committee propose to issue,
was left for settlement between the chairman
and the secretary. It will be sent to all
members of the Society in due course.
A royalty agreement was finally settled,
subject to one small question which it was
decided to refer to the solicitors of the Society.
The agreement is now ready for those members
who desire a copy. The question of the dinner
guests was left to the chairman and ‘secretary.
A proposition to bring the Society’s work to
the notice of the younger members of the pro-
fession was considered, and the secretary was
instructed to make arrangements with a view
to obtaining their names and addresses if
ossible.
The Publishers’ Association drew the atten-
THER AUTHOR.
tion of the committee to the Copyright Bill now
before the Indian Legislative Council, with
special reference to the Clause dealing with
translation rights. It was decided to act with
the Publishers’ Association, with a view to
strengthening the rights of translators, and, if
possible, to obtain for authors the same rights
over their translation as are enjoyed under the
Berne Convention.
Certain letters from members were placed
before the committee and the secretary was
instructed to answer those that required
answering.
Two matters—loans to authors on contracts,
and the International Gathering of Authors at
San Francisco, 1915—were adjourned to the
next meeting.
The committee thanked Miss Annesley
Kenealy for a donation of £1 1s. towards the
Capital Fund of the Society.
DRAMATIC SuB-COMMITTEE.
A MEETING of the Dramatic Sub-Committee
was held at the offices of the Society on Friday,
November 21, at three o’clock.
After reading the minutes certain dramatic
cages were considered. In the first case the
secretary reported the action the Committee
of Management had taken on the sub-
committee’s recommendation, and he was
instructed to try to obtain further witnesses
for the plaintiff. Consideration of the second
case—an infringement of copyright—was
adjourned as the report necessary to lay before
the sub-committee had not been received by
the secretary. The third case, which raised
the question of cinematograph reproduction,
was fully discussed, but the sub-committee
considered that, at present, any action would
be premature, as the member concerned had
no clear evidence to lay before the sub-
committee that action had been taken against;
him. The sub-committee decided to re-
consider the case should the member’s fears
be realised that his rights were being challenged.
The question of providing powers of attor-
ney in favour of lawyers in foreign countries
to assist the Society in stopping infringements,
which had been raised at the former meeting,
was discussed, and it was decided, with the
approval of the Committee of Management, to
obtain powers of attorney which could be sent
out with a carefully worded covering letter
conveying the information that the . powers
were not to be acted upon until cabled
instructions were given from the Society’s
office.
THE AUTHOR. 71
The secretary placed before the sub-com-
mittee an agreement which had been submitted
to certain members of the Society, and it was
decided, with the approval of the Committee
of Management, that an article should be
published in The Author on the terms of this
agreement.
The sub-committee regretted that the
delegates from the Dramatic Clubs Association
were unable to attend the meeting, but they
discussed the resolutions that had been
submitted to them, and the secretary was
instructed to draft and to forward a reply.
As the sub-committee understood from the
Society of West End Managers that it was
impossible to call a meeting at the present
time, owing to the absence of Sir George
Alexander, one of the delegates, the matter
was adjourned pending the receipt of a further
communication from the Society.
The secretary was instructed to write to the
members of the sub-committee in regard to
the election of the sub-committee for 1914.
The sub-committee decided to appoint their
nominees at the December meeting to be held
on the 19th of that month.
ES OPES
Composers’ Sup-CoMMITTEE.
Tue November meeting of the Composers’
Sub-Committee was held at the offices of the
Society, 1, Central Buildings, Tothill Street,
Westminster, S.W.
After reading the minutes of the pre-
vious meeting, the secretary reported that
the Committee of Management had confirmed
the appointment of Mr. Cecil Forsyth as a
delegate to meet the Society of British Com-
posers with a view to conferring with that
Society as to the best means of drawing into
the Society of Authors, Composers not members
of any existing Societies. He reported also
that the Committee of Management had
appointed Mr. Stanley Leathes to act with Mr.
Forsyth, and that Mr. Leathes had expressed
his willingness to serve. It was decided that
the two delegates should meet at the Society’s
office in order to discuss the preliminary steps
to be taken.
The sub-committee then considered a para-
graph to be inserted in the papers calling the
attention of composers to the work the Society
was willing to undertake on their behalf, and
inviting them to join its ranks. Mr. Forsyth
agreed to draft the paragraph according to the
sub-committee’s wishes. It was decided that
the paragraph, when drafted, should be sent to
all the members of the sub-committee, and,
when finally approved, inserted in the papers.
Letters from the Ammre and _ the
Société des Auteurs et Compositeurs, referring
to the collection of mechanical instrument fees,
were read. The consideration of the letter
from the Ammre was adjourned. It was
decided to accept the invitation contained in
the letter from the Société des Auteurs et
Compositeurs to send a representative to
discuss the matter with the secretary of that
Society, in the event of enquiries which the
Society of Authors had already instituted
producing no satisfactory result.
The attention of the sub-committee having
been called to the fact that stamps affixed to
records under the Mechanical Instrument
Clauses of the Copyright Act very often fell
off the records when in the hands of the retailers,
it was decided to collect all possible evidence
on the matter, and to bring it to the notice of
the Board of Trade.
The prospectus of the Copyright Protection
Society was considered by the sub-committee,
The secretary was instructed to draft an article
dealing with the Prospectus and to submit it to
the members at their next meeting, when the
article, as well as the position of composers in
relation to that Society, would be re-discussed.
A letter from Mr. J. B. McEwen was received
by the sub-committee, in which Mr. McEwen
regretted he was forced to resign owing to his
inability to attend the meetings. The resigna-
tion was accepted with regret.
pep
Cases.
THE even roll of cases goes on from month
to month. In spite of the monotony of the
proceeding, they are chronicled in order that
members may see the steady work the Society
continues to perform on their behalf. To some,
this chronicle may appear of little importance,
but this is not so; all members should have
an opportunity of seeing that the work is
carefully and accurately attended to.
The cases during the past month in the
secretary’s hands number twenty-one, and
there has been a considerable increase. in the
number of those in foreign countries. We
chronicle five claims for the return of MSS. ;
one of these lies in the United States, another
in South Africa. It has not, of course, been
possible to complete these two within the
month. In two other cases, the MSS. have
been returned and forwarded to the authors.
In the final case, as the Society could not
responsible f
all of which have
Following this
for money ;
into the han
on agreements.
considerable amoun
negotiations are being
referring to t
by degrees, as t
on fixed dates.
Bagley, Miss L. .
Bentley, Edmund Cleri-
‘
Bridges, Robert .
Burdett, Osbert .
Calthrop, Dion Clayton
Carter, Huntly .
THE AUTHOR.
in the courtesy of a reply, formal notice
es to the lier that he would be held
or any wrongful use of the MSS.
There have been three claims for accounts,
been successfully dealt with.
there have been six claims
f these have been transferred
ds of the Society’s solicitors ; one
has been settled and the money has been
forwarded to the author ;
so far that a definite date has been fixed for
payment, and the last ha
to the office. :
There have been two claims for accounts and
money, one of these lies in the United States,
the other has been satisfactorily ended.
estions arising
copyright are bei
one has been settled
s only recently come
from infringements of
ng dealt with. One in
Austria is in course of negotiation. It is hoped
that the remaining one in England will be
settled shortly.
There were three cases arising from disputes
These involve necessarily a
t of correspondence, and
carried on in two cases,
while the third has only recently come to hand.
The cases from former months are being
closed up. One with a literary agent
he return of MSS. is being settled
he agent has to call in the MSS.
that have been sent out to editors. There will
be no difficulty.
There is a claim for money from the United
States, and this is being settled by payments
Two instalments have already
A third case dealing with a dispute over an
agreement is still in the course of negotiation.
The remaining cases have been settled, save
those which had to be transferred to the
Society’s lawyers.
—— 4 —
November Elections.
Bagenol, Miss Violet E. Benekerry, Carlow,
Ireland.
Rock Bank, Whaley
Bridge.
28, Lymington Road
N.W
Chilswell, Oxford.
Shotwick, Vernon
Road, Bushey,
Herts.
7, Oakwood Court,
Kensington, W..:
Waverton Street,
Mayfair.
Clarke, Madame Emilie
Down, W. Oliphant
Elrington, Helen
Foy, Slieve.
Garland, A. P.
Grogan, Gerald
Hadath, Gunby, M.A.
-Hemmerde,
Hendley, Mrs.
(I. E. Dawson)
Hill, Walter (Adelphos)
Howell, T. Francis
Lancaster, G. B.
Lang, Mrs. John
Lauzerte Raymond
Lawson, Lucy S. .
Lounsbery, G. Constant
Lulham, P. Habberton
Mackenzie, Compton
Nellen, Amy E. .
Norton, Robert Doug-
Peterson, Miss Margaret
Roberts, Helen C.
Robertson, H. R.
Russell, E. 8.
Sarmento, Vicomte de
Steane, Bruce
24, Biddulph Man-
sions, Maida Vale,
W.
Elmcroft, Gilling-
ham, Dorset.
6, Eaton Square
Monkstown, Co,
Dublin.
70, Danecroft Road
Herne Hill,
S.E.
Toorvagh, St. An-
drews, N.B.
12, Hallam Street,
W.
4, Loudoun Road,
N.W.
Trafalgar House,
Leeds.
22, Stafford Terrace,
Kensington, W.
C/o. Bank of New
Zealand, London.
2, Salisbury Road,
Edinburgh.
14, St. James’s Place,
S.W.
254, Albion Road,
Stoke Newington,
N.
18, Rue Boissonade,
Paris.
11, Prince Albert
Street, Brigh-
ton.
La Caterola, Capri,
Italy.
9, Clifton Road,
Brighton.
Argyll House, Chel-
sea.
3, Markham Square,
Chelsea, S.W.
Tudor Lodge, Wor-
thing, Sussex.
1, Steele’s Studios,
N.W.
Bryan’s Ground,
Presteign, Rads.
Lisbon.
‘Prospect House,”
Sundridge, Seven- _
oaks Kent.
THE AUTHOR.
Taylor, G. R. Stirling . 1, Pump Court,
Temple, E.C.
Spondon, Derby.
Volta House, Wind-
mill Hill, Hamp-
stead, N.W.
Minsmere, Dunwich,
Suffolk.
Topham, Miss Anne .,
Wanklyn, William Mce-
Connel.
Webb, W. Trego.
ee
BOOKS PUBLISHED BY MEMBERS.
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate. .
ART.
Tue Art or Borricenii1. An Essay in Pictorial Criticism.
By Laurence Bixyon. 144 x 104. 167 pp. Twenty-
three Plates. Macmillan. £12 12s. n.
Tue Arts anp Crarts or INDIA AND CEYLON. By
Ananpa K. Coomaraswamy. 8 x 53. 252 pp. Foulis,
6s. n.
BIOGRAPHY.
Lapy Hester LucySrannorn. By ¥.Hamer. 9} x 6}
348 pp. Cassell. 15s. n.
A Book or Ducuzsszs. By
Auice E. Rossrys. Melrose.
10s. 6d. n.
Tae Lire or Firorence Nicutincatz. By E. T. Coox.
Two Vols. 9 x 53. xxxi.+507+ 510 pp. Mac-
millan. 30s. n.
Twenty-Five YEARS’ REMINISCENCES.
Tynan (Mrs. H. A. Hinkson). 9 x 53. 355 pp.
Smith, Elder. 10s. 6d. n.
My. ReEcotuections aND REFLECTIONS. Written and
Illustrated by Yosuto Marxrno. 73 x 5. 262 pp.
Chatto and Windus. 6s. n.
Tax Beavtirut Lapy Craven. The Original Memoirs of
Elizabeth Baroness Craven, afterwards Margravine of
Anspach and Bayreuth and Princess Berkeley of the
Holy Roman Empire (1750—1828). Edited by A. M.
Broapiey and Lewis Metvitte. Two Vols. 8} x 5h.
exliii. + 141 + 306 pp. Lane. 25s. n.
ANDREW Jamuson, LoRD ARDWALL. By J. Bucwan.
7% Xx 5. 155 pp. Blackwood. 38. 6d. n.
Tau Story or THE NorTHuMBRIAN SAINTS. By Exiza-
Birth W. Grierson. 8 x 6. 131 pp. Mowbray.
28. 6d. n.
Gotpwin Smita. His Life and Opinions. By A. Havt-
TAIN. 9 X 52. 304 pp. Werner Laurie. 18s. n.
Ganrie, Harvey’s Marornaia. Collected and Edited
by G. C. Moorr Smrru. 94 x 6. xvi. + 327 pp.
Shakespeare Head Press. 16s. n.
Curistins or DENMARK. Duchess of Milan and Lorraine,
1522—1590. By Juria Cartwricut (Mrs. Ady).
9 x 5}. 562 pp. Murray. 18s, n.
BOOKS FOR THE YOUNG;
Warty: A Wurtz Pupry. By Mrs. Ernest AMES.
8 x 8. Duckworth. 1s. n.
Studies in Personality.
9 x 54. 339 pp.
By KatHARINE
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Boy Kryes anp Grrt QuEENs. By H. E. Marswaup
83 x 53. 467 pp. Grafton. 5s. n.
THE Bree Story AND Ts TEACHING FOR CHILDREN. By
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Dent. 6s. n.
THE WIND IN THE WILLows. By Kenneruo GRAHAME,
Illustrated by G. P. Bransom. 72 X 6. 302 pp.
Methuen. 7s. 6d. n.
THE CAMPBELLS oF ARGYLL. By
144 pp. Nelson. Is.
THe Great Arrsutp. A Tale of Adventure. By CapPrain
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SERGEANT Sixx. The Prairie Scout. By R. Leteuton.
7% xX 5. 239 pp. Jarrold. 2s. 6d.
Masterman’s Mistake. By Tuomas Coss.
240 pp. Wells Gardner. 2s,
Brrp Cay. By H. Dr Vere Sracpoors.
316 pp. Wells Gardner. 5s. n.
Kine or Ranxeicu. A School Story. By Carrarn F. 8.
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Rover: Tur Story or a Doc. 96 pp. A Lrrrie
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96 pp. Brave Mareer. 96 pp. <A Srrrcn rm Tre.
96 pp. CERDIC THE Saxon. 96 pp. (The Children’s
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Princess Bapours. A Tale from the Arabian Nights.
Retold by Laurence Housman. [Illustrated by E.
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10s. 6d. n.
Derrick Ormn’s Scoot Days. By Epriru C. Kenyon.
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HEROES oF THE EvRopEAN Nations. By A. RB. Hopz
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Wir Hunter, TRAPPER, AND ScouT IN CAMP AND FIELD.
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Tue Story or AncELIna Wacks. By Mrs. CuayTon
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71 pp. Wells Gardner. 2s. 6d. n.
My Boox anout THE Post OFFICE.
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STORIES FROM THE BILE.
Wutson. Illustrated by A.
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Buacxre’s Porputar Nursery Ruymas. Illustrated by
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Just so Srorrms. For Little Children. By Rupyarp
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Macmillan. 6s.
Heimer anp Cowz. Stories of Monastic and Military
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121 pp. Wells Gardner. 5s. n.
Hitpa’s Exprrtences. By May Batpwin. 7} x 54.
386 pp. Chambers. 5s.
CHRISTINE, THE Hucurnot. By Enpitn ©. Kanyon.
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Tue Daveuter or THE Manor. By Katuarine TYNAN.
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Cousins in Camp. A Lakeland Tale.
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Tom Kenyon, Scnootpoy. By M. Harpine KELLY.
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68. n.
Hitpa T. Sxanr,
7k Xx 5h.
8i x 5B.
By Eprru Rorarrs.
103 x 73. 80 pp.
Told by THropora Witson-
A.. Dixon. 9 x 63.
By TuHropora
256 pp. Blackie.
Illustrated
160 pp. Heinemann.
74
BOOKS OF REFERENCE.
Diorronary oF National BroGRAPHY. Second Supple-
ment Index and Epitome. Edited by Sre Sipyey Les.
93 x 63. 129 pp. Smith, Elder. 3s. 6d. n.
DRAMA.
TurJMoruer. A Play in Four Acts.
ports. 6% x 5. 101 pp. Duckworth.
Jur Pourticrans. A Comedy in Four Acts.
G. Layton (‘‘ Stephen Andrew”). 72 X 43.
Sidgwick and Jackson. ls. 6d. n.
Tue Saapow. A Play in Three Acts. By Eprn PHILL-
potts. 6} x 5. 93 pp. Duckworth. 1s. 6d. n.
Tar Sua Power or Enctanp. A Play for a Village
With a Chorus
By EpEn PHILL-
ls. 6d.
By Frank
102 pp.
Audience. By AMABEL STRACHEY. 1
by Mr. Sr. Loz Srracwgy. 7 X 44. 83 pp. Curtis.
2s. 6d. n.
Tar Master. A Poetical Play in Two Acts. By W. G.
Hous. 74 x 5. 55 pp. Erskine Macdonald. 2s. 6d. n.
Macro. By G. K. CHESTERTON. 6% x 5. 72 pp.
Secker. ls. n.
Tar Lirrur Stone Housz. A Playin One Act. By
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Tanks with Piaycorrs. By Henry Arruur JONES.
No.1. Muntcrean aNp Rererrory TuHeatres. A
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Sept. 29th. 9 x 6. 34pp. Bell. 64d.
Tarer Puays: THe SHapow. THe MoruHeEr.
Smcret Woman. By EpeEn PHILLports.
93 + 101 +90 pp. Duckworth.
Tau Price or THomas Scott. A Playin Three Acts. By
Evizaseth Baker. 7x 4}. 85 pp. Sidgwick and
Jackson. 1s. 6d. n.
Prarson’s Humorous Reciter anp Reaper. Choice
Selections from the Writings of JERomE K. JEROME,
By Evizazetu Baker. 7} x 5. 31 pp.
6d. n.
THE
cK Ds
W. W. Jacozs, and Others. 7} x 5. 351 pp.
Pearson. ls. n.
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Wuat is Epucation? By Srantey Leatuss, C.B.
74x 5. xvi. +191 pp. Bell. 2s. 6d. n.
ENGINEERING.
Let me Expnarn. By A. Winuiams. 8} X 5}. 370 pp.
Wells Gardner. 6s.
OveRHEAD Etzectric PowErR TRANSMISSION, PRINCIPLES
AND CatcuLations. A Book dealing with the theory
and design of long-distance high pressure electric trans-
mission lines. By Atrrep Stit1, Professor in the
School of Electrical Engineering, Purdue University,
Indiana. 9 x 6. 306 pp. McGray-Hill Book Co.
12s. 6d. n.
Tur PRINCIPLES OF THE APPLICATION OF Power TO Roap
Transport. By H. E. Wimpuris. 7} Xx 5. 130 pp.
Constable. 4s. 6d. n.
Exectro-THermaL Metsops or [Ron anpD STEEL PrRo-
puction. By J. B. C. Kersnaw, F.LC. With an
Introduction by Dr. J. A. Fuemine, F.R.S. 8} x 5}.
xxiii. + 239 pp. Constable. 8s, 6d. n.
FICTION.
A CHANGED Man, THe Waitine SuprER and other Tales,
concluding with the Romantic Adventures of a Milkmaid.
ne Tuomas Harpy. 8} x 5}. 413 pp. Macmillan.
3.
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324 pp. Lane. 6s.
Tue Leacus or St. Louis. By D. WHITELaw. 7} x 5.
306 pp. Hodder and Stoughton. 6s.
THE AUTHOR.
Tyre THOUSANDTH Woman. By E. W. Hornune. 7% x 5.
207 pp. Nash. 3s. 6d. n.
Footor Apri. By Justin Huntty McCarruy. 7} x 5.
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Td. n.
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Here are Lapies. By J. Srepenns. 7} X 5. 349 pp.
Macmillan. 5s. n.
Her Lapysuie’s Conscience. By ELLEN THORNEYCROFT
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311 pp. Hodder and Stoughton. 6s.
Tar Parntep Lapy. By ARABELLA KENEALY.
380 pp. Stanley, Paul. 6s.
Tun JUDGMENT OF THE SWORD.
By A. Conan
384 pp. Nelson.
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Tur Happy-go-Lucky Morgans. By Epwarp THomas.
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A Tarrer or ScarLet. Adventurous Episodes of the
Commune in the Midi, 1871. By §. R. Crocker.
7k x 5. 316 pp. Hodder and Stoughton. 6s.
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By JouN BuounDELLE-Burton. 7} X 5. 320 pp.
Everett. 6s.
Tur Mystery oF THE GREEN Car. AvaustT WEISSL.
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Hurst and Blackett. 6s.
Tur Doc Star. By Coratre Sranton and HxatE
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Tar LorRD oF THE Harvest. By M. BerHamM-EDWARDS.
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ton. i
THE AUTHOR.
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6} x 43. 219pp. (Cheap Reprint.) Methuen. 7d.n.
Tue Unconscious Quxst. By E. Rerr-MarHeEson.
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By G. A. Birminenam.
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IRISHMEN ALL.
225 pp. Foulis.
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Methuen.
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THovuGHTS rRoM JERomE K, JEROME.
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Tue Hivarre Bettoc Catenpar. 139 pp. THE Marie
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8 x 54. 246 pp.
7% x 5.
64 pp. THOUGHTS
T5
MEDICAL.
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MILITARY.
THe AUSTRIAN OFFICER aT WorK AND AT PLay. By
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Wak AND WoMAN FROM EXPERIENCE IN THE BALKANS AND
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SigNaLLine. Morse Code, Semaphore, &c. Written by
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MISCELLANEOUS.
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MUSIC.
Tue Enerish Carot Boox. Collected and Edited by
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WILD Lirr oN THE WinG. By M. D. Havintanp.
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Tue Courtsure or ANIMALS. By W. P. PyEcraFt.
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British Divine Ducks. By J. G. Mittars, F.Z.S.
Vol. Il. 16x 12. 164 pp. Longmans.
NAVAL.
THE SaILoRs WHOM NELSON LED.
by Themselves.
353 pp. Methuen.
244 pp.
Their Doings Described
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PHILOSOPHY.
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PHILOSOPHY OF THE PRacTicaAL: Economic and Ethic.
Translated from the Italian ‘of Benedetto Groce by
Dovetas AINSLIE. 9 x 53. xxxviil. +591 pp. Mac-
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POETRY.
APHRODITE, AND OTHER Porms. By JoHN HELSTON.
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KNAvE of Hearts, 1894—1908.
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74 x 54.
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76
M. BALLANTYNE. With a
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SOCIOLOGY.
Tur Vocation of WOMAN. By Mrs. ARCHIBALD CoLQu-
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Moprrn Woman anp How To Manacy Her. By W. M.
GaLLIcHAN. 7} xX 4}. 126 pp. Werner Laurie. 1s. n.
SPORT.
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TOPOGRAPHY.
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TRAVEL.
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Camerxe 1x Crete. With Notes upon the Animal and
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Fammar Spanish Travets. By W. D. Howstts.
8i x 5}. 327 pp. Harper. $2.00 n.
Tur Nzar East. Dalmatia, Greece, and
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302 pp. Stanley Paul. 6s. n.
eo
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
— + —
N November 14 a new edition was pub-
lished of Mr. Rudyard Kipling’s “‘ Just
So Stories,” with twelve plates in
colours by Mr. Joseph M. Gleeson, in addition
to the author’s original black-and-white illus-
trations. The publishers were Messrs.
Macmillan & Co.
Mr. Edward Arnold is publishing a new and
revised edition of Mr. Laurence Binyon’s
“ Painting in the Far East,” in the preparation
of which the author has been able to utilise a
THE AUTHOR.
variety of new sources of information, while
a fuller and more representative selection of
illustrations is now possible. Mr. Binyon has
also brought out, through Messrs. Macmillan,
a work entitled “‘ The Art of Botticelli: an
Essay in Interpretation ’’—a quarto volume
with twenty-three collotype reproductions in
colour and, as frontispiece, an original etching
by Mr. Muirhead Bone. Of “ The Art of
Botticelli” only 275 copies are being issued,
and the price is £12 12s. net.
Mr. Douglas Ainslie’s “‘ Philosophy of the
Practical: Economic and Ethic,” the forth-
coming publication of which was announced
in the October Author, appeared on November 4
(Macmillan). It is the second part of his
translation from the Italian philosopher,
Benedetto Croce.
M. Maurice Bourgeois’s ‘‘ John Millington
Synge and the Irish Theatre ” was issued on
October 29 by Messrs. Constable in Great
Britain, and by the Macmillan Co. in_the
United States. It has sixteen full-page illus-
trations by John B. Yeats, R.H.A., Jack B.
Yeats, James Paterson, R.S.A., John Currie,
and others, and the price is 7s. 6d. net.
“The Western Rebellion of 1549” is the
title of an account of the insurrections in
Devonshire and Cornwall in the reign of
Edward VI., by Frances Rose-Troup,
E.R. Hist. S. (Smith Elder, 14s. net).
Mrs. A. M. W. Stirling’s ‘‘ Macdonald of the
Isles ” was published on November 25 (John
Murray, 12s. net).
Mr. W. H. Koebel is the author of the history
of South America in Messrs. Black’s “ Making
of the Nations ”’ series.
Lady Dunbar is bringing out a book called
“The Chow-Chow,” dealing with that breed
of dog from the point of view of one who has
had long and intimate acquaintance with its
habits (Pitman).
Mr. and Mrs. Aylmer Maude edit a new
edition of Tolstoy’s ‘“ Plays,’’ which contains
for the first time all the six plays written
by Tolstoy, including the posthumous ones
(Constable, 5s. net).
Mrs. Willoughby Hodgson’s ‘‘ Old English
China,” with sixteen coloured plates and
sixty-four half-tone illustrations from photo-
graphs, is published by Messrs. G. Bell & Sons
at 25s. net.
Her Majesty the Queen has been graciously
pleased to accept a copy of Mrs. Charlotte
Cameron’s travel-book ‘* A Woman’s Winter
in Africa’ (Stanley Paul). .
In connection with the new cinematograph
film ‘“‘ Sixty Years a Queen,’’ which portrays
THE AUTHOR. 77
the reign of Queen Victoria, Messrs. Stanley
Paul & Co. published on November 10 a
volume consisting of an account of the Queen’s
reign specially written by Miss May Wynne,
illustrated with fifty-five photographs taken
from the film. The price is 1s. net.
The first number of Mackirdy’s Weekly is to
be published on the third Saturday of the New
Year, January 24. The moving spirit of this
new weekly is Mrs. Mackirdy, née Olive
Christian Malvery, author of ‘The Soul
Market.”
Mrs. Irene Osgood publishes, through the
firm of John Richmond, ‘‘ Where Pharaoh
Dreams,” with illustrations by W. Gordon
Mein. The same firm has issued ‘“‘ The Irene
Osgood Thought Book ” and ‘“ An Anthology
of Verse of Butterflies, Birds, and other W inged
Things,” compiled by Irene Osgood and
Horace Wyndham.
Mrs. Edghill’s “‘ Is it Well with the Child ? ”
—a book for mothers and for speakers to
mothers—is published, with an introduction
by the Bishop of Edinburgh, by Messrs. Wells,
Gardner, Darton & Co.
His Majesty the King has been graciously
pleased to accept a copy of Mr. C. E.
Gouldsbury’s new book, “ Tiger Land,” now
in its second edition (Chapman & Hall).
Mr. Rafael Sabatini’s “Life of Cesare
Borgia ”’ is one of the first volumes of Messrs.
Stanley Paul’s new Essex Library, a series
which is to include ‘‘ recently published works
that have attracted special attention as dealing
authoritatively with subjects of serious in-
terest,” and is to be issued, with illustrations,
at a price convenient to all purses.
Major P. T. Godsal brings out his ‘‘ Woden’s,
Grim’s, and Offa’s Dykes,” through Messrs.
Harrison & Sons. A map illustrating the
conquest of the Dee valley accompanies the
pamphlet.
Mr. John B. C. Kershaw, F.I.C., is the author
of a book on “ Electro-Thermal Methods of
fron and Steel Production,” to which Professor
Fleming, F.R.S., contributes an introduction
(Constable, 8s. 6d. net).
Messrs. Sidgwick and Jackson published last
month a new novel called ‘* The Unconscious
Quest,” by E. Reid Matheson. The scene of
the story is laid in Egypt.
The Burlington Magazine for October and
November contains an article by Ethel Ross
Barker, entitled ‘‘ The Symbolism of Certain
Catacomb Frescoes.”’
Miss Gladys Davidson has out a volume of
original stories about birds, fully illustrated
(David Nutt, 2s. 6d.).
Mrs. C. Irwin Smart has a serial running in
The Lady, entitled ‘The Long Lane.” She
was the author of the “ Novel in a Nutshell ”
in the Sketch of August 13.
Mrs. Edith Wharton’s new novel is “The
Custom of the Country,” of which Messrs.
Macmillan are the publishers.
The same firm has issued Mr. James
Stephens’s new volume of fiction, “ Here are
Ladies.”
Wet Magic,” by E. Nesbit, author of “ The
Treasure Seekers,” is published by Mr. Werner
Laurie.
H.M. the Queen has been graciously pleased
to accept a copy of “ Weeds,”’ by Miss Olave
Potter and Mr. Douglas Sladen.—A new 7s. 6d.
edition is appearing of Mr. Sladen’s “‘ Oriental
Cairo” (Hurst & Blackett).
Messrs. Alston Rivers publish Miss Leslie
Moore’s “The Peacock Feather”; and
Mrs. Steuart Erskine’s “The Ring of
Necessity.”
Messrs. Duckworth & Co. have published
“The Happy-Go-Lucky Morgans,” a story in
the essay manner, by Mr. Edward Thomas ;
and Mr. George Bourne’s volume of village
studies, ‘‘ Lucy Bettesworth.”’
Mabel King’s ‘‘ The People of Ebenezer,”
thirteen stories reprinted from The United
Methodist, is published by Messrs. Drummond
of Stirling, price 1s. The same author will
have two serials appearing shortly, “‘ A Modern
Midas,” in The British Messenger, and “‘ The
Work God Gave Her,” in Wings, the organ of
the Woman’s Total Abstinence Society.
Mr. Albert Dorrington’s novel, ‘‘ The Radium
Terrors,” has just finished its serial publication
in the well-known Spanish journal La Ilustra-
cion Artistica. The illustrations were by A. C.
Michael. Two books by the same author,
“The Half-God” and ‘‘A South Sea Buc-
caneer,” will appear in a German edition
early in 1914,
“The Tale of a Shipwreck, a Brownie, and
a Baby; and other Stories ” is Miss Amy Hale
Rankin’s book for children (Cornish Bros.,
Birmingham, 1s. net, illustrated).
Miss Caecilia Moore’s novel, ‘‘ The Shadow
of the Dragon,” is published by Messrs.
Chapman & Hall.
Miss Theodora Wilson-Wilson is publishing
with Messrs. Blackie two books for children,
one entitled ‘‘ Cousins in Camp ”’ (2s. 6d.), and
the other a series of ‘‘ Stories from the Bible,”
illustrated in colour by Arthur A. Dixon (8s. 6d.).
She has also sold a children’s story to Messrs.
Nelson & Son for publication next year. In
the spring The Christian Age will serialise
78
one of her novels entitled “A Navvy from
King’s.”
Mrs. T. P. O’Connor’s story, “ Little Thank
You,” has a novel feature in the end-papers,
which take the form of music and reproduce
Little Thank You’s lullaby, “ Captain Kidd,”
written and composed by Mr. Frederick
Norton, composer of “ Pinkie and the Fairies.”
Charlotte Mansfield’s story, ‘The Girl
and the Gods,” is to be reissued by Messrs.
Greening & Co. in their new Shilling Net
series.
The Westminster Review for November
contained a poem by Mr. Alfred Smythe
entitled “The Sentinel.’”” There was also a
poem by Mr. Smythe, called ‘* A Yarn of the
River,” in the Poetry Review.
Mr. Erskine MacDonald is publishing at
once in a shilling Christmas booklet, an
“ Anthology of Little Poems,” compiled by
E. Crosby-Heath, and including a_ critical
essay.
The same publisher has brought out “* Dreams
of Arcady,” by Octavia Gregory, author of
“The Garden Enclosed.”
Mr. Erskine MacDonald further announces
that he is publishing a poetic drama, “ The
Master,” by Mr. W. G. Hole, with an intro-
duction by Stephen Phillips, at 2s. 6d. net ;
and Miss Maude Goldring’s new novel, ‘* The
Wonder Year,”’ which deals with the effect of
modern thought on country life.
“ June ” is the title of the first poem, which
gives its name to the book of verse by
Miss Cicely Marshall, published by Arthur
Stockwell.
Jean Roberts, author of ‘‘ Musings on the
Magnificat,’ etc, has out a new volume,
entitled ‘‘ Hope: and Other Verses” (A. R.
Mowbray, ls. 6d. net).
““Songs Satanic and Celestial,” by Mr.
Lewis Spence, is published by Mr. Elkin
Mathews at 1s. net (cloth, 1s. 6d. net).
Mr. K. C. Spiers brings out in one volume
his play, ‘‘ The Soul of a Doll,” and a number
of poems, of which “ The Madness of Lancelot ”’
and two of the lyrics appeared originally in the
Fortnightly Review. Messrs. Chapman & Hall
publish the book at 2s. 6d. net.
Miss Nora C. Usher issues, under the title
of ‘‘ Swallow-Flights,”’ a collection of thirty-
seven of her poems, some of which have
appeared in The Queen, Chambers’s Journal,
ete. The price is 1s., or 1s. 1}d., post
free.
_ “ Lone Age Epics,” by Mr. James Saunders,
is published by Whitehead Bros., Wolver-
hampton, at 2s. net.
THE AUTHOR.
DRAMATIC.
Mr. Bernard Shaw’s ‘‘ Great Catherine ’’ was
produced at the Vaudeville Theatre for the
first time on November 18.
On November 21 Mr. Thomas Hardy’s ‘‘ The
Three Wayfarers,” originally seen at Terry’s
Theatre in 1898, was revived as a curtain-raiser
before Mr. G. K. Chesterton’s ‘‘ Magic” at the
Little Theatre.
Sir J. M. Barrie’s “Quality Street” was
revived at the Duke of York’s Theatre on
November 25.
It is announced that a new three-act play
by Mr. Israel Zangwill, entitled «Plaster
Saints,” will be produced at a West end
theatre early in the New Year.
Mr. Bernard Shaw’s ‘‘ Doctors’ Dilemma,”
and Mr. John Galsworthy’s ‘Silver Box,” are
among the plays which Mr. and Mrs. Granville
Barker are to revive before the end of their
repertory season just commencing at the
St. James’s Theatre.
M. Maurice Bourgeois’s French version of
Synge’s ‘‘ Playboy of the Western World ”’ is
being performed at the Théatre Antoine by
M. Lugné-Poe’s Théatre Subventionné. The
title of the play in French is “‘ Le Baladin du
Monde Occidental.”
Among the five one-act pieces produced by
the Leverton Players at the Court Theatre, on
the afternoon of November 21, was “‘ England
Expects,” by Mr. F. Leonard A Gibbs, to
which the Navy League has extended its
patronage.
———__+——_+—___—_
PARIS NOTES.
+
o HRETIENNE ” is the title of the new
novel by Madame Adam (Juliette
Lamber), whose salon has been the
favourite rendezvous of the Parisian literary
and political élite for very many years.
Madame Adam’s own evolution has been
shown by her recently published memoirs.
Years ago she wrote her novel * Paienne,”’
and this present volume is a fitting epilogue to
the former novel.
The key to ‘“‘ Le Roman Merveilleux ” by
the late Pierre de Coulevain is given by the
author in her preface. ‘“ The Wonderful
Romance,” she says, “‘ is not one of those that
the human brain produces. It is the romance
which the Divine Powers are elaboratirig in the
depths of the Infinite. It is the romance
which we are all living, from morning to night
THE AUTHOR.
and from night to morning; the one in which
we are the heroes and the martyrs. It is the
romance of this earth of ours. . Thanks
to my age, I now find myself on the boundary
line of two worlds. My impressions on leav-
ing the one world, and my intuitions with
regard to the world beyond, may, thanks to
their absolute sincerity, have some value. . . .”
This author’s works have had phenomenal
success in France, and have been translated
into nine languages. “Sur la Branche”’
i is now in its 179th edition. The present
-y volume has been awaited with impatience
|. for the last three years and was completed
| just two months before the author’s death.
: The book now published in volume form by
) Camille Piton, entitled ‘‘ Le Costume Civil en
| France,” will be invaluable to artists. It
» contains over 700 illustrations from authentic
sources.
‘“‘ Napoléonette ” is quite a new departure
ot for Gyp. It is a kind of historical novel, in
*. which the author allows herself plenty of
~{- latitude as regards local colour, probability, etc.
-| Napoléonette is a girl who has been brought
up by her military father as a boy. She has
accompanied her father everywhere and is
quite at home on the battle-fields. Napoleon
is her god-father and she is a devoted admirer
of ‘‘ The Emperor.” Her father is killed and
she is compelled to accept the hospitality of
her aunt and uncle, who hold high office at the
Tuileries Palace under Louis XVIII. The
description of Napoléonette’s various escapades
and of her friendship with the king is highly
entertaining, but the dialogue is distinctly in
twentieth century style.
‘Pour l’Empereur”’ (Pages d’histoire na-
tionale) is the title of Frédéric Masson’s latest
volume. The volume treats of events from
1796 to 1821.
The second volume of “Souvenirs” by
Ch. de Freycinet has just been published. It
takes in the years 1878 to 1893, and treats,
among other subjects, of the Resignation of
Marshal MacMahon, of the death of Gambetta,
Boulangism, the Egyptian question, etc.
The first volume of these Souvenirs takes in
the years from 1848 to 1898.
“Henri Rochefort (1831-19138) ” by Camille
Ducray gives some idea of the agitated life
of the celebrated journalist and _ politician
about whom so much has been written.
Ernest La Jeunesse has written the preface.
At the Variétés, Alfred Capus is having his
customary success with his new play
“L’ Institut de Beauté.” It is distinctly
amusing, and, as usual with this author, the
>
FD ets a ey gh br
spate Nah la fa
E
>
79
piece is the result of shrewd observation and
great knowledge of life.
Mr. Philip Carr’s idea to start a_ Little
English Theatre in Paris, bringing over English
plays and English artistes once a month, is
welcomed by the French as well as by the
English and American colonies. Two meetings
have been held and a large number of sub-
scribers has been the result.
“ Chrétienne.” (Plon.)
“ Le Costume Civil en France.’’ (Flammarion.)
“ Napoléonette.” (Calmann-Lévy.)}
“ Pour ’Empereur.”’ (Ollendorff.)
“Souvenirs.” (Delagrave. )
“ Henri Rochefort (1831-1913).” (L’Edition Moderne.)
—___—__+—<>—_—______
CORELLI v. GRAY.
—~<—
EFORE the Master of the Rolls, Lord
Justice Swinfen Eady and _ Lord
Justice Phillimore; this was an appeal
by the defendant from an order by Mr.
Justice Sargant, granting an injunction: re-
straining him from performing a play called
“The People’s King,” which the plaintiff
claimed was an infringement of the copyright
in her novel “‘ Temporal Power.”
In his judgment given in the lower court
Mr. Justice Sargant took the view that the
similarities in the play and the book were not
due to coincidence, but must be taken to have
resulted from appropriation or copying by the
defendant from the plaintiff.
The Master of the Rolls in the course of his
judgment expressed his concurrence with the
judgment of Mr. Justice Sargant, stating that
he thought they must approach the case on
the footing that the defendant Gray had the
plaintiff's book either under his eyes or in his
memory when he wrote the sketch.
Dealing with a possible suggestion that the
matter alleged to have been taken from the
plaintiff's book was not matter which could be
held to be the subject of copyright, his Lordship
stated that when, as in the present case, it
appeared that not merely one or two stock
incidents, but that a number of such incidents
had been taken, it would be an unreasonable
view of the law to say that the plaintiff was
not entitled to succeed.
The new copyright law gave protection not
merely to the form of words in a novel but to
the situations contained in it. In this case,
however, his Lordship did not accept the view
that the situations were stock situations :
some of them were distinctly original.
80
The Lord Justices delivered judgments to
the same effect, and the appeal was dismissed
with costs.
————“7——o—___—_
UNITED STATES LAW.
—-—~o—+
N interesting matter touching the
A validity of copyright in the United
States is being at present heard in
the courts of that country. We are informed
that there is little probability of the case being
decided before the expiration of seven or eight
months, but as the facts must of necessity be
of great interest to English as well as to
American authors, it may be as well to put
forward some details.
Mr. Jack London entered into a contract
with the Balboa Amusement Co., of Los
Angeles, California, by which that company
acquired the right to produce in moving
pictures all of Mr. London’s past work and all
his work up to and including 1915. In that
contract there was a clause providing that the
contract should be forfeited if the company
took no steps to fulfil their part before a fixed
date. This they failed to do, and Mr. London
declared the contract forfeited. In spite of
forfeiture, the company proceeded to produce
in moving-picture form his novel entitled
““The Sea Wolf,” and Mr. London thereupon
brought suit in Los Angeles against the
company in the Federal Court of that district,
for breach of contract and infringement of his
copyright. His next step was to apply for a
preliminary injunction. Upon the hearing of
this application, the defence has been set up
on the suggestion of the lawyers—copyright
specialists—that Mr. London’s copyright is
invalid, that his work, having appeared in
magazine form, is thereby dedicated to the
public so far as subsequent rights are concerned.
This defence appears to be based upon the
case of Dam v. Kirk La Shelle Company, which
indirectly, apparently laid down the doctrine
that, if an author sells his serial rights in his
story to a magazine, reserving to himself all
other rights, and the magazine copyrights the
issues, that is, the magazine rights, then all
other rights must be unprotected and aban-
doned to the public. It is also claimed that the
copyright notices in some of Mr. London’s
books are insufficient, and misleading, and that,
therefore, the books are not properly copy-
righted. Mr. London’s preliminary application
for an injunction was denied, after the court
had heard the objections advanced against
THE AUTHOR.
his copyright on the ground that Mr. London
has insufficiently established his ownership.
The court, however, granted permission to
Mr. London to renew his application after he
had obtained more definite information about
his copyrights. Ifthe theory is upheld that
the publication in a magazine in America
only covers the editor’s rights, the position — :
is very serious, both to American and
English authors, as it would leave those
authors that publish in serial form absolutely
unprotected, and book publishers would have
no rights in their books whatsoever. It does
not appear probable, after a careful reading of
the Act, that this theory can be maintained.
The second point of the defence, namely, the
inadequacy of the copyright notices calls for
special comment. It has always been the
case when any technicalities are required under
i”
U
a copyright law, that the first point at which — | ser
the defendants strike is the technical defi- —
We are glad to think that in the ©
present English Act, technicalities have been ~
abandoned, but the position is still very serious —
in the United States, and we trust that Mr. —
Jack London will not lose his copyrights owing _
ciencies.
to these deficiencies.
The former question is by far the most : i ah
important. Technical difficulties can be over-
come with care, but legal difficulties can only
be overcome by an amendment to the Act. -
We wait with anxiety to hear the final result
If it should go against Mr. —
of the action.
London, the American Copyright Act migh
almost, as far as the writers in magazines ar
concerned, be torn up.
9
MAGAZINE CONTENTS.
te
British REVIEW.
Dramatists of To-day. I. H. Granville
II. John Galsworthy. By Edward Storer.
Leeds Musical Festival. By Sir Home Gordon, Bart.
CoNTEMPORARY.
Christina Rossetti. By George Lowther.
Poetry in Drama. By William Poél. '
6 a Child and Education in Shakespeare. By Hubert
rd.
Barker.
EneuisH REVIEW.
Art in America. By Aleister Crowley.
Editorial Amenities. By The Editor.
FoRTNIGHTLY.
A Literary Cham and His Court. By T. H.-S. Escott.
Trish Dramatists and Their Countrymen. By H. M.
Walbrook.
An Apostle of Melodrama. By George Paston.
Sees
3%
on
b
Ba
THE AUTHOR. 81
HOW TO USE THE SOCIETY.
—
1, VERY member has a right toask for and to receive
advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel's opinion without
any cost to the member. Moreover, where counsel’s
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors, Therefore, do not scruple to use
the Society.
8. Before signing any agreement whatever, send
the document to the Society for examination.
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
The
7. Many agents neglect to stamp agreements.
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society ; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £4 1s. per
annum, or £10 10s. for life membership.
2
WARNINGS TO THE PRODUCERS
OF BOOKS.
et
ERE are a few standing rules to be observed in an
agreement, There are four methods of dealing
with literary property :—
I. Selling it Outright.
This is sometimes satisfactory, if a proper price can be
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
Il. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements,
(3.) Not to allow a special charge for “office expenses,”
unless the same allowance is made to the author.
(to Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
ae well bind yourself for the future to any one solicitor or
octor |
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author,
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production,
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book,
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
—__—_t_>e_—_
WARNINGS TO DRAMATIC AUTHORS.
8
EVER sign an agreement without submitting it to the
N Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
82
(>.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum in advance of percentages. A fixed
date on or before which the play should be
performed. :
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (‘.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (6.) apply
also in this case.
4. Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5, Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance.
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘'hey should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should-remember that production of a play
is highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
—_——$_-——e—__
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
eo
ne typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subj
( ject to the same
rules, with the exception that a pl ill
at the price of 22. 6d. per act. Ve cee eee ie
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
ee
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, de
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
—————_+—~>——_—__
WARNINGS TO MUSICAL COMPOSERS.
er Ss
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the twe
tights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
ae
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
—
THE READING BRANCH.
a
EMBERS will greatly assist the Society in this
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach, The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea,
——-—>—
REMITTANCES.
—
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Taio of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only. .
Bt
THE AUTHOR. 83
COLLECTION BUREAU.
+ <4
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland ; . A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany . Mrs PoeGson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
GENERAL NOTES.
PUBLISHERS’ AGENTS.
Ir is the practice of certain agents to act
both for publishers and authors. In many
of these cases, there is no attempt at conceal-
ment from the author. Indeed, the agents,
not infrequently, boast that the author’s
chances of a market are increased by the fact
that the publisher is also a client of them.
As agent of the publisher, the literary agent
claims to have unique opportunities of placing
the works of his authors. This is the excuse
invariably made by the agent who is found in
the service of two masters.
Here is a possible example.
The publisher comes to his agent and asks
him, say, to find a writer to undertake
work for a series which he, the publisher, is
issuing. The agent has on his books an author
who is quite capable of undertaking the work,
but, in many cases, the author is given no
opportunity, the agent preferring to use the
offer in order to attract another writer—not on
his books—to place his literary work in the
agent’s hands. Having succeeded in drawing
in the new writer, that writer, when the next
opportunity “of placing the works of his
authors ” occurs, is forgotten, while the agent
goes in search of the fresh client.
But the real objection to the agent acting
for the publisher and the author is not merely
that the author seldom gains anything by the
process, but that it is impossible, however
honest and straightforward the agent may be,
for him to act fairly to both parties.
If the agent does his duty to the author, his
second principal, the publisher, must suffer.
If the publisher’s interests are looked after,
then the author suffers.
In a recent case brought to the notice of the
Society, a literary agent refused to take any
payment from the author, stating that he, the
agent, was paid by the publisher.
If every literary agent acted in this way, we
should not so much object to the position, so
long as the agent made his position clear before
attempting to advise the author; but we
should still have to warn authors against the
danger of treating with publishers’ agents—
especially if the author were paying for the
production of his book. In such a case it is
almost inevitable that the publisher’s estimate
would be increased by the amount which the
agent would receive.
UNITED STATES Dramatic RIGHTS.
SomME time ago we printed in The Author
instructions from the Library of Congress,
Washington, as to the filing of copies for
registration (1) when a dramatic work is for
sale in the U.S.A.; (2) when it is not for sale.
The registrar was kind enough when the
notice was printed to forward a number of
copies for the benefit of members of the
Society, and whenever a requisition is made, a
copy is handed out.
Mr. Maquarie, a member of the Society, has
drawn attention to the fact that it might be
useful not only to have the forms of instructions
from the registrar at this office, but also the
actual forms under which various works are
registered ; as he has received a number from
Washington, he has kindly deposited them at
the offices of the Society. The secretary has
written to the registrar on the matter, and it
is hoped that in future a good: supply will be
ready to hand.
_Piays AND THE Ricut TO TITLE.
Wirth reference to this article which appeared!
in last month’s Author, one of the members has,
84
been kind enough to draw attention to the
fact that in 1910, “The Stage Cyclopedia of
Plays,” containing an alphabetical list of
50,000 play-titles, was published, and that in
addition, every year “‘ The Stage Year Book ’
publishes an alphabetical list of pieces pro-
duced in all the principal foreign countries as
well as in England and America. It would
appear, therefore, that with a little research it
would not be difficult for dramatists to avoid
trespassing on the property of other dramatists
as regards the question of title. We hope this
information may be of use to members of the
Society.
———_———1—< > —_—-
THE DINNER.
eo
YHE annual dinner of the Society of
Authors was held at the Criterion
Restaurant on Thursday, November
27, Mr. H. Hesketh Prichard, the chairman,
presiding over a gathering of about 250
members and friends. The guest of the
evening, Field-Marshal the Karl Roberts,
V.C., K.G., ete., sat on the chairman’s right,
and the others seated at the high table were
Mrs. Humphry Ward, Mr. Anthony Hope
Hawkins, Lady Elizabeth Hesketh Prichard,
Miss Marie Corelli, Major Lewin, R.A., Mr.
and Mrs. Reginald Smith, Mr. and Mrs. P. W.
Everett, Sir George Forrest, K.C.1E., Sir
Donald Mackenzie Wallace, K.C.V.O., Mr.
W. W. Jacobs, Lady Florence Bourke, Mr.
Ernest Davies, Mr. Thomas Marlowe, Sir James
and Lady A. C. Wilson, General Wilson, C.B.,
D.S.O., and Mrs. Wilson, Mr. A. Cherry
Garrard, Mrs. Jopling Rowe, Mr. and Mrs.
Temple Thurston, Major-General and Mrs.
Saward, Mr. and Mrs. Charles Garvice, Mr.
R. D. Blumenfeld, and the Rev. P. H.
Ditchfield. At the seven lower tables Mr.
E. W. Hornung, Mr. Francis Gribble, Dr. S.
Squire Sprigge, Sir Arthur Conan Doyle, Sir
Frederick Hewett, Mr. Phillips Oppenheim, and
Mr. G. H. Thring presided.
At the conclusion of the dinner the usual
loyal toasts were given by the chairman, who
then rose again to propose the health of ‘‘ The
Society of Authors.” He drew attention to
the fact that their numbers were increasing,
and there were now 2,500 members and
associates. Last year 345 had joined the
Society, and this year, so far, 338, so that
there were hopes of breaking the record. He
would like to mention one or two points about
their progress apart from numbers. Their
THE AUTHOR.
relations with publishers and editors were
excellent. It was noteworthy that this year
one publisher, having a dispute with an author,
had offered to submit the case to the committee
of the Society, which showed in what estima-
tion he held the Society’s sense of fairness.
Things had changed since the days of George
Borrow. ‘‘ What, do you eat meat, sir?”
asked the publisher then. ‘‘ Yes,” said the
author. ‘‘ You should eat bread !’’ was the
reply.
There had been a round-table conference
this year between the committee and_ the
editors in connection with the question of the
prompter payment for magazine articles, and
most of the editors had agreed to a resolution
that payment should be made on acceptance
or within six months’ time.
Then there was the matter of the library
censorship. The committee had heard several
schemes proposed, but none of them promised
great success. He regretted that the sugges-
tion of a round-table conference between
delegates of the Publishers’ Association, the
booksellers, the Library Association, and the
Society, though brought up before the council,
had been referred back for further considera-
tion, and that therefore nothing had yet been
done. A certain number of members wanted
the question of the ban upon books to be taken
up, but it was impossible for the Society to
deal with individual cases. Its duty was to
look at the question broadly, from the point
of view of all its members. He, as chairman,
had even been obliged to deny himself the
pleasure of reading the censored books !
He mentioned that letters of regret at
inability to be present had been received from
Mr. Rudyard Kipling, Sir Rider Haggard,
Mr. Owen Seaman, Mr. Egerton Castle, Mr.
Gathorne Hardy, and Mr. Sydney Holland ;
and that Lord Roberts had, during the
dinner, received a telegram from Yorkshiremen
gathered at Skipton Town Hall that evening,
wishing him all success in his great patriotic
work. :
In conclusion, the chairman congratulated
the Society on the possession of one of the best
—if not the best—of secretaries in the world.
Sir Arthur Conan Doyle then proposed the
health of “The Guests.” It was a pleasant
duty, he said, when they had with them so
numerous and distinguished a company, among
them Mr. Cherry Garrard, who was with the
lamented Captain Scott in the Antarctic, and
Mr. Reginald Smith, the publisher, who came
to show that the lion could lie down with the
lamb. There was, however, one guest who,
THE AUTHOR.
short of Royalty, must always take the first
place in any gathering of their countrymen, the
first, not only in rank and in distinction, but in
the grateful love and veneration of Englishmen.
The qualities of Earl Roberts were well known.
He had given in youth the strength of his right
arm to his country, in middle life the genius of
his generalship, and in later years the matured
wisdom of his whole life. Now that he had
earned his rest, he had thrown it aside and
embarked on a most difficult and arduous task
for purely unselfish and patriotic motives—a
campaign in which, whether they agreed with
him or not, they must admit there had been a
dignity and restraint and moderation of
utterance which was an example for all time.
Since, at the age of 19, he joined the Indian
Army, his life might be looked on, if one could
visualise it, as a sort of cinematograph proces-
sion of British history. There was first the
Indian Mutiny; then the Afghan War; and
they all had seen his work in South Africa—
work not only as a soldier, but as a statesman
and diplomatist. Lord Roberts had had a
great deal to do with the reconciliation of South
Africa. The speaker himself well recalled how,
when he was in Bloemfontein, they were not
's . allowed to loot the villas of the Boers around
them. Those houses would have made nice
little cribs, and at the time they chafed at the
prohibition, but as he looked back he saw how
at every point of that great crisis Lord Roberts
prevented just those things that would have
left a rankling feeling which might have
retarded the reconciliation of the two races.
As an author, it might be said of Lord
Roberts that his ‘‘ Forty-one Years in India ”’
was an unique record. His style was that of
aman of action. The book was an index of
its writer’s thoughts, so infused throughout
with gallantry, fine spirit, and patriotism
that all who had sons must be glad that they
could read such a book as that.
Earl Roberts, rising to respond, said that he
was highly honoured by being invited to
become the guest of the Society, and it was a
great pleasure to him to find himself weleomed
by such a distinguished gathering of men and
women. His own claim to be an author was
very small, and he could not imagine himself
being in the slightest degree representative of
literature. He was nearly sixty years of age
-when the idea entered his head that he might
some day at his leisure write an account of his
Indian experiences. The idea was suggested
to him, while walking on the Maidan at Cal-
eutta, by a friend to whom he had been talking
of the Mutiny and the second Afghan War.
85
He had never kept a regular diary, and he had
no record of events except what he put down in
letters to his father and mother in the Indian
Mutiny, and later to his wife. He had not,
therefore, at the time, responded to the invita-
tion to write a book. But not long after that
his service in India came to an end, and he had
to bid farewell to a country in which he had
spent forty-one most interesting and happy
years. It was a sad parting, not only because
of the innumerable friends he left behind, but
because it looked as if his career as a soldier was
coming to an end—a thought which was most
distressing to any soldier. It was with a heavy
heart that he left the land that he had learned
to love so well. When he arrived in England
he found himself unemployed for a considerable
time, and as the days hung rather heavily on
his hands he bethought himself of theidea which
his friend in Calcutta had put before him.
Looking over his letters he found that they
were more numerous and more comprehensive
than he had expected, and it seemed that the
task of writing his life would, perhaps not be
so formidable. His wife, who had been with
him for thirty-three of his forty-one years in
India, was blessed, like himself, with a good
memory, and was able to help him. He there-
fore set to work to produce the book to which
he supposed he must attribute the honour they
had paid him that evening. In spite of his
small claim to that honour, he returned his
sincere thanks, and was much touched by the
way in which they had received him.
He had not intended to say more; but the
chairman had called upon him that evening as
he was dressing for the dinner and had told
him that he hoped he would not confine him-
self in his speech to the returning of thanks.
So, though he had previously not the slightest
idea of talking—especially on a festive occa-
sion like this—about a subject in which they
knew him to be deeply interested, he would
endeavour briefly to explain to them and
place before them what he thought was the
remedy for the danger in which this country
stood. He hoped that those who were
opposed to his views would not object to his
expressing these now.
It was difficult to begin and difficult to
end. But they had as a starting-point the
report of the deputation which waited on Mr.
Asquith the day before. That clearly showed
the opinion of those men who had spent four
or five years working very hard to make the
Territorial Force a success. It was greatly
to their honour and credit though the majority
of those men were not of the same political
86
opinions as Lord Haldane and the Government.
They had worked for it as if it had been their
own child. He himself had even at_ times
expostulated with them. He had said: “I
can hardly conceive why you should take the
trouble to support a Force with which you
have nothing to do at the start. You have
certainly carried out this duty in a manly
manner, but are you quite right in supporting
a Force which you yourselves know can never
be of any use?” They had read what the
deputation said before Mr. Asquith the day
before—how they had pointed out that the
Territorial Force which now existed was of no
use. They asked that some more money
might be given them. It was a very difficult
thing indeed for men to forego their pleasure,
to give up their time, and wear out their boots
and clothes for the public good, although the
numbers who came forward were comparatively
few, and, as Mr. Asquith said, the burden was
not equally borne. But the remedy which
they proposed was not sufficient. More money
would not do what was required. More money
might possibly fill up the number of officers
and men that Lord Haldane laid down, but
it would not make them efficient. If they
doubled or trebled the money that was given,
and doubled or trebled the number of men who
came forward, those men would not be of the
slightest use in war unless they were trained
as soldiers. He would tell all those among
them who did not agree with what he was
saying that, if they were patriots, if they loved
their country and desired it to remain the
great country that it was, and if they desired
to maintain the integrity of that great country,
they should not trust to men who were not
trained to fight. Untrained men were no
better than a body of schoolboys. Panic
would spread among them on the shortest
notice. They could not be trusted, no matter
what their individual courage might be, to
fight a trained enemy unless they too were
trained. He could give them many instances
of what could be done by a very few trained
soldiers, men who believed in their own skill
with their arms and who trusted their comrades
alongside them, or even at great distances
apart. Fighting in modern days was quite a
different thing from what it was even in the
days of the Crimean War, the Indian Mutiny,
or the Peninsular War. The first battle he
was in was under the walls of Delhi. At that
time they were in close order, touching each
other in fact. The non-commissioned officers
and men were shoulder to shoulder, and the
firing commenced, as at Waterloo, at forty or
THE AUTHOR.
fifty yards’ distance.~On the Heights of
Abraham, Wolfe did not give the word until
the French were within forty yards. Now
they came within the fire-zone at 2,000 yards,
and from that time until he came to close
quarters every man was going along, not in
close order, nor constantly advancing, but
lying down to take cover, getting up again,
and so on. The strain on each individual
soldier, knowing every moment that he was
being fired at, was enormous, and could only
be borne by trained men. He would defy the
whole of the Ministry and the Army council
to assert that untrained could fight against
trained men in modern times, and unless the
country insisted on some system being devised
by which the men, however few in numbers,
could be properly trained, and by which, they
could be made to have confidence in their
comrades, and more particularly reliance on
their officers, the Territorial Force might just
as well be disbanded.
One could always trust trained men, if only
a few thousand in number, to hold their own
against hundreds of thousands. He had him-
self felt no anxiety lest defeat should occur in
Afghanistan, because he knew that his men
could be trusted. They never showed the
least sign of alarm at the hordes around them.
He remembered four or five days’ hard fighting
among the hills once, when he could not see
into the valley beyond the highest hill in front
of them. He signalled to the officer in charge
of the outpost on the height, asking for the
number of the enemy in the valley, and the
answer came back by signal—it was in the days
long before the field telephone—* They are like
Epsom on Derby Day!” He had with him
only 6,000 or 7,000 men, but those few were
perfectly willing to stand up against any num-
ber, because they had been properly trained.
This was the necessary point, which he wanted
the country to realise. For defence we want
trained men, who can be trusted to hold their
own against any number.
Mr. E. W. Hornung gave the toast of “‘ The
Chairman.” He had accepted the task pro-
posed to him by Mr. Thring, he said, with a
certain indecent alacrity, because his old friend,
Mr. Hesketh-Prichard, was a man who re-
commended himself to them all in various and
romantic ways. He recalled the first story he
had read in Cornhill, years ago, over the signa-
ture of E. and H. Heron, and how he had been
told that it was from the pen of “‘ a young giant
who writes in collaboration with his mother ”—
a fact in itself sufficient to impress the heart.
Then he had played on cricket fields terrorised
os
THE AUTHOR. 87
by the prowess of a certain fast bowler—their
chairman. Then again, there was a mighty
hunter ; and it was in this capacity that Mr.
Hesketh Prichard was most famous to-day. He
wondered whether he would be able as chair-
man of the Society, to add to his trophies of the
hunt the scalp of one wicked publisher; but
perhaps that would not be considered hand-
some enough to figure among the antlers and
heads.
The chairman replied briefly, thanking
Mr. Hornung for the kind way in which he had
proposed his health. However long he lived,
he said, no honour would ever befall him equal
to that of sitting next to Lord Roberts that
night.
After the speeches had come to an end, the
members and their guests moved to the adjoin-
ing room for the conversazione, at which a num-
ber of members of the Society were present who
had not taken part in the dinner.
ee
THE NOBEL PRIZE.
ABINDRANATH TAGORE, who has
R lately been awarded the Nobel prize
for literature, came to England in the
summer of 1912, and, at Mr. William Rothen-
stein’s suggestion, translated during the voyage
some of his lyrics into English. During the
summer he worked hard at these, and the
result was the book which he called “‘Gitanjali”’
(Song Offerings), of which a small edition was
published by the India Society in November.
This was received with a chorus of approval,
and Messrs. Macmillan published a second
edition last spring which has gone through
several impressions. The ‘‘ Gardener,”’ a col-
lection of love poems dating from an earlier
period, appeared this autumn, as well as some
lectures entitled ‘“‘ Sadhana,” which Mr. Tagore
had delivered at the Caxton Hall. <A book of
child’s poems, ‘‘ The Crescent Moon,” with
illustrations, has just appeared.
Mr. Tagore comes of a literary and artistic
family who have lived for generations in
Calcutta. He has for many years been
recognised as the foremost poet of Bengal,
perhaps of India. His advice is eagerly
sought and followed by many of his fellow-
countrymen. He superintends, and himself
largely supports, at Bolpur, in Bengal, a
school which has made a name for itself
as turning out boys of strong character.
He has returned there now to his home at
Shantiniketan (the abode of peace), a little
tired after a most interesting year of foreign
travel, and not altogether sorry to be at rest
again.
COPYRIGHT AND ‘‘THE LADY.”
—+—<—9
ie the May issue of The Author in the
current year an article was printed
under the above title setting out a form
of receipt issued from the office of The Lady.
A special covering letter from the editor was
sent with the receipt. The following is a
reprint of the letter and the form of the
receipt :—
39 and 40, BepForpD STREET,
Srranp, W.C.
March 13, 1913.
Dear Mapam,—The manager has requested me to send
you the enclosed for your signature. The idea, so I
understand, is to save contributors the trouble of sending
him a special form of acknowledgment on receipt of each
cheque. Once the enclosed has been signed, the endorse-
ment on the cheque will be the only receipt required by
the manager.
Yours truly,
Tue Epiror.
[ENCLOSURE]
To the Proprietor of ‘‘ The Lady’’ Newspaper.
In consideration of your publishing in your newspaper
or purchasing any article or drawing written or made by
me, I hereby assign and transfer to you the original and
the copy therein and also agree to assign and transfer to
you the original of and the copyright in all future articles
and drawings written or made by me which may hereafter
be purchased by you or published in your newspaper.
Signature
Date
There is really no need to pass fresh
comment. Those who know will only need to
be reminded. Those who do not know can
easily refer to the article.
The proprietor of The Lady has now taken
a fresh line, perhaps as a result of that
article. It may be that many contributors
reading the article altered the receipt and’
cashed whatever cheque they may have
received. But it is of the utmost importance
to set before members and others the newer
methods which the proprietary of The Lady
has adopted. On the back of the cheques
runs the following story :—
Received from the Proprietors of The Lady newspaper
the sum written on the face of this cheque in payment for
my contributions or drawings and copyright thereof
published in The Lady newspaper up to and including the
issue dated ;
Signature
The signature is intended to be an indorsement of the
cheque as well as a receipt for the amount.
88
Under the Copyright Act, 1911, any assign-
ment of copyright must be in writing. Whether
the endorsement of the cheque amounts to
such an assignment in writing the proprietors
of The Lady must find out for themselves.
But it is a fair deduction to make that they
intend it to be so.
On other occasions articles have appeared in
The Author explaining this insidious method
adopted by proprietors of magazines to obtain
rights from authors.* Sometimes, where the
contract has been completed before publication,
these rights have never been conveyed.
Sometimes they were never intended to be
conveyed.
What is the reason that editors and pro-
prietors cannot deal in a more reasonable and
businesslike spirit with their contributors ?
Why cannot they say before they print the
article (a stereotyped letter is all that is
required): The editor accepts the article
at the price of £ per thousand
words, subject to the transfer of all the
copyright ?
Or why cannot they, if they desire to print
the article, and have no time to communicate
with the author, claim only that which it is in
the mind of the author to give, and which is
the only real value to themselves—the first
serial use ?
The answer is plain. No author when
sending an article to a monthly or weekly paper
intends to sell the copyright. Nor does the
editor or proprietor desire to use the article
except in one issue of the magazine. If in
exceptional cases he should desire more, then
he should state so before and not after pub-
lication.
It would seem, therefore, that he endeavours
to obtain control of the copyright only in order
that, sitting as a dog in the manger, he may
obtain a return of part of the moneys from the
author should the author desire to republish
in other form.
This position, from the author’s standpoint,
is very serious, especially if he is a technical
writer, or happens to have specialised in any
subject.
The position is unfair to the author and a
great hardship, because, as a rule, the bankers
have directions not to cash the cheque if the
endorsement is altered.
The author, in many cases, either being in
need of the money or being unwilling to offend
the editor signs the document.
If all authors refused to sign these endorse-
* June, 1913.
THE AUTHOR.
ments, however trivial the amount in dispute,
the matter would be remedied almost immedi-
ately, but in many cases, when the article is of
ephemeral value, it is not worth the author’s
while, and in other cases an author may not
care to appear in a county court.
The solution of the difficulty lies, however,
to a great extent in the author’s hand. He
must send a formal letter—keeping a copy—
with his article stating exactly what he is
willing to licence—generally first serial use in
a ‘“‘mentioned” magazine. If, then, the article
is published without further reference to the
author it will be held to be published on the
terms of his letter of which the editor has had
notice. If, then, the cheque is sent with the
endorsement referred to it would be as well
to return the cheque at once and, if the editor
disputes the position, to take immediate action
by placing the case before the Committee of
Management of the Society.
———————_1—-1+—_—_—_
PENS, PAST AND PRESENT.
oe
(Reprinted by kind permission of the Family Herald.)
HE earliest kind of pen known is that used by
the ancients—a style of bone or metal, with
which letters were sketched on a_ tablet
covered with wax. When the use of coloured
liquids was adopted, a reed took the place of the
bodkin, giving place afterwards to the quill. Egypt
was famous for the most beautiful reeds ; there were
fine reeds to be obtained near Cnidus, in Caria, Asia
Minor ; the marshes of Persia also furnished a good
supply. They grew to the height of a man, and
were filled with a pith which could be removed
when dry, so as to allow of a point being cut. Had
the old Greeks known of goose quills they might
perhaps have dedicated the goose instead of the owl
to Minerva. ‘There is indeed a portrait of Aristotle
in a manuscript in the Vienna Library, showing
him with a book and quill before him, but the
manuscript was not written until 1457, and the
writer drew largely on his imagination.
But the use of the quill seems to date from not
earlier than the sixth century. It is related that
Theodoric, King of the Ostrogoths, could not learn
to write four letters at the bottom of his edicts, so
four letters were cut out for him in a plate of gold,
which was laid on the paper, and he traced out the
letters with a quill. The Emperor Justin used a
plate of wood, but his case was so much worse that
one of his secretaries had to guide his hand. The
oldest certain account is, however, that of St. Isidore,
who died A.D. 636, wherein he mentions reeds and
feathers.
THE AUTHOR. 89
In the same century St. Aldhelm, the
English pioneer of Latin verse, wrote a small poem
on a quill pen. The gospel manuscripts of the
ninth century depict the evangelists with quills in
their hands.
When the Romans were in what is known to-day
as the Netherlands they are said to have paid special
attention to the catching of geese ; an old poet said
that this was because they could not get Egyptian
reeds and wanted to procure goose quills, but Pliny
says that it was because they wanted to eat roast
goose and lie on feather beds.
REEDS AND QUILLS.
Reeds and quills were both used in the eighth
century in the French diplomatic documents, while
the papal Acts and those of the synods were written
with reeds until much later. The monks used
reeds for text and initials, while they preferred
quills for smaller writing. Johann Reuchlin, a
great light in the Reformation and Renaissance,
was so severely attacked and persecuted that he had
to flee for safety, leaving all his writing materials
behind him; a letter is extant in which he asks a
friend, Porkheimer, to send him some good paper,
pen-knives, and peacock feathers. His letter of
acknowledgment says :—
. “J asked you for peacock feathers for writing ;
you have presented me with the choicest swan
quills, and, that nothing might be wanting to your
friendly offices, you sent also reeds from the Nile,
or, a8 | rather think, from Cnidus—more easy for
writing—and the most excellent paper-knives.”
Reuchlin sent three of these reeds to Erasmus,
who writes full of gratitude for such a desirable
present, saying that such is the most acceptable
gift possible, adding the request that if Reuchlin
has any more he will send some to a mutual friend
in England, with a hint that more would be welcome
sent to himself.
_ For some reason writing quills were very scarce
in Vienna in 1433; Ambrosius Traversarius, a
monk of Carmaldule, sent a bunch of quills to his
brother from Vienna, saying :—
_ “They are not the best, but such as I received
im a present. Show the whole bunch to friend
Nicholas that he may choose a quill ; for they are
éven scarcer in this city than in Florence.”
The feathers of various birds have been used for
pens, but in this respect the goose has always been
the main contributor to literature. The swan,
crow, eagle, owl, hawk, turkey, and peacock have
all supplied the pen market to some extent. Swan
quills are better and more costly than goose quills,
while those of the crow are more suitable for fine
lines. The only useful feathers of the goose are the
five on the outer part of the wing, and of these the
Second and third are the best. Quills from the left
wing are more suitable than those of the right wing,
because they curve outwards and away from the
writer.
How QUILLS ARE PREPARED.
Preference is always given to quills secured in
the spring from living birds, but those taken from
dead geese, especially if fattened, are comparatively
worthless. The quills are greasy and covered with
little pellicles of skin ; this is removed by heating
them in a fine sand-bath to one hundred and thirty
to one hundred and eighty degrees Fahrenheit.
They are then scraped, and while they are still soft
and hot can be stamped with designs and names.
Care must be taken that they are finished hard and
elastic.
Joseph Bramab, the lock inventor, in 1809, made
and patented a machine for manufacturing quill
nibs ; the barrel of the quill was slit into three or
four parts and then cut across into two, three, four,
and even five lengths. The nibs were used in a
holder something similar to the present holder.
Dickens, it will be remembered, speaks of the time
when quill feathers were cut and cut again by the
writer ; Miss Squeers, in her anxiety to see the
new usher of Dotheboys Hall, enters the schoolroom
on the pretext of wanting her pen mended.
Nine years after Bramah’s patent Charles Watt
obtained a patent for gilding nibs, thereby antici-
patiug the gold pen. But in 1822 a step further
was made; Hawkins and Mordan patented the
application of horn and tortoiseshell to the forma-
tion of nibs, making the points durable by impress-
ing them into small pieces of diamond and ruby ;
another part of the process was lapping a small
piece of thin sheet gold over the tip of the tortoise-
shell, and there were other ways of hardening the
point.
Merauic PEns.
Metallic pens appear to have been slightly known
to the Romans, but it is certain that they were not
in use, nor were they at all common until after the
meeting of the British Association at Birmingham
in 1839. A steel pen was made and sold in London
in 1803, but it cost five shillings, and was not a
success. Bryan Donkin brought out another
metallic pen in 1808. Doctor Priestley had had a
steel pen made at the end of the previous century
by a manufacturer of split-rings, named Harrison,
who was eventually associated with Sir Josiah
Mason in the industry ; but it was not until after
Perry’s invention in 1830 and Gillott’s in 1831
that pen-making became a paying industry. —
Pens were made of silver, zinc, German silver,
aluminium, and aluminium bronze. Doctor
Wollaston, the celebrated physicist, whose advice
was so useful to Herschel, used the first gold
iridium-tipped pe on record.
90
Joseph Bramah again was in the forefront with
his fountain-pen. He had several designs ; one
was a tube of soft silver that could be pressed to
allow a flow to the nib, and another was a tube
with a piston sliding down the ink-barrel. John
Scheffer, in 1819, made a pen with a button, which
the writer pressed when he wanted more ink at the
nib.’ The Americans were the pioneers of stylo-
graphs, with iridium points, but Birmingham took
and retains the lead for good ordinary pens.
A few words on the actual making will not be
out of place. The finest quality of cast steel in
rolled sheets is used, this being the product of
Swedish charcoal iron. The sheets are cut into
strips and then tempered in a furnace before being
pickled in weak sulphuric acid to remove the
oxidised scale. The strips are again rolled, and
then cut, stamped, and embossed by band fly-
presses with the trade-mark and perforated. Until
pow the embryo pen is flat; next follows the
rounding into a semi-circular shape.
After once more being heated the pens are
plunged into oil and then polished by mixing with
sand in rotating cylinders. Small emery-wheels
then grind the point, and the slit from the perfora-
tion to the tip is made ; on this depends the whole
perfection of the pen, the desired flexibility being a
sine quad non. ‘The surface of the pen is then
coloured in a revolving cylinder over a charcoal
fire, and finally varnished with a solution of shellac.
And the result is—a pen at less than a farthing
infinitely superior to one formerly sold at five
shillings.
A. Kirxuam HaMILton.
><
THE REAL “MOTHER DAMNABLE.”
N a case in the law-courts some months ago
the allegation was made—though it was
contradicted at the time and has since
been strongly denied—that Roman Catholics,
or at least members of the Jesuit order,
sometimes speak of the Church of England as
‘¢ Qld Mother Damnable.”’ (A correspondent
in the Observer claims that ‘‘ the epithet was
first brought into prominence, if not actually
invented, by one of the early Tractarian
seceders to Rome, and a friend of Newman’s,
namely, the Rev. John Pye, who married a
daughter of Bishop Samuel Wilberforce ”’.)
It would be curious if the name were ever
used in this connection, for it once had very
different, and by no means religious, associa-
tions. Whether one is justified in speaking
of a real Mother Damnable is perhaps open to
THE AUTHOR.
dispute ; but, at any rate, there is a traditional
personage who bears the stigma of the title and
lingers on as a faint memory in a far from
romantic quarter of London as we now know it.
Near the end of the eighteenth century that
industrious combination of author, print-
collector, and print-seller, James Caulfield,
published his “ Portraits, Memoirs, and
Characters of Remarkable Persons from the
Reign of Edward the Third to the Revolution.”
To this work we owe some details, of doubtful
authenticity, concerning the career of ‘‘ Beau ”
Feilding, for a brief while the second husband
of Barbara Villiers, Duchess of Cleveland.
Another of the memoirs deals with Mother
Damunable.
‘“Of the shrew thus denominated,” says
Caulfield, ‘‘ whose real name has not reached
posterity, nothing farther is known than the
following lines annexed to her portrait—
‘London, printed in the year 1676 ’—inform
us. ... It is perhaps not unreasonable to
conjecture that she might be the original
Mother Red Cap and kept the public-house
near Kentish Town, known for a century past
by the sign of her head ; in rivalship of which
a Mother Black Cap appeared nearly opposite :
which ale-houses were, within these few years,
almost the only dwellings on that spot, now
covered with extensive piles of building.”
We may for the present leave the lines
quoted by Caulfield, while we follow the
identification suggested by him. This is
supported by a statement in a valuable and
entertaining collection of reminiscences called
‘““A Book for a Rainy Day.’ The author,
John Thomas Smith, up to his death in 1833,
keeper of the prints and drawings in the British
Museum, preserved in this much antiquarian
information which might otherwise have been
lost. Writing of the year 1778, he mentions
the Mother Red Cap, “‘a house of no small
terror to travellers in former times,’’ and adds :
“Tt has been stated that Mother Red Cap was
the ‘ Mother Damnable’ of Kentish Town in
early days; and that it was at her house the
notorious ‘Moll Cutpurse,’ the highway-
woman of the time of Oliver Cromwell,
dismounted and frequently lodged.”
Those who go to Camden Town nowadays
by the Underground Railway may see “ The
Mother Red Cap” over against the station,
at the corner of the Camden Road. There is
nothing ancient, however, about the house
to-day, except its name. It was rebuilt in the
late eighteenth century, according to J. a:
Smith. An old gentleman with whom the
present writer is acquainted remembers it fifty
She
THE AUTHOR. 91
years ago, when it was one of the most
picturesque inns in the London neighbourhood,
celebrated for its old ale and Welsh rarebits,
with a parlour where every seat was conse-
erated to a regular customer, and with a paved
space in front which could accommodate thirty
or forty coaches. Since then it has_ been
rebuilt at least once, and it is now almost
aggressively modern. In this respect it is at
least in harmony with its surroundings ; for,
where once highwaymen resorted, the chief
danger to life at the present day arises from the
unceasing streams of motor-omnibuses and
trams which run in all directions. Of the
““Mother Black Cap” there is no _ trace,
although two public-houses—the authorities
have been prodigal with licences hereabouts—
may be described as standing nearly opposite.
It is a rather strange coincidence that a
newspaper of 1776, mentioned in Besant’s
Survey of London, states that the space facing
the ‘“‘Mother Red Cap” was at one time
designed for a second Tyburn. This is sugges-
tive of the black cap, it must be admitted.
Another of the community of witches is
obviously the heroine of a pantomime produced
at the Sans Pareil Theatre in the Strand in
March, 1809—‘‘ Mother White Cap, or Hey
up the Chimney !”’ But she was perhaps only
a parody of her red and black sisters.
There appears to be little local tradition of
Mother Red Cap surviving in Camden Town,
beyond that she was “‘ a witch-sort-of-thing.”’
Mother Damnable’s portrait, reproduced by
Caulfield, is an unpleasing representation of an
old hag kneeling down by her grate, in a much
soiled or patched skirt and shawl, stick in hand,
with a spilt pot of ale and a clay pipe on the
floor behind her, while on the wall hangs a
scutcheon with a black and a white cat sus-
pended by their tails. In the modern ‘‘ Mother
Red Cap ”’ a picture presents the dame quite
otherwise, as only of middle age, in a red dress
and a red hat with peaked crown. Across it
is pasted the legend, “Champagne, 6d. a
glass’?! But it is red wine which stands in a
decanter at her side, and a glass of it is in her
hand.
The story, though its origin is difficult to
trace, is that Mother Red Cap, or Damnable,
was a brickmaker’s daughter in Kentish Town,
very wild in her girlhood—like Mary Frith,
alias Moll Cutpurse, according to her earliest
biographer, “‘a very tomrig or rumpscuttle,”’
“delighting only in boys’ play and pastime,
not minding or companying with the girls ””—
who, when she grew up followed Marlborough’s
army to the wars, and ended by becoming a
witch, as well as an inn-keeper, and being
carried off by the Devil.
The verses saved from oblivion by Caulfield
are plainly directed against an unpopular
landlady and do not allude to any traffic with
the Black Art. They run as follows :—
*Y° have often seen (from Oxford tippling house)
Th’ effigies of Shipton-faced Mother Louse,
Whose petty pranks (though some they might excel)
With this old trot’s ne’er galloped parallel.
*Tis Mother Damnable! that monstrous thing,
Unmatched by Mackbeth’s wayward women’s ring,
For cursing, scolding, fuming, flinging fire
I’th face of madam, lord, knight, cit, gent, squire :
Who (when but ruffled into the least pet)
Will cellar door-key into pocket get.
Then no more ale: and now the fray begins !
*Ware heads, wigs, hoods, scarfs, shoulders, sides, and
shins !
While these dried bones, in a Westphalian bag,
(Through th’ wrinkled weasan of her shapeless crag)
Sends forth such dismal shrieks and uncouth noise
As fills the town with din, the streets with boys ;
Which makes some think this fierce she-dragon fell
Yan scarce be matched by any this side hell.
So famed, both far and near, is the renown
Of Mother Damnable, of Kentish Town.
Wherefore this symbol of the cats we’ll give her,
Because, so curst, a dog would not dwell with her.”
“Mother Louse,” it may be noted, is
described in another of Caulfield’s memoirs
as the keeper of an ale-house near Oxford,
called Louse Hall. She was ‘ well known to
the gentlemen of that university, who called
her Mother Louse, and a portrait of her was
engraved from the life by David Loggan,
engraver to the University and friend of
Antony Wood. It represents her with a ruff,
which she was said to be the last woman in
England to wear. Oddly, the picture of
Mother Red Cap in the modern house gives
her a ruff about her neck.
Probably there is no reason to doubt the
existence, once upon a time, of these two
shrewish landladies. George Savile, Marquess
of Halifax, speaks, in his essay upon the choice
of Parliament-men, of ‘“‘a wet popularity ”
as a frail title to fame. An alehouse-keeper,
on the other hand,
*“ Who (when but ruffled into the least pet)
Will cellar door-key into pocket get—
Then no more ale,”
was sure of a dry unpopularity, which,
embalmed in verse, might last centuries when
there was a collector about with Caulficld’s
love for the quaint.
Puitre W. SERGEANT.
—_——_1—
THE AUTHOR.
MR. GOSSE’S ESSAYS.*
eae
HE second volume of Mr. Gosse’s
collected essays will be welcomed
alike by those who made the ac-
quaintance of these particular essays when
they first appeared, and by those to whom they
are new. Few writers, past or present, can
invest with so much charm the critical and
anecdotal saunter round the shelves of a
book-room as our author. Few, too, have such
sane views of what a library should be—“ a
small one, where the books are carefully
selected and thoughtfully arranged in accord-
ance with one central code of taste, and intended
to be respectfully consulted at any moment by
the master of their destinies.”’ If fortune made
him possessor of one book of excessive value,
Mr. Gosse tells us, he would hasten to part
with it. This is true wisdom. The first
quarto of ‘‘ Hamlet” may be left to the
Transatlantic millionaire.
The essays before us range over a vast
period of literary history. From Camden’s
‘‘ Britannia,”’ early in the sixteenth century,
they travel by degrees to Meredith’s “ Shaving
of Shagpat.’? The first and the last, it will be
seen, deal with well-known works. Perhaps
the most pleasing, however, are those which
take as their subject obscure or forgotten
books — such as Wither’s ‘‘ Shepheards
Hunting,” Lady Winchilsea’s “ Miscellany
Poems,” Farquhar’s ‘“‘ Love and Business,”
and that extraordinary panegyric on prize-
fighting, “‘ The Fancy,” of which the author
was Keats’s friend, John Hamilton Reynolds,
disguised under the alias of Peter Corcoran.
The last-named essay—for it takes its title
from the title of .Reynold’s book—is an
admirable example of the man of letters at the
ring-side. With what gusto does Mr. Gosse
quote Corcoran’s apology to his lady-love :—
“‘ Forgive me, and never, oh never again,
T’'ll cultivate light blue or brown inebriety ;
Tl give up all chance of a fracture or sprain,
And part, worst of all, with Pierce Egan’s society.”
and explain that ‘“‘ heavy brown with a dash
of blue in it”? was the fancy phrase for stout
mixed with gin !
There may be those to whom it seems
grotesque to turn the pen to discourse of such
things as these. To them may be commended
the lines from Samuel Daniel’s “* Musophilus,”
which Mr. Gosse quotes as the motto of his
book, beginning
*O blessed Letters, that combine in one
All ages past, and.make one live with all. . . .”
* “Gossip in a Library,” by Edmund Gosse, C.B.
London; William Heinemann.
CORRESPONDENCE.
—_-—< 2 —
“* ONLY.”
Srr,—The irritating misuse of the word
“only ’’ to which your correspondent “ Richard
Free ” called attention in your last issue, is by
no means confined to careless writers. Many
who denounce the split infinitive have not yet
had their grammatical consciousness awakened
to this solecism. For example, I have culled
the following three passages from the latest
edition of “‘The King’s English,” the best
book we have on the ill-treatment of English.
‘“ We shall now only make three general
remarks before proceeding to details.”
“The mistakes are nearly always on one
side, the infinitive being the form that should
only be used with caution.”
“ For a person’s name can only require a
defining cause to distinguish him from others
of the same name.”
The intended meanings are certainly not
‘only make,” “ only require,’ or ‘“ only be
used,” as a moment’s analysis shows.
This is perhaps the commonest error in both
spoken and written English at the present day ;
once perceived, it is undoubtedly one of the
most irritating, and your correspondent
deserves thanks for calling attention to it.
I am,
Your obedient servant,
Ernest A. Baker.
—1+——+—_
New AND AMUSING TRICK OF THE
LITERARY AGENT.
Dear Sir,—The literary agent has found a
new way of amusing his authors. He has a
special cheque printed with a receipt upon the
back which requires a penny stamp. He pays
his author with one of these cheques and of
course does not stamp his receipt. The author
is abroad, or he has only embossed envelopes
upon his desk, and the fun begins. Publishers
are taking up this delightful little novelty.
‘The author finds on the back of the publisher’s
cheque a printed receipt, in which he is invited
to make over to the publisher all sorts of rights
he never sold’ when the. bargain was made.
Any alteration of the receipt invalidates the
cheque. Letters, explanations, recriminations.
What an infernal nuisance all this
smartness is ! |
X.
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The Author, Vol. 24 Issue 03 (December 1913)
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<em>The Author</em>, Vol. 24 Issue 03 (December 1913)
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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Che HMuthbor.
(The Organ of the Incorporated Society of Authors.
FOUNDED BY SIR
Monthly.)
WALTER BESANT.
Vor. XXIV.—No. 4.
JANUARY 1, 1914.
[PRIcE SIXPENCE.
TELEPHONE NUMBER:
874 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
—
NOTICES.
—+—~<9+—_
RR the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
ed Editor on all literary matters treated from
on. X IV,
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS,
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
+—> +
THE SOCIETY’S FUNDS.
gg
ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
* 3 i
THE AUTHOR.
MR. GOSSE’S ESSAYS.*
oe
volume of Mr. Gosse’s
collected essays will be welcomed
alike by those who made the ac-
quaintance of these particular essays when
they first appeared, and by those to whom they
are new. Few writers, past or present, can
invest with so much charm the critical and
anecdotal saunter round the shelves of a
book-room as our author. Few, too, have such
sane views of what a library should be—“ a
small one, where the books are carefully
selected and thoughtfully arranged in accord-
ance with one central code of taste, and intended
to be respectfully consulted at any moment by
the master of their destinies.”’ If fortune made
him possessor of one book of excessive value,
Mr. Gosse tells us, he would hasten to part
with it. This is true wisdom. The first
quarto of “Hamlet” may be left to the
Transatlantic millionaire.
The essays before us range over a vast
period of literary history. From Camden’s
‘“‘ Britannia,” early in the sixteenth century,
they travel by degrees to Meredith’s “‘ Shaving
of Shagpat.” The first and the last, it will be
seen, deal with well-known works. Perhaps
the most pleasing, however, are those which
take as their subject obscure or forgotten
books —such as Wither’s ‘‘ Shepheards
Hunting,” Lady Winchilsea’s “ Miscellany
Poems,” Farquhar’s ‘“‘ Love and Business,”
and that extraordinary panegyric on prize-
fighting, “‘ The Fancy,” of which the author
was Keats’s friend, John Hamilton Reynolds,
disguised under the alias of Peter Corcoran.
The last-named essay—for it takes its title
from the title of _Reynold’s book—is an
admirable example of the man of letters at the
ring-side. With what gusto does Mr. Gosse
quote Corcoran’s apology to his lady-love :-—
“ Forgive me, and never, oh never again,
Tl cultivate light blue or brown inebriety ;
Tl give up all chance of a fracture or sprain,
And part, worst of all, with Pierce Egan’s society.”
and explain that “heavy brown with a dash
of blue in it’ was the fancy phrase for stout
mixed with gin !
There may be those to whom it seems
grotesque to turn the pen to discourse of such
things as these. To them may be commended
the lines from Samuel Daniel’s “* Musophilus,”
which Mr. Gosse quotes as the motto of his
book, beginning
**O blessed Letters, that combine in one
All ages past, and make one live with all. . . .”
* “Gossip in a Library,” by Edmund Gosse, C.B.
London; William Heinemann.
HE second
CORRESPONDENCE.
—~> + ——
** ONLY.”’
Sir,—The irritating misuse of the word
‘only ’? to which your correspondent “ Richard
Free ” called attention in your last issue, is by
no means confined to careless writers. Many
who denounce the split infinitive have not yet
had their grammatical consciousness awakened
to this solecism. For example, I have culled
the following three passages from the latest
edition of ‘“‘ The King’s English,” the best
book we have on the ill-treatment of English.
‘“ We shall now only make three general
remarks before proceeding to details.”’
‘““The mistakes are nearly always on one
side, the infinitive being the form that should
only be used with caution.”
“For a person’s name can only require a
defining cause to distinguish him from others
of the same name.”
The intended meanings are certainly not
“only make,’ ‘“‘ only require,”’ or “ only be
used,’’ as a moment’s analysis shows.
This is perhaps the commonest error in both
spoken and written English at the present day ;
once perceived, it is undoubtedly one of the
most irritating, and your correspondent
deserves thanks for calling attention to it.
I am,
Your obedient servant,
Ernest A. Baker.
SE ann a a
New anp AMUSING TRICK OF THE
Lirersary AGENT.
Dear S1r,—The literary agent has found a
new way of amusing his authors. He has a
special cheque printed with a receipt upon the
back which requires a penny stamp. He pays
his author with one of these cheques and of
course does not stamp his receipt. The author
is abroad, or he has only embossed envelopes
upon his desk, and the fun begins. Publishers
are taking up this delightful little novelty.
The author finds on the back of the publisher’s
cheque a printed receipt, in which he is invited
to make over to the publisher all sorts of rights
he never sold when the. bargain was made.
Any alteration of the receipt invalidates the
cheque. Letters, explanations, recriminations.
What an infernal nuisance all this
smartness is!
X,
(The Organ of the Incorporated Society of Authors.
Monthly.)
Che Author.
FOUNDED BY SIR
WALTER BESANT.
VoL. XXIV.—No. 4.
JANUARY 1, 1914.
[PRICE SIXPENCE.
TELEPHONE NuMBER:
874 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
———
NOTICES.
a
RR the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
' members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
~ Editor on all literary matters treated from
ou. X IV,
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ps advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
—- +
THE SOCIETY’S FUNDS.
Seg
ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds aatable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
* 2 ;
94
matter closely connected with the work of the
Society. : :
(2) The Pension Fund This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
—_———_+ <> —___——__
THE PENSION FUND.
— 1
N January, the secretary of the Society
I laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4% Extension Shares, 1914,
£10 fully paid. The number of shares pur-
chased at the current price was twenty-five
and the amount invested £296 1s. 1ld. The
trustees are also purchasing three more Central
Argentine Railway New Shares at par, on
which as holders of the Ordinary Stock they
have an option.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
6.1 d
Local LOANS: ..........-¢-s.--- 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ........ 291 19 11
London and North-Western 3%
Debenture Stock ............ 250 0 0
Egyptian Government Irrigation
Trust 4% Certificates ........ 200 0 0
Cape of Good Hope 33% Inscribed
StoGk, $3 occ lice ots dn 200 0 0
Glasgow and South-Western Rail-
way 4% Preference Stock 228 0 0
New Zealand 34% Stock ....... 247 9 6
Trish Land 22% Guaranteed Stock 258 0 0
Corporation of London 23%
Stock, 1927-57). 0.5 scenes cus 438. 2 4
Jamaica 34% Stock, 1919—49 .. 182 18 6
Mauritius 4% 1987 Stock ....... 120 12 1
Dominion of Canada, C.P.R. 84%
Land Grant Stock, 1988 ...... 198 8 8
Antofagasta and Bolivian Railway
5% Preferred Stock .......... 237 0 0
Central Argentine Railway Or-
dinary Stock ....... veavcan. &. 282:.0..0
THE AUTHOR.
Nominal Value.
£ &@
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ........--. 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares ........+.-- 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ............ 550 0 0 &
8 Central Argentine Railway £10
Preference Shares, New Issue.. 30 0 0
Total 2. i263 ce £4,764 6 0
PENSION FUND.
—+~> +
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and |
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
April, 1913.
It does not include either donations given
prior to January, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
19138.
April 8, Caulfield-Stoker, T. .
June 12, Wimperis, Arthur .
June 16, Ballantyne, J. W.
June 16, Thorold, Rupert
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. 2 : :
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 13, Knowles, Miss
Oct. 20, Collison, Harry :
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. . ;
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert
Dec. 4, Lunn, Arnold . :
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana
Dec. 4, Vallois, Miss Grace
Dec. 17, Beresford, J. D.
1913.
CUMANOAH As
—
_
SOHO Ot OS OS Or Or Or Or St Or Oc Or
cococacocosososcoscooossoooooF®
ecocoooreoccoocoosorososooororoth
—
Donations.
April 2, Daniel, E. H. . ; .
April 2, Hain, H.M. . : » 0 45
oon
THE AUTHOR. 95
th
~%
April 7, Taylor, Miss Sueties M. .
April 7, Harding, Newman . ‘
April 9, Strachey, Miss Amabel .
April 10, Aspinall, Algernon.
April 15, Craig, Gordon ; .
April, Robbins, Miss Alice
June 12, Peel, Mrs... :
June 18, Barlow, Miss Hilaré :
June 13, Kynnersley, E. M. Sneyd.
July 5, Williams, Robert . .
July 11, Broadbent, D. R. . ‘
July 22, Cameron, Mrs. Charlotte .
Sept. 29, Peacock, Mrs. F. M.
Sept. 30, Wallis-Healy, F. <
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold ;
Oct. 30, Rossman, Miss
Nov. 3, Holland, Theodore
Noy. 3, Steane, Bruce
Noy. 3, Batty, Mrs. Braithwaite
Nov. 10, Elvington, Miss Helen
Nov. 10, Waterbury, Mrs. . <
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia :
Dec. 11, Little, Mrs. Archibald. . 1
Dec. 11, Topham, Miss Ann .
_
_
CSOT RK ON OLOTOO CONN EH OOOOH ae Ok OO:
—
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COCFrFSOOCOCOCOOCOSOHOCOUOCONKE RK OCOCSCOoFrEoooSO
eg eg
COMMITTEE NOTES.
| last meeting of the Committee of
Management for 1913 was held at the
offices of the Society on December 1.
After the reading of the minutes of the previous
meeting, the committee proceeded with the
election of members. Thirty-three members
and associates were elected. The committee
are pleased to state that the elections this year
have exceeded the number elected in 1912, and
give the Society another record, 349 members
and associates having been elected. The
committee then accepted with regret eight
resignations, bringing the resignations for the
year up to ninety-one. Here, again, the com-
mittee may congratulate the members. The
resignations are slightly fewer than in 1912,
when the number was ninety-nine. It must
be remembered that in proportion to the size
of the Society the decrease is even more marked
than might, at first sight, seem apparent.
The solicitor of the Society then reported on
the cases with which he had been dealing during
the month.
The first, which has been running on for
some time, arose out of a dispute on accounts.
It is possible this matter may be settled by
the purchase outright by the publisher of
the member’s copyright.
The next matter referred to a dispute as to
the payment by a certain publisher of an
amount due, the publisher having disclaimed
the full liability owing to non-fulfilment of
part of the contract by the author. A sum
has now been agreed in settlement.
In the last issue, reference was made to
a difficult case. An agent had sold certain
rights in an article to an American magazine
without referring the question of price to the
author. The American magazine insisted on
its strict legal rights, in spite of the author’s
wishes to the contrary. It appeared, after
investigation, that the agent had exceeded his
instructions, and, in consequence, that the
editor of the American paper, from his point of
view, had acted within his rights, the only
claim open to the author being against the
agent for exceeding his authority. Another
question arose out of a dispute between author
and publisher, dealing with the publication
of a book. At the author’s suggestion, she
attended personally and explained the full
details to the committee. The committee
carefully considered the rights of the matter
from every point of view, the Society’s solicitor
setting out the legal position. After full dis-
cussion, the committee came to the conclusion
that the publisher had not broken or exceeded
his contract, and there was no legal claim
enforceable by the member against him. The
solicitor was instructed to report to the member
accordingly.
The solicitors then reported that the Society’s
case, Corelli v. Gray, taken to the Court of
Appeal at the instance of the defendant, had
been heard, and that judgment had been given
in that Court in confirmation of the judgment
given in the court below. A report of the case
appeared in the December issue of The Author.
In a dispute between author and publisher
on the terms of a contract the committee
decided to go ahead.
The next question dealt with the delay in
publication of a book. The solicitors had
already received instructions to bring pressure
on the publisher, and the committee decided
that whatever steps might be necessary to
ensure early publication should be taken.
In a dispute arising between an author and a
magazine relating to infringement of copyright,
the solicitors reported that a settlement had
been reached on the basis that the editor had
96
agrecd to publish an apology drafted on behalf
of the member.
A member of the Society appealed to the
committee in the following circumstances :—
A book had been published by a certain
firm for the member, but had been adver-
tised in the publisher’s lists as by another
author. The matter had been taken in hand
at once. The publisher had expressed his
regret and had undertaken to do what he could
to remedy the mistake. This settlement had
been agreed to by the author.
A dispute on one of the unsatisfactory con-
tracts which authors so often make, binding
themselves in respect of future books, had
arisen. The question at issue was the number
of books which had been offered to the pub-
lisher and the royalties payable on those
accepted. The matter was one of importance,
as the amount of the author’s royalty depended
upon the correct interpretation of the agree-
ment. The solicitors advised that they con-
sidered the author had a sound case, and
the matter will be submitted to arbitration
under a clause in the agreement to that
effect.
In three small claims for moneys due the
solicitor reported that in the first case he had
signed judgment. -In the second case he had
issued a summons, and in the third he
proposed now to take steps to commit the
defendant for contempt of court as he had
failed to attend an appointment to be examined
before the Master. The committee authorised
these proceedings.
A difficult case arose under an agreement
executed some years ago, in which it was
claimed that the acting rights in a play included
the cinematograph rights. It was decided to
await further developments and the committee
instructed the solicitors to report fully when
further information was to hand.
The next matter related to a dispute between
two members of the Society as to whether one
member had infringed the other’s copyright.
The solicitor was given instructions, having
heard statements from both parties, to
endeavour to arrange a settlement, and if
unsuccessful, to offer to have the matter
settled by an arbitrator appointed by the
Society’s committee. The result will be
reported to the next meeting.
The secretary then reported to the committee
certain eases which had arisen, which had not
been in the hands of the solicitors.
The first was an alleged breach of contract
by an Australian editor. It was decided to
place the matter in the hands of a lawyer in
THE AUTHOR.
Australia if the solicitors of the Society advised
the claim was a sound one.
In a case of dispute between a member of the
Society and‘an agent which had been placed
before the Society by the agent, the committee
decided it was impossible for them to advise
the agent as to the course to be pursued, the
advice, if any, only being available to the
member and at his request.
The secretary reported that in a case which
the committee had agreed to take in Germany
subject to the approval of the member con-
cerned—for whom counsel’s opinion had been
taken—the member, after consideration, had
decided not to trouble the Society any further.
An important case being fought out in
America—important to all authors—English
and American—had been brought to the notice’
of the Society, not only by the American
Authors’ League, but by an American member
of the Society. The committee decided to
assist the Authors’ League of America to fight
the case as they considered a judgment on the
issues of vital importance to all authors.
Another American case involving questions as
to the international arrangements between the
United States and England was brought to
the notice of the committee, and the committee
decided to put the full details before the Board
of Trade or whatever Government office might
be competent to deal with the details.
In another case in the United States—a
dispute between an author and an agent—it
was decided, on the author’s statement that
he did not wish to press the matter, to write
to the agent to draw his attention to the
unsatisfactory nature of the explanation given.
The question of the right of the Income Tax
Commissioners to demand from publishers
detailed statements of the sums paid in
royalties to their authors was considered, and
it was decided to obtain counsel’s opinion on a
matter which was of such vital importance to
authors.
The secretary reported that, owing to the
pressure of work at the office, it had been found
absolutely essential to engage a new clerk.
The engagement was confirmed by the com-
mittee.
A letter from Sir Alfred Bateman, who was
unable to attend the meeting, was read. It
dealt with certain important questions of
international copyright in which he had been
working for the benefit of the Society. The
committee expressed their thanks to Sir Alfred
for his labours.
The committee sanctioned the drawing of a
cheque for Christmas boxes for the clerks of
nesinematerer mn
alg
ue |
fe |
THER AUTHOR.
the Society as the work of the Society had been
successful during the year. They also sanc-
tioned the purchase of certain office furniture.
Mr. Rann Kennedy received the thanks of
the committee for his generous action in paying
costs ineurred by the Society in a copyright
ease in Winnipeg. The amount—£15—was
paid into the capital account.
The committee also thanked Mr. Banister
Fletcher for a donation of £5 5s. to the same
fund.
The questions of loans to authors and the
International Gathering of 1915 were adjourned
to the next meeting.
te
Dramatic SuB-CoMMITTEE.
Tue December meeting of the Dramatic
Sub-Committee was held on Friday, Decem-
ber 19, at three o’clock.
After the reading of the minutes, the
secretary reported that the draft Royalty
Agreement, with notes and comments, had not
yet been finally settled, but that the delegates
appointed to settle it hoped to be able to lay it
before the sub-committee at the next meeting.
The secretary read some very interesting
letters he had received from the secretary of
the Société des Auteurs et Compositeurs
Dramatiques in regard to cinema rights in
France, and laid on the table an agreement
which had been settled for the marketing of
these rights. He was instructed to make
further enquiries of the French society, and to
inform the society that the sub-committee
would be ready to consider any proposal for an
international conference.
The secretary also read a letter on the same
matter from Mr. Rex Beach, who was acting
for the United States Author’s League, and he
was requested to thank Mr. Beach for his
letter.
The sub-committee then settled their
nominees for the coming year, and a notice will
be sent round to the dramatic section in due
course.
The question of placing powers of attorney
in the hands of foreign lawyers was again con-
sidered, and a draft power of attorney was laid
on the table. The matter was referred to the
Committee of Management for their sanction.
An interesting letter from an American
lawyer to Mr, Charles Frohman, setting out the
method by which dramatic copyright could be
secured in Canada, was read to the sub-
committee, and the secretary was instructed
to enquire of Mr, Frohman whether he would
97
have any objection to its being published in
The Author.
Mr. Jerome put before the sub-committee
an important case in which he was involved,
and the sub-committee referred the matter to
the Committee of Management for their favour-
able consideration.
The secretary then pointed out the necessity
for dramatists to register their plays in
Australia, in order that they might obtain the
benefit of the summary proceedings under the
Australian Act. He was instructed to write to
the Registrar in Australia to obtain full details,
with registration forms, if possible, so that the
Society might carry through such registration
on behalf of its members.
One of the members of the sub-committee
raised the question of the interference of
middlemen between dramatic authors and
managers, and the secretary was instructed to
write a paragraph on the point for insertion in
The Author. —
—>
Composers’ SuB-COMMITTEE.
Tue December meeting of the Composers’
Sub-Committee was held on Saturday,
December 18, at No. 1, Central Buildings,
Tothill Street, Westminster, S.W., at 11 a.m.
After the minutes of the former meeting
were read and signed, the sub-committee
considered the following questions :—
The secretary reported that a paragraph
had been sent to the papers, and also men-
tioned the papers in which it had appeared.
It was hoped that this paragraph might have
some effect in bringing composers more
closely together,
Arising out of this it was suggested that an
article should be written in one of the papers
dealing with mechanical reproduction and
composers’ rights, and the secretary was
instructed to see whether he could get such an
article inserted in one of the London papers.
The sub-committee next considered the
question of stamps on mechanical instruments.
It appeared that the stamps which, under the
Board of Trade regulations, had been affixed
to mechanical reproductions, were often falling
off. The companies whose duty it was to
affix the stamps, stated that all they had to
prove was that the stamps were affixed, and
that if the stamps dropped off, the fault was
due to the copyright owners who had supplied
stamps inadequately gummed. The sub-
committee thought the matter of serious
importance, as it was very difficult to check
piracies unless the matter was carried out
98
according to the spirit of the Act. It was
decided to write to other collecting agencies
with a view to joint action being taken in
submitting the matter to the Board of Trade.
Another question arose as to the supplying
of stamps in foreign countries, and the sub-
committee decided to accept a proposal at
any rate, for one year, put forward by one of
the foreign collecting socicties, in order to test
a suggestion that they had made.
The question of the loaning of orchestral
parts and works by certain lending libraries
attached to music publishing houses was con-
sidered. The arrangement frequently left the
composer with no monetary reward, and it
appeared clear that if the idea was carried
forward to any great extent, it would be
possible for the publishers to avoid paying
any very large sums in royalties, owing to the
fact that the publishers need not sell, but
might only loan the composers’ works.
The next question had reference to the
prices which the composers of comic songs
received for their performing rights and
mechanical instrument rights. The secretary
was instructed to obtain further information.
Members of the Committee, also, promised to
obtain information and report.
An article written on instructions given by the
sub-committee at their former meeting, deal-
ing with the collection of mechanical fees, was
read, and the sub-committee decided, with
the approval of the Committee of Management,
that the article should appear in The Author.
They also decided, with the approval of the
committee of Management, that the com-
poser’s pamphlet should be printed, containing
the secretary’s article on The Commercial
Side of Music, the article by Mr. E. J. Mac-
Gillivray on Composers’ Rights, and a Com-
posers’ Royalty Agreement, when it is settled.
It is hoped these matters will be carried through
in the beginning of the year.
The arrangements for the meeting with the
delegates of the Society of British Composers
were finally settled, and a report will be sub-
mitted to the next meeting of the sub-
committee.
The question of agents’ fees in foreign
countries was considered and adjourned,
pending the arrival of further information
which was expected before the next meeting
of the sub-committee. The consideration of
the royalty agreement was also adjourned.
oe
THE AUTHOR.
Cases.
Durine the past month there have been
eighteen cases in the hands of the secretary.
There were four cases, disputes on agree-
ments, two of which have been negotiated ;
one has been placed in the hands of the
Society’s solicitors and one has only recently
come to the office.
In two claims for MSS. from editors, the
MSS. have been returned and forwarded to the
authors.
There has been one application for accounts
and money, but as the matter lies in the
United States, it will be some time before it
is possible to report the result.
There have been ten applications on behalf
of members for default of payment; four of
these have been successfully carried through ;
three have had to be placed in the hands of the
Society’s solicitors, and of the remaining three,
two have only recently come to the office, and
the last one is in course of negotiation.
In one case of infringement of copyright, the
infringement has been acknowledged and the
matter has been settled.
Of the eighteen cases three were in foreign
countries. It is useful to note that the
number of complaints which the Society is
asked to settle outside the British Isles
increases monthly.
There are three cases open from former
months, not counting those which have had
to be placed in the hands of the Society’s
solicitors. Of these two are in the United
States and one is in Canada. It is hoped,
however, that negotiations will be carried
through successfully, indeed in one case the
matter seems almost to be at an end.
——
December Elections.
Armstrong, Cecil Ferard 164, Ebury Street,
S.W.
Smith Street,
Barnby, Miss. ;
Westminster, S.W.
Berry, Ana M. . . 8, Sloane Court,
S.W.
Bradley, Miss Edith Greenway Court,
Hollingbourne,
Kent.
Coales, H. G. (“‘ Market
Harborough ’’).
Coats-Bush, W. . :
Market Harborough.
Villa Vecchia, Davos
Dorg, Switzerland.
6, Pembroke Walk
Studios, Kensing-
ton, W.
Cook, Miss Margaret C.
-
q
fi
hp ea
Comper,
Cotes,
Miss Frances
M. M.
Cory, Mrs. Theodore .
Mrs.
(“* Sara
Duncan ’’).
Everard
Jeannette
Cross, Miss May . ‘
Davies, Emil
tr
“. 7 JONES,
Fraser,
Hampden-Cook,
Deane, Sara ‘ ‘
Dymock, R. G. Vaugh-
ton (““ R. Penley’’).
Maj.-Gen. Sir
Thomas, K.C.B.,
C.M.G.
Gaul, Miss Lilian J. .
Rev.
‘Ernest, M.A.
Horn, Miss Kate (‘‘ Mrs.
Weigall”).
Ernest, M.D.,
M.R.C.P.
* King, Cecil
Lubbock, Basil
i Lunn, Arnold
rity
ph Meese
3 ¢
Mitford, E.
| Vavasour-Earle,
Watson,
Bruce,
F.R.G.S.
Roberts, Dr. C. G. D..
Smyth, Dr. Ethel
Steuart, Maria S. .
Vallois, Grace Mary.
a ' -Vansittart, Robert :
Vaughan Miss Evelyn
Goode.
Miss
Aimée.
Alex. C.
(“ Alexander Camp-
bell”) —_(** Campbell
Watson’’).
Watson, Augusta Gor-
don,
THE AUTHOR.
1, Stratford Street,
Oxford.
The White House,
Hampton Court.
36, Buckingham
Gate, S.W.
86, Worple Road,
Wimbledon, S.W.
65, 66, Chancery
Lane, W.C.
28, Wellington Court,
Knightsbridge,
S.W.
Prestfelde,
bury.
83, Onslow Square,
S.W.
Shrews-
Gillott Lodge, Gillott
Road, Edgbaston.
Methlic, Brentwood,
Essex.
391, Upper Rich-
mond Road, Put-
ney, S.W.
69, Portland Court,
W.
225, Goldhurst Ter-
race, South Hamp-
stead, N.W.
The Manor House,
Hamble, Hants.
8, Upper Woburn
Place, W.C.
29, Sternhold
Avenue, Streat-
ham, S.W.
8,Sergeants Inn, W.C.
Coign, Hook Heath,
Woking.
79, Great King
Street, Edinburgh.
59, Cambridge Road,
Kilburn, N.W.
31, Princes Gate,S.W.
Fullarton, Adelaide,
S. Australia.
The Haven, 53,
Queen’s Road,
St. John’s Wood,
N.W.
4, Queen
Edinburgh.
Street,
8, Cadogan Gardens,
S.W.
99
BOOKS PUBLISHED BY MEMBERS.
——— +
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members, In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate,
ARCH ZOLOGICAL.
Norres oN THE CHURCHES IN THE DEANERY OF KeEnn,
Devon. By Bearrix F. CResswetn. 9 x 6. 91 pp.
Exeter: J. J. Commins and Son.
ARCHITECTURE.
An Intropvuction to Enciise CHurcH ARCHITECTURE
FROM THE ELEVENTH To THE SIXTEENTH CENTURY. By
Francis Bonn, M.A., F.G.S., Hon. A.R.1.B.A. Two
Vols. xxxv + vi+ 986pp. Milford. Two guineas n.
ART.
PAINTING IN THE Far East. An INTRODUCTION TO THE
Hisrory oF Picrortan ArT IN ASIA, ESPECIALLY CHINA
AND Japan. By Laurence Bryyon. Second edition
revised throughout. 10} x 8. xviii + 295 pp. Edward
Arnold. 21s. n.
More asout Cottectinc. By Sir James Yoxatt, M.P.
8} x 6. 339 pp. Stanley Paul. 5s. n.
VisvakaRMA: Examples of Indian Architecture, Sculp-
ture, Painting, Handicraft. Chosen by Ananpa K.
Coomaraswamy, D.Sc. Part VI. 11 x 8%. 100 pp.
2s. 6d. (Rs. 2).
BIOGRAPHY.
MacponaLp or THE Isues. By A. M. W. Srra.ina.
9 x 5}, xii + 295 pp. John Murray. 12s. n.
Memories oF A Musician: REMINISCENCES OF SEVENTY
Years or Musicat Lire. By WinetmMGanz. 9 x 5h.
xiv + 357 pp. John Murray. 12s. n.
My Betovep Sour. By Mrs. T. P. O'Connor. 9 x 53.
vili + 427 pp. G.P. Putnam’s Sons. 10s. 6d. n.
BOOKS FOR THE YOUNG.
SHAKESPEARE’S Srorres. By Constance and Mary
Maup. 73 x 5. 346 pp. Edward Arnold. 5s. n.
Marcarer’s Boox. By H. Frenpinc-Harn. 9 x 6}.
284 pp. Hutchinson. 7s. 6d. n.
DRAMA.
LANDED Gentry: A Comepy In Four Acts. By W.S.
Mavecuam. 7 x 5. vii+ 168 pp. Heinemann. 1s. 6d.n.
EDUCATIONAL.
WINGS AND THE CHILD, oR THE Bur~pine or Maarc Ciriss.
By E. Nesprr. 8 x 5}. xiv +197 pp. Hodder and
Stoughton. 6s, eg owen %
FICTION. 7 #3 Ta" |S] We!
THE Epvucation or Oriver Hyp. By Rezcrnatp E.
Satwey. Digby, Long & Co.
Five Years anp 4 Monto. By Fanny Morris Woop.
Duckworth & Co.
Loor yrom tHe Tremere or Fortuns. By Horacu
Awnestey Vacuetn. 74 x 5. 310 pp. Murray. 6s.
StmPLe Smmon. His Adventures in the Thistle Patch. By
A. Nem Lyons. Illustrated by G. E. Pero. Lane
6s.
100
FOLK-LORE.
By Rev. 8. Barinc-Goutp, M.A.
K oF FOLK-LORE. ee
i (The Nation’s Library.) Collins
6% x 44. 264 pp.
Clear Type Press. 1s. n.
HISTORY.
[mpErtaLisM AND Mr. GLADSTONE, 1876-1888. Compiled
by R. H. GRETTON. 7k x 43. 120 pp. Bell. le. n,
LITERARY.
Joun Muurncton SYNGE AND THE Trish THEATRE. By
Maurice Bovrexois. Demy 8vo. xvi-+ 338 pp.
Buckram. With 16 full page illustrations by Joun B.
Yuats, R.H.A., Jack B. Yuats, JAMES PATERSON,
R.8.A., JoHN CURRIE and others. Constable & Co.
Tue LIGHTER SIDE oF ENGLISH Lrrs. By F. FraNxrort
Moors. With Illustrations in Colour by GORGE
BeLcuer. 8 x 5}. 284 pp. Foulis. 5s. n.
Tur KIRRIEMUIR EDITION OF THE Works or J. M. BaRRIE.
‘Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s.
the set.
Reminiscent Gosstr oF MEN AND MATTERS.
Baker, F.R.G.S. 7} x 5}. viii + 246 pp.
man and Hall. 6s.
MISCELLANEOUS.
Our Wrésr. A Collection of Sketches of Life in the
Canadian West. Illustrated with photographs. Thomas
Murby & Co., 6, Bouverie Street, E.C. 6d. n.
NATURAL HISTORY.
Wiup Anmats aT Home. By Ernest THOMSON SETON.
8} x 5B}. xvi+ 224pp. Hodder and Stoughton. 6s. n.
Tu BopLey HeAD NaTuRAL HisTORY. By E. D. CuMING.
With Illustrations by J. A. SHEPHERD. Vol. Il. British
Birds. Passeres. 6} x 5. 122 pp. Lane. 28. n.
POETRY.
Tar Porms oF Francois VILLON. Translated by H. Dr
Vere STacroonn. 9 xX 6}. xii + 300 pp. Hutchin-
son.
POLITICS.
War anp THE Workers. By Norman ANGELL.
63 pp. The National Labour Press. ls.
REPRINTS.
A Selection from Irish Poetry. By
93 x 6}. xxvi + 160 pp. Sidg-
ls. 6d. n.
By JAMES
Chap-
7k x 5.
THe Wimp Harp.
KATHARINE TYNAN.
wick and Jackson.
A Century oF Paropy anp Imitation. Edited by
Water Jerrotp and R, M. Leonarp. 1k XG:
xv + 429 pp. Humphrey Milford. 1s. 6d. n
Tue Hus or Home. By L. MactEan Watt. With the
Pentland Essays of Robert Louis STEVENSON. 8) x 5h.
259 pp. Foulis. 5s. n.
SCIENCE.
“ Wuo's Wuo IN Scrence” (International). Edited by
Hl. H. Sreruenson. 9} X 6. 667 pp. J. and A.
Churchill. 10s. n.
Continurry, THE PRESIDENTIAL ADDRESS TO THE BRITISH
ASSOCIATION, BIRMINGHAM, MCMXIII. By Sm Oxtver
Loven. Printed in full, and supplemented by Explana-
tory Notes. 7} x 5. 118 pp. Dent. 1s. n.
SOCIOLOGY.
Conriictine IpEats! Two Sikes OF THE Woman’s
Qumstion. By B. L. Hurcutns. 74 x 5. vii + 83 pp.
Murby. ls. 6d. n.
THE AUTHOR.
THEOLOGY.
L’Imrration ps Jesus CHRIST. Introduction par Mer.
R. H. Benson. 6} x 4. xiii + 374 pp. (Collection
Gallia.) Paris: Georges Cres et Cie. London: Dent-
i te. n., eel ay
(lem igettee op avert.
A Woman’s Wrxter my Arrica. By Mrs. CHARLOTTE
Cameron. Demy 8vo. Printed throughout on_ art
paper, with 155 illustrations. 403 pp. Stanley Paul
& Co. 18s. 6d. n.
Tur Guipe To SouTH AND East AFRICA. For the use of
Tourists, Sportsmen, Invalids, and Settlers. Edited
annually by A. SAMLER Brown and G. Gorpon Brown,
¥.R.GS., for the Union Castle Mail Steamship Company.
Twentieth edition, 1914. 74 x 4%. liv+ 695 pp.
Sampson, Low.
+
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
E are asked by the executive officers of
the Alfred Russel Wallace Memorial
Fund to state that, if a sufficient sum
can be raised, the following memorials to the
late Dr. A. R. Wallace are proposed : (1) A
medallion to be offered to the Dean and
Chapter of Westminster Abbey ; (2) a portrait,
for presentation to the Royal Society, to be
painted by Mr. J. Seymour Lucas, RA. to
whom Dr. Wallace had, within the last few
months of his life, consented to sit ; (3) a copy
of the portrait for presentation to the nation ;
and (4) a statue to be offered to the trustees
of the British Museum for erection in the
Natural History Museum. It is estimated
that £350 will cover all expenses connected
with the portrait by Mr. Lucas, including a
hotogravure reproduction, signed by the
artist, for each subscriber of one guinea and
upwards; and that an additional £750 will
permit the scheme being carried out in its
entirety. Subscriptions will be received and
acknowledged by Professor R. Meldola, 6,
Brunswick Square, London, W.C.; Professor
E. B. Poulton, Wykeham House, Oxford ;
Sir Wm. Barrett, Kingstown, Co. Dublin ;
and the Manager, Union of London & Smith’s
Bank, Holborn Circus, London, E.C. Direct
payments to the Manager will be the most
convenient course.
A. shilling pamphlet entitled ‘“* National
Principles and ational Duty.” by the author
of ‘National Revival,” with a preface by
the Rt. Hon. the Earl of Selborne, K.G., has
been issued by the Women’s Printing Society,
Ltd., Brick Street, Piccadilly.
A. Swedish translation of Mr. Francis.
uk
eS ae aS
. . @
THE AUTHOR. 101
Gribble’s ‘‘ Court of Christina of Sweden ”’ will
be published by Messrs. Walstrom and
Widstrand.
Among the Fellowship Books published by
Messrs. Batsford, at 2s. net, are “ A Spark
Divine,”’ a book for animal lovers, by Mr. R. C.
Lehmann ; “* Romance,” by Mr. Ernest Rhys ;
* Friendship,”” by Mr. Clifford Bax; ‘* The
Joy of the Theatre,’’ by Mr. Gilbert Cannan :
and “ The Country,” by Mr. Edward Thomas.
A revised and cheaper edition of Mr.
Frederick A. M. Spencer’s ‘“ Meaning of
Christianity’? has now appeared (Fisher Unwin,
2s. 6d. net).
Viscount Esher, G.C.B., contributes a pre-
face to Mrs. St. Clair Stobart’s ‘‘ War and
Women from Experiences in the Balkans and
Elsewhere ” (G. Bell & Sons, 3s. 6d. net).
Mr. R. A. Scott-James’s “‘ Influence of the
Press” is published by Partridge & Co. at
3s. 6d. net.
Mr. James Baker’s new work is ‘“‘ Reminis-
cent Gossip of Men and Matters ” (Chapman
& Hall, 6s.).
Mr. A. R. Haig Brown, in “‘ My Game-Book,”’
deals not only with sport in Surrey, Sussex,
Norfolk, ete., but also with early adventures
at Charterhouse and later days at Lancing
(Witherby, 5s. net).
H.M. the Queen and H.M. Queen Alexandra
have both been graciously pleased to accept
copies of “ A Woman’s Winter in Africa,”’ of
which the publishers are Messrs. Stanley Paul.
‘The author, Mrs. Charlotte Cameron, has been
elected a Fellow of the Royal Geographical
Society.
Messrs. S. Paul announce the issue, in due
course, of ‘‘ Napoleon in Exile at Elba ” and
“Napoleon in Exile at St. Helena,” by
Mr. Norwood Young, who sails this month on
his second trip to the two islands to complete
his study of local Napoleonic history. Mr.
A. M. Broadley will be responsible for the
illustrations to the books.
Mr. E. Pearse Wheatley’s ‘“ Out West ?—
according to the Times, “short and breezy
descriptions of life in the Canadian West,
illustrated with photographs ”—is published
in paper covers at 6d., by Thomas Murby &
Co.
A volume on “ Practical Pathology, includ-
ing Morbid Anatomy and Post Mortem
Technique,” by Dr. James Miller, Assistant in
Pathology to the Edinburgh Royal Infirmary,
is shortly to be added to Messrs. Black’s
Edinburgh Medical Series.
Mr. Julius Price’s ‘‘ My Bohemian Days in
Paris” was published on November 25
([T. Werner Laurie, 10s. 6d. net, with 32
drawings by the author, and a frontispiece
portrait).
Miss Gladys Davidson’s “ Stories from the
Operas”? is now issued in one complete
volume, combining the three previous series
of plots of the most popular grand operas
performed in England during recent years
(Laurie, 6s. net).
Mr. J. Stanley Little contributed an article
entitled “ Insurgent Women ”’ to the November
issue of Hast and West.
“A Manor Book of Ottery Saint Mary ”’ is
edited by Mrs. Catherine Durning Whetham
and her daughter Margaret, with a note on the
history of the dependent manor of Cadhay,
by Mr. W. C. D. Whetham, F.R.S. (Longmans,
Green & Co.).
“ The Early Weights and Measures of Man-
kind,” by General Sir Charles Warren,
G.C.M.G., K.C.B., F.R.S., R.E., is published
by the Committee of the Palestine Exploration
Fund.
Mr. Herbert W. Smith has written “A
Trip on _a Trader, or Holidays Afloat ”
(Madgwick).
The Clarendon Press publishes, under the
title of ‘* Robert Bridges, Poet Laureate,
Readings from his Poems,” a public lecture
delivered in November last in the Examination
Schools, Oxford, by Professor T. Herbert
Warren, President of Magdalen College.
In “ The Birthright of Grimaldi ” (Kegan
Paul, 4s. 6d.), Mrs. Hope Huntley claims as
the birthright of the animal exemption from
torture, on the plea that the essence of its life
is one with the human, however greatly it may
differ in degree. The right of scientific experi-
ment upon living animals is questioned from
the moral standpoint only, quite irrespective
of medical benefits believed to be acquired
thereby. H.M. Queen Alexandra has been
graciously pleased to accept a copy of this
book.
Mr. W. L. George’s new novel, ‘The
Making of an Englishman,” will be published
this month by Messrs. Constable in England,
and Messrs. Dodd, Mead, in the United Statcs,
Mr. Reginald E. Salwey’s novel, “ The
Education of Oliver Hyde,” is being pub-
lished by Digby, Long & Co.
A new 2s. 6d. edition has appeared of Mrs.
H. M. Watson’s ‘ When the King came
South ” (Religious Tract Society).
“Tom Kenyon, Schoolboy,” is the name of
a story by Mrs. M. Harding Kelly (Religious
Tract Society). The same author has brought
out “ When ?” and ‘“‘ Then,” described respec-
100
FOLK-LORE.
A Boox or Foix-Lore. By Rev. §. Barrxa-Govrp, M.A.
Collins’
6% x 44. 264 pp. (The Nation’s Library.)
Clear Type Press. 1s. n.
HISTORY.
[mprriatisM AND Mr. GLADSTONE, 1876-1888. Compiled
by R. H. GRETTON. 74 x 43. 120 pp. Bell. 1s. n,
LITERARY.
Joun MILLINGTON SYNGE AND THE Trish THEATRE. By
Mavriczk Bovrenos. Demy 8vo. xvi-+ 338 pp.
Buckram. With 16 full page illustrations by Joun B.
Yrats, R.H.A., Jack B. Yuats, JAMES PATERSON,
R.S.A., JoHN CURRIE and others. Constable & Co.
Tur LIGHTER SIDE oF ENGLISH Lirz. By F. FRANKFORT
Moore. With Illustrations in Colour by GEORGE
BrLcHER. 84 x 5}. 284 pp. Foulis. 5s. n.
Tur KIRRIEMUIR EDITION OF THE Works or J. M. BARRIE.
Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s.
the set.
Reminiscent Gossip oF MEN AND Marrers. By JAMES
Baker, F.R.G.S. 7} X 54. viii + 246 pp. Chap-
man and Hall. 6s.
MISCELLANEOUS.
Ovr Weér. A Collection of Sketches of Life in the
Canadian West. Illustrated with photographs. Thomas
Murby & Co., 6, Bouverie Street, E.C. 6d. n.
NATURAL HISTORY.
Wiup Anmats at Homr. By ERNEST THoMsoN SETON.
8} X Bh. xvi+ 224 pp. Hodder and Stoughton. 6s. n.
Tas BopLey Heap Naturat History. By EK. D. CuMINe.
With Illustrations by J. A. SHEPHERD. Vol. Il. British
Birds. Passeres. 6} x 5. 122 pp. Lane. 2s. n.
POETRY.
Tue Porms oF Francois VILLON. Translated by H. Dz
VERE STACPOOLE. 9 X 6}. xii + 300 pp. Hutchin-
son.
POLITICS.
Waranp THE Workers. By Norman ANGELL. 7% X 5.
63 pp. The National Labour Press. ls.
REPRINTS.
A Selection from Irish Poetry. By
93 x 6}. xxvi + 160 pp. Sidg-
1s. 6d. n.
THe Witp Harp.
KATHARINE TYNAN.
wick and Jackson.
A Century or Paropy anp Inrration. Edited by
Water JERRoLD and R. M. Lxeonarp. 7 x 5.
xv + 429 pp. Humphrey Milford. 1s. 6d. n.
Tas Hitts or Home. By L. Macuzan Watt. With the
Pentland Essays of Robert Lovis STEVENSON. 8} x 5}.
259 pp. Foulis. 5s. n.
SCIENCE.
“ Wuo’s Wuxo IN Science” (International). Edited by
H. H. Srepnenson. 9} x 6. 667 pp. J. and A.
Churchill. 10s. n.
ContTINvrry, THE PRESIDENTIAL ADDRESS TO THE British
Association, Brruincuam, MCMXIII. By Sm OLrver
Loven. Printed in full, and supplemented by Explana-
tory Notes. 7} x 5. 118 pp. Dent. Is. n.
SOCIOLOGY.
Conruictinc pears! Two Sips oF THE Woman's
Quzstion. By B. L. Hurcuis. 73 X 5. vii + 83 pp.
Murby. ls. 6d. n.
THE AUTHOR.
THEOLOGY.
LIanration pz Jesus Curist. Introduction par Mer.
BR. H. Benson. 64 x 4. xiii +374 pp. (Collection if
Gallia.) Paris: Georges Cres et Cie. London: Dent. i
Fo ols. n. Atte bem ya ao
ee Raver.
A Womay’s Wrxter my Arrica. By Mrs. CHARLOTTE 0)
Cameron. Demy 8vo. Printed throughout on art %
paper, with 155 illustrations. 403 pp. Stanley Paul |
& Co. 183. 6d. n.
Tun GuipE To SouUTH AND East Arrica. For the use of
Tourists, Sportsmen, Invalids, and Settlers. Edited basit
annually by A. SAMLER BRowN and G. Gorpon Brown, ue
F.RB.G.S., for the Union Castle Mail Steamship Company. a
Twentieth edition, 1914. 74 x 4}. liv + 695 pp. a:
Sampson, Low.
————_0 <> —_____
LITERARY, DRAMATIC, AND MUSICAL shi
NOTES.
——
E are asked by the executive officers of
the Alfred Russel Wallace Memorial
Fund to state that, if a sufficient sum
can be raised, the following memorials to the
late Dr. A. R. Wallace are proposed: (1) A
medallion to be offered to the Dean and
Chapter of Westminster Abbey ; (2) a portrait,
for presentation to the Royal Society, to be
painted by Mr. J. Seymour Lucas, R.A., to
whom Dr. Wallace had, within the last few
months of his life, consented to sit ; (3) a copy
of the portrait for presentation to the nation ;
and (4) a statue to be offered to the trustees
of the British Museum for erection in the
Natural History Museum. It is estimated
that £3850 will cover all expenses connected
with the portrait by Mr. Lucas, including a
photogravure reproduction, signed by the
artist, for each subscriber of one guinea and
upwards ; and that an additional £750 will
permit the scheme being carried out in its
entirety. Subscriptions will be received and
acknowledged by Professor R. Meldola, 6,
Brunswick Square, London, W.C.; Professor
KE. B. Poulton, Wykeham House, Oxford ;
Sir Wm. Barrett, Kingstown, Co. Dublin ;
and the Manager, Union of London & Smith’s
Bank, Holborn Circus, London, E.C. Direct
payments to the Manager will be the most
convenient course.
A. shilling pamphlet entitled “ National
Principles and National Duty.” by the author
of “National Revival,” with a preface by
the Rt. Hon. the Earl of Selborne, K.G., has
been issued by the Women’s Printing Society,
Ltd., Brick Street, Piccadilly.
A. Swedish translation of Mr. Francis.
THE AUTHOR.
Gribble’s “ Court of Christina of Sweden ”’ will
be published by Messrs. Walstrom and
Widstrand.
Among the Fellowship Books published by
Messrs. Batsford, at 2s. net, are “A Spark
Divine,” a book for animal lovers, by Mr. R. C.
Lehmann ; “* Romance,” by Mr. Ernest Rhys ;
** Friendship,” by Mr. Clifford Bax; ‘‘ The
Joy of the Theatre,” by Mr. Gilbert Cannan :
and “ The Country,” by Mr. Edward Thomas.
A revised and cheaper edition of Mr.
Frederick A. M. Spencer’s ‘‘ Meaning of
Christianity ’’ has now appeared (Fisher Unwin,
2s. 6d. net).
Viscount Esher, G.C,B., contributes a pre-
face to Mrs. St. Clair Stobart’s ‘‘ War and
Women from Experiences in the Balkans and
Elsewhere ” (G. Bell & Sons, 3s. 6d. net).
Mr. R. A. Scott-James’s ‘‘ Influence of the
Press’ is published by Partridge & Co. at
3s. 6d. net.
Mr. James Baker’s new work is ‘‘ Reminis-
cent Gossip of Men and Matters” (Chapman
& Hall, 6s.).
Mr. A. R. Haig Brown, in “‘ My Game-Book,”’
deals not only with sport in Surrey, Sussex,
Norfolk, ete., but also with early adventures
at Charterhouse and later days at Lancing
(Witherby, 5s. net).
H.M. the Queen and H.M. Queen Alexandra
have both been graciously pleased to accept
copies of “ A Woman’s Winter in Africa,”’ of
which the publishers are Messrs. Stanley Paul.
‘The author, Mrs. Charlotte Cameron, has been
elected a Fellow of the Royal Geographical
Society.
Messrs. S. Paul announce the issue, in due
course, of “‘ Napoleon in Exile at Elba” and
“Napoleon in Exile at St. Helena,” by
Mr. Norwood Young, who sails this month on
his second trip to the two islands to complete
his study of local Napoleonic history. Mr.
A. M. Broadley will be responsible for the
illustrations to the books.
Mr. E. Pearse Wheatley’s ‘‘ Out West ”—
according to the Times, “short and breezy
descriptions of life in the Canadian West,
illustrated with photographs ”—is published
in paper covers at 6d., by Thomas Murby &
Co.
A volume on “ Practical Pathology, includ-
ing Morbid Anatomy and Post’ Mortem
Technique,” by Dr. James Miller, Assistant in
Pathology to the Edinburgh Royal Infirmary,
is shortly to be added to Messrs. Black’s
Edinburgh Medical Series.
Mr. Julius Price’s “‘ My Bohemian Days in
Paris” was published on November 25
101
(T. Werner Laurie, 10s. 6d. net, with 82
drawings by the author, and a frontispiece
portrait).
Miss Gladys Davidson’s “ Stories from the
Operas”? is now issued in one complete
volume, combining the three previous series
of plots of the most popular grand operas
performed in England during recent years
(Laurie, 6s. net).
Mr. J. Stanley Little contributed an article
entitled ‘‘ Insurgent Women ” to the November
issue of Hast and West.
“A Manor Book of Ottery Saint Mary ”’ is
edited by Mrs. Catherine Durning Whetham
and her daughter Margaret, with a note on the
history of the dependent manor of Cadhay,
by Mr. W. C. D. Whetham, F.R.S. (Longmans,
Green & Co.).
“The Early Weights and Measures of Man-
kind,” by General Sir Charles Warren,
G.C.M.G., K.C.B., F.R.S., R.E., is published
by the Committee of the Palestine Exploration
Fund.
Mr. Herbert W. Smith has written “A
Trip on a Trader, or Holidays Afloat”
(Madegwick).
The Clarendon Press publishes, under the
title of “Robert Bridges, Poet Laureate,
Readings from his Poems,” a public lecture
delivered in November last in the Examination
Schools, Oxford, by Professor T. Herbert
Warren, President of Magdalen College.
In “ The Birthright of Grimaldi ” (Kegan
Paul, 4s. 6d.), Mrs. Hope Huntley claims as
the birthright of the animal exemption from
torture, on the plea that the essence of its life
is one with the human, however greatly it may
differ in degree. The right of scientific experi-
ment upon living animals is questioned from
the moral standpoint only, quite irrespective
of medical benefits believed to be acquired
thereby. H.M. Queen Alexandra has been
graciously pleased to accept a copy of this
book.
Mr. W. L. George’s new novel, “The
Making of an Englishman,” will be published
this month by Messrs. Constable in England,
and Messrs. Dodd, Mead, in the United States,
Mr. Reginald E. Salwey’s novel, ‘“ The
Education of Oliver Hyde,” is being pub-
lished by Digby, Long & Co.
A new 2s. 6d. edition has appeared of Mrs.
H. M. Watson’s “When the King came
South ” (Religious Tract Society).
“Tom Kenyon, Schoolboy,” is the name of
a story by Mrs. M. Harding Kelly (Religious
Tract Society). The same author has brought
out “ When ?” and “‘ Then,” described respec-
102
tively as a story of to-day and a tale of to-
morrow (Marshall Brothers).
Early in February will appear a new novel
by Mr. Frederick Arthur, callec “The Great
Attempt,” dealing with the aspirations and
sufferings of the losing side in the political
struggle which ended at the battle of Culloden
(John Murray).
Count Plunkett, K.C.H.S., has been elected
an honorary member of the Danish Society
“Det Kongelige Nordiske Oldskriftselskab,”
better known throughout Europe as the
Société Royale des Antiquaires du Nord.
Mr. Herbert Flowerdew’s new romance,
“Love and a Title,” will be published by
Greening & Co. early in the year. The serial
rights of Mr. Flowerdew’s latest sensational
story, ‘“‘ The Motor Ku-klux,”’ have been pur-
chased in America by the Frank A. Munsey
Co., and in England by Messrs. Leng, of
Sheffield, the latter of whom are also bringing
out in their Weekly Telegraph series of novels
“The Love of Women,” which has _ not
hitherto appeared in book form. In addition
to his short stories in Hulton’s Christmas
Magazine and the Christmas number of the
Weekly Telegraph, Mr. Flowerdew has com-
plete stories to appear in the Red Magazine,
the Novel Magazine, and Pearson's Weekly.
Mr. Flowerdew’s last published novel, “ Mrs.
Gray’s Past,” is being published serially in
Germany, following the example of his “‘ Ways
of Men,” ‘“ The Third Wife,” and “ The Villa
Mystery.”
E. Reid Matheson (Mrs. E. Midgley) has a new
novel entitled ‘‘The Unconscious Quest,” of
which the publishers are Sidgwick and Jackson.
Messrs. Walter Jerrold and R. M. Leonard
are the editors of ‘“‘ A Century of Parody and
Imitation ” (Humphrey Milford, Oxford Uni-
versity Press, 1s. 6d. net), in which they
endeavour to provide a corpus of representa-
tive parodies and imitations, beginning with
** Rejected Addresses’ in 1812 and coming
down to the present era, though without
including the work of any living writer.
Miss Sheila Kaye-Smith has just brought
out a volume of verse, partly ballads and partl
lyrics (Erskine Macdonald, 2s. 6d.). The title
is ‘‘ Willow’s Forge, and other Poems.”
Messrs. John Richmond will publish early
this year ‘“‘ Winged Thoughts,” a collection of
representative poems from 1586 to 1914,
dealing with birds, butterflies, and moths.
The poems have been selected and arranged
by Mrs. Irene Osgood and Mr. Horace
Wyndham.
Mr. Alex J. Philip has revised and brought
THE AUTHOR.
up to date the fourth edition of Greenwood’s
“British Library Year Book,” to which the
title is now given of ‘‘ The Libraries, Museums,
and Art Galleries Year Book, 1914’ (Stanley
Paul).
“The Young Gordons in Canada,” by Mrs.
Mary Bourchier Sandford, is published by the
Religious Tract Society, uniform with other
volumes in their Every Girl’s Bookshelf series
(1s. 6d.).
Miss Ethel M. Dell’s new novel is ‘“ The
Rocks of Valpre ”’ (Fisher Unwin).
Mr. W. Trego Webb, author of ‘“ Indian
Lyrics,”’ ete., issues through Headley Brothers
‘By Silva’s Brook, or Songs of the Faith,” a
collection of religious verse.
The Rev. Henry Lansdell, D.D., is bringing
out the fifth part of his work on ‘ Princess
Aelfrida’s Charity ”’ (6d., or 7d. post free).
The first part of a new illustrated quarterly,
Ancient Egypt, edited by Professor Flinders
Petrie, F.R.S., F.B.A., has just made its
appearance, the price being 2s. per quarterly
part, or 7s. yearly, post free. The publishers
are Messrs. Macmillan and the British School
of Archeology in Egypt.
Miss Beatrice Chase will shortly have pub-
lished by Mr. Herbert Jenkins, “* The Heart of
the Moor ” the outcome of ten years’ residence
on Dartmoor.
Mr. Arnold Haultain, Goldwin Smith’s
literary executor, is preparing a second series
of his late chief’s letters, and asks us to be so
kind as to say that he will be grateful to any
friends of Goldwin Smith who would lend him,
or send him, copies of any letters which the
recipients think may or should be made public,
other than those included in the first series
(published last spring by Mr. Werner Laurie,
of Clifford’s Inn). Anything addressed care
of the Bank of Montreal, 47, Threadneedle
Street, London, E.C., will be thankfully
acknowledged.
DRAMATIC.
We much regret to have to record the death
last month of Mr. Stanley Houghton, author
of *‘ Hindle Wakes,” ‘‘ The Younger Genera-
tion,” and other plays. He was only thirty-
two years of age when he succumbed to
disease of the lungs at Manchester, the town
of his birth and the scene of his first introduc-
tion to the dramatic public by Miss Horniman.
At the Globe Theatre on December 6 was
produced ‘‘ The Night Hawk,’ by Messrs.
Lechmere, Worrall and Bernard Merivale.
“Woman on her Own,” a version by
Mrs. Bernard Shaw of Brieux’s “ La Femme
THE AUTHOR.
Seule,” was seen for the first time at the
Woman’s Theatre (the Coronet, Notting Hill)
on December 8.
“In and Out,” a version by George Paston
(Miss E. M. Symonds) of Béniére’s ‘ Papillon,
dit Lyonnais le Juste,”” was produced at the
Shaftesbury Theatre on December 16.
Mr. Jerome K. Jerome’s ‘‘ Robina in Search
of a Father” was produced at the Vaudeville
Theatre on December 16.
Mr. Winchell Smith’s four-act play, ‘“‘ The
Fortune Hunter,’’ was produced at the Queen’s
Theatre on December 17.
“The Sleeping Beauty Re-awakened,” a
children’s pantomime by Messrs. G. R. Sims
and Arthur Collins, was produced at Drury
Lane on Boxing Day.
Among the plays revived by Mr. and Mrs.
Granville Barker during their repertory season
at the St. James’s Theatre, have been ‘‘ The
Doctor’s Dilemma,” by Mr. G. Bernard Shaw,
and “Nan” and “The Silver Box,” -by
Mr. John Galsworthy.
** The Passing of the Third Floor Back ”’ was
revived at the Coronet at the beginning of
December, with “A Love Passage,” by
Messrs. W. W. Jacobs and P. E. Hubbard, as
the curtain-raiser.
Sir Arthur Conan Doyle’s ‘‘ The Speckled
Band ”’ was played at the Kennington Theatre
on December 8.
On Monday afternoons, December 1 and 8,
dramatic recitations of Mr. John Masefield’s
** Everlasting Mercy ” were given at the Little
Theatre by Mr. Alexander Watson.
On December 19 an amateur performance
was given at Felixstowe of a new one-act play
by Mr. G. S. Layard, entitled “The Shirt of
Nessus.”’
“Courtship, Ancient and Modern,” a two-
scene sketch by Fanny Morris Wood, was
produced for the first time at the Maidenhead
Theatre on November 19.
Miss Elizabeth Baker’s plays, ‘“‘ The Price
of Thomas Scott ’’ (produced at Manchester
in September last) and ‘‘ Miss Tassey,” have
both been published in book form by Messrs.
Sidgwick & Jackson.
_ Mrs. Frances Helen Harris has brought out
in book form ‘‘ Eight Plays for the School ”’
(Routledge & Sons).
A play founded on Mr. Flowerdew’s novel,
“The Realist,”’ is shortly to be produced at
the Longacre Theatre, New York.
“The Dramatic Author’s Companion,” by a
Theatrical Manager’s Reader, has been pub-
lished by Messrs. Mills & Boon. Mr. Arthur
Bourchier contributes an introductory note.
103
PARIS NOTES.
— +
HE “Song Offerings,” by Rabindranath
Tagore, have now been translated into
French by André Gide and are
published as ‘“‘ L’Offrande Lyrique.”
The second volume of “Les Mceurs du
Temps,” by Alfred Capus, is as entertaining
as the first volume, published last year. The
celebrated dramatic author is an optimist and
a keen observer. With his never-failing good
humour and delicate irony, he writes on all the
questions of the day, shows up the weak
points, indicates failings, and then passes on
like a true philosopher. The whole volume
is well worth reading.
** Les Etats-Unis et la France ”’ is the title
of the third volume published by the Bzblio-
theque du Comité France-Amérique. The book
is written by ten different authors. M. E.
Boutroux, the well-known philosopher, to
whom Bergson owes so much, writes a chapter
on French thought and American thought.
M. James Hyde takes as his subject the
historical intercourse between France and the
United States from 1776 to 1913; M. Léon
Bénédite, M. Louis Gillet, and M. Paul Bartlett
write on painting, sculpture, and architecture.
There are chapters on French and American
society by M. Walter Berry; on public life,
by Baron d’Estournelles de Constant; on
the French and American ideal, by M. Baldwin.
M. Hill and Moreton Fullerton write on
politics and intercourse between the two
nations in the future. There are about
eighteen illustrations bearing on the history
of art in the United States.
‘““Les Idées et les Hommes” is the title
of the latest book by André Beaunier. Among
the men he has chosen as subjects for his
studies are Homére, Baudelaire, Edmund
Gosse, and Gabriel Monod.
** Les Tribunaux pour Enfants,” by Clément
Griffe. The subject of this book is one that
is being studied with great interest in France.
The idea has been put into practice and the
results are excellent.
M. René Gillouin has obtained the prize
awarded by the Association des Critiques
littéraires, for his ‘‘ Essais de Critique littéraire
et philosophique.”
“Du Terreur au Consulat ’’ is the title of
a volume of romantic histories of the revolu-
tionary days, by Ernest Daudet.
We have had numbers of books on ‘“* Old
Paris.”” We now have one on “ Le Nouveau
Paris,” by Raymond Escholier. The sub-
104
title, “‘ La Vie artistique de la Cité Moderne -
explains the object of the author. The
preface is written by Gustave Geffroy.
Camille Flammarion has just published his
“ Annuaire Astronomique et Meétéorologique
pour 1914.” It is only a small volume of
132 pages, but it is full of information. It
gives us all the celestial phenomena for the
year and many scientific notices, and it is also
illustrated. :
Any friends or admirers of George Gissing
will be glad to hear that the scheme proposed
some years ago, and headed by Madame
Lardin de Musset, sister of Alfred de Musset,
is being taken up once more. The idea was to
have a fund for keeping flowers on the grave of
the author of ‘“‘New Grub Street,’ who died
in exile and was buried at St. Jean de Luz.
Hitherto his grave has been tended entirely
by French hands. For the tenth anniversary
of his death, December 28, we have decided
to accept the help of various French and
American friends and, with Madame Lardin
de Musset’s name at the head of our subscrip-
tion list, organise a scheme which will ensure
the tending of George Gissing’s grave in the
future.
At the Odéon ‘“‘ Rachel”? seems to have
every chance of a long run. At the Théatre
des Arts an excellent adaptation of Balzac’s
‘“‘ Kugénie Grandet ”’ is being played.
“TInstitut de Beauté’ continues to be a
success at the Variétés. Madame Sarah Bern-
hardt has found in ‘“‘ Jeanne Doré”’ a play
admirably suited to her.
Auys HALLarp.
“T?/Offrande Lyrique” (La Nouvelle Revue Francaise).
“Les Meurs du Temps” (Grasset).
“ Les Idées et les Hommes ”’ (Plon).
“Les Tribunaux pour Enfants” (Fontenmoing).
* Annuaire Astronomique et Météorologique pour 1914 ”
(Flammarion).
tt
DRAMATIC RIGHTS.
—_>—-.
ROM time to time it is necessary to call
the attention of authors to the extent
of their rights. This is especially the
case since the passing of the recent Act.
Under this Act an author’s rights have been
extended in various ways. The author of a
play, for instance, has the right to convert it
into a novel, the bookright in the play itself,
the performing right, which includes the
reproduction of the play on mechanical
contrivances, either the cinematograph or the
gramophone, and the translation rights.
THE AUTHOR.
The right of performance by itself is fre-
quently divided up into many portions.
There is the right of production in a West
End London theatre, there is the right of
production in the suburbs, in the provinces—
this again may be sub-divided according to the
size of the towns: the A list, the B list, the
C list, and fit up—the right in the Colonies,
the right in the United States and Canada, the
amateur rights, and the rights in translation
on the Continent.
It is the ignorance of all these points and
niceties that makes the author fall readily into
the pitfalls laid for him either by the agent or
the manager.
The first essential for a dramatic author is
production. He must, therefore, never be led
away by financial consideration to grant a
licence unless production is secured.
If a manager asks for control over the
provincial rights, he may have the option over
them if production takes place within a
specified time.
The same rule must apply to the Colonial
and United States rights.
The author, in neglect of his best interests,
often transfers rights to a manager and then
finds that the manager has no intention of
producing the play outside the walls of his
own West End theatre. It is not only the
novice who makes the mistake; there are
others. When the situation is realised, as it
often is by the requests coming from managers
abroad or in the United States, the author can
do nothing but wish that he had taken more
pains to inquire what rights he had and how
they ought to be controlled.
There is, however, an increasing danger
against which the young dramatic author must
especially be warned.
Some middlemen are springing up who are
gambling with the work of the author’s brain ;
they buy up his dramatic effort for a comfort-
able sum in advance of a very small royalty.
They are not producers themselves and have
no intention of producing, but the author is
deceived partly by the sum in advance and
partly by the purchaser’s protestations. The
purchaser then proceeds to market the work
to the highest bidder. In consequence, it
sometimes happens that there are as Many as
three middlemen between the authors and the
manager, each of whom is absorbing part of
the profits that might have been the author's.
It is necessary, therefore, to repeat that the
first essential for a dramatic author is produc-
tion. He should never lease out his property
unless production is assured.
aL NII ED PIII TRIESTE STI HGS NTE
THE AUTHOR.
U.S.A. LEGAL DECISION.
ee
(From the Authors’ League Bulletin, U.S.A.)
HE case of Dam v. Kirk La Shelle Company
decided in the United States Circuit
Court of Appeals, Second Circuit, in
January, 1910, is of such importance to writers
for magazines and other periodicals as well as
to publishers that it deserves careful attention.
This case may be said to be the last important
decision on the question of what protection the
blanket copyright secured by a magazine pub-
lisher, upon his magazine, affords the authors of
the various stories, articles and poems contained
init. The facts were briefly as follows :—
Henry J. W. Dam wrote a story in 1898,
called ** The Transmogrification of Dan.” In
1901 he sent the manuscript to the Ess. Ess.
Publishing Company, a corporation publishing
the Smart Set Magazine. The editor accepted
the story and sent a cheque in return for $85,
together with a receipt reading :—
“Received of the Ess. Ess. Publishing
Company $85 in full payment for story
entitled ‘‘ The Transmogrification of Dan.”
This Dam signed and mailed back to the editor.
At no time did he have any interview with the
editor or any correspondence bearing on the
understanding with which the story was sold.
The story came out in the Smart Set for
September, 1901, and the particular number
in question was copyrighted by the Ess. Ess.
Publishing Company, in its own name, and
bearing a notice which read :—
“ Copyrighted, 1901, by Ess. Ess. Publishing
Company.”
No steps were taken by the magazine or by Dam to
copyright the story separately from the magazine.
Some time afterward Paul Armstrong wrote
a play entitled ‘‘The Heir to the Hoorah,”’
which Dam claimed was founded on his story,
“The Transmogrification of Dan.” The defen-
dant, Kirk La Shelle Company, presented the
play by arrangement with Paul Armstrong.
On October 27, 1905, the Ess. Ess. Publishing
Company assigned to Dam its copyright of the
- number of the Smart Set in which
is story appeared, in so far as it covered or
protected his story, and all its interest in the
story itself and any claim or demand which it
might have for the infringement of the copy-
right in question.
In due course Dam sued for a preliminary
injunetion against the defendant, and in his
affidavit swore :—
_““Thave not at any time parted with any
right or interest in said literary work entitled
105
‘The Transmogrification of Dan,’ except the
right for publication thereof in said number
of the Smart Set for September, 1901.”
Later on, the complaint was amended so as
to allege simply that Dam sold and assigned
the story in question to the Ess. Ess. Publishing
Company.
Among other things in defence the Kirk
La Shelle Company set up the claim that Dam’s
original statement, sworn to in his complaint
to the effect that he had not sold any of his
rights in the story to the Smart Set, except the
right of publication in the particular number
in question, must be taken as true; and
that it followed as a necessary consequence
that the blanket copyright secured by the Ess.
Ess. Publishing Company, on the particular
issue of the magazine, only operated to afford
such protection as the Publishing Company
needed as publishers of the magazine, and did
not operate to protect the rights which Dam
retained, whatever they might have been,
including the right of dramatisation which
Dam claimed had been infringed and for which
he asked an injunction.
The Cireuit Court of Appeals found as a fact
that Dam’s statement that he had parted with
no right or interest in the story except that of
serial publication was not the case, and (in spite
of Dam’s original allegations to the contrary)
that when he mailed the story to the Smart Set
and the editor sent him a cheque for $85 this
constituted an absolute sale without reserva-
tions, and that the Ess. Ess. Publishing Com-
pany thereby acquired all rights in the story,
including the dramatic rights.
This, in itself, would have been a decision of
considerable importance, in view of the widely
prevalent belief that when a magazine writer
sends his product to a magazine, without an
accompanying letter specifying the terms under
which the story or article is offered, he is selling
merely the serial rights thereto. But the
Court in discussing the facts in general went
somewhat beyond the precise point in issue and
held that if it had been true that Dam had
offered for sale and sold to the Ess. Ess. Pub-
lishing Company only the right to print the
story in serial form, that probably, as matter of
law, the dramatic rights would never have been
copyrighted at all, since it was a fundamental
proposition that no one could copyright that
which he did not own, and, if the Ess. Ess.
Publishing Company had purchased only the
serial rights in the story, the copyright upon
the particular number of the Smart Set would
have operated to protect only those serial
rights, and that as Dem had taken no further
106
steps to protect or copyright the rights or
interests in the story which he had reserved,
and as the story had been published, there would
have been an abandonment of it to the public
and no protection for the dramatic rights at all.
The opinion of the Court is reported in 176
Federal Reporter, page 902, and reads as
follows :—
“It is claimed, however, that such steps
accomplished no more than to obtain such
protection needed as publishers of the maga-
zine. Assuming that Dam retained the
dramatic rights to the story, there would be
much force in this contention. In such a
case we doubt very much whether the steps
which the publisher took to copyright his
magazine, especially in view of the form of
the copyright notice, would have been
sufficient to protect the dramatic rights.”
After referring to the case of Mifflin v.
Dutton (190 U. S. 265), the Court continued :—
“In view of this decision by the Supreme
Court, we think that had Dam retained the
dramatic rights to his story, the entry of the
magazine and the notice of copyright would
have been insufficient to protect them. .. .
In the case of the reservation of dramatic
rights, in addition to the notice of the copy-
right of the magazine, it may well be that it
should appear in some distinct way that such
reservation of such rights to the particular
story is made for the benefit of the author.
Indeed, it may be that the author should
contemporaneously take out in his own
name a copyright covering such rights.”
The Court then proceeded to hold that in-
asmuch as the Ess. Ess. Publishing Company
had in fact acquired all rights to the story, the
copyright which they secured on the particular
number of the magazine in question did operate
to protect all rights, including the dramatic
rights; and that, since there had been a
reassignment by the Ess. Ess. Publishing Com-
pany to Dam of the dramatic rights, he could
properly ask for an injunction and an account-
ing, and they thereupon awarded to the com-
plainant, who, at the time the decision was
rendered, was the administratrix of Dam’s
estate, the total profits received by the Kirk
La Shelle Company from its production of the
play. The case was not appealed to the
Supreme Court, but has since been settled and,
therefore, represents the law to-day, which may
be stated as follows :—
(a) The sale by an author of a story to a
magazine, and the acceptance of a sum of
money in full payment for the story, without
THB AUTHOR.
any further agreement, is in legal fact an
absolute sale without reservation, carrying
with it as an incident of ownership the exclusive
right to dramatise the story.
(b) The copyright of such magazine is
sufficient to secure the copyright of the story
published therein, and protects the right to
dramatise it when the publisher is the owner of
both the story and the dramatic rights.
(c) (Dictum.) Where the owner of a story
sells the same only for magazine or serial pub-
lication the copyright of the magazine does not
protect those rights which the author retains,
unless he takes some independent steps to
copyright them himself; and since the pub-
lishing of the story in the magazine operates as
an abandonment of such rights, if the story is
thereafter dramatised by a third party the
author can have no redress.
The action, although a recent one, was brought
under the former copyright law, but there would
not seem to be anything in the present Act
which would qualify or render less significant
the decision. The attorney for the Authors’
League of America doubts seriously whether
the dictum of the Court (c) is the view which
will undoubtedly prevail if the point is
eventually properly raised either before the
Circuit Court of Appeals or the Supreme Court
of the United States. He believes that this
Court could have reached the same decision in
the Dam case by another process of reasoning
more consistent with the general understanding
under which authors are accustomed to submit
their manuscripts to editors and _ publishers.
This he believes to be that, in default of any
written or oral agreement between the parties,
an editor or publisher of a magazine who pur-
chases a manuscript does so on the implied
understanding that he shall copyright the same
and hold the copyright thereof in trust for the
author, thus protecting not only the dramatic
rights, but all other rights for the author’s
benefit. If this be so, the author can compel a
reassignment of the copyright to himself when
necessary, such as Dam secured voluntarily
from the Ess. Ess. Company.
But, in any event, so long as this and similar
matters remain in doubt, both authors and
publishers should, for their own protection,
agree on some system whereby the dramatic
and all other rights are thoroughly safeguarded.
This can be accomplished in either of two
ways :—
(a) The editor can copyright each story or
article separately in the author’s name, printing
at the bottom of the first page thereof a proper
copyright notice, as follows :—
Q
4
4
a
a
THE AUTHOR.
** Copyright, John Doe, 1913.”
The author should then immediately on pub-
lication mail ‘one copy of the magazine to the
Registrar of Copyrights in Washington, in con-
formity with the requirements of the present
Act, enclosing the fee of one dollar. This is,
perhaps, the simplest way, although it involves
a separate registration of the magazine for
each story or article so copyrighted.
(6) Or the author can sell his story outright
to the editor or publisher and safely reserve
his equitable interests in the dramatic or other
rights thereto by attaching to his manuscript
a “‘ rider ” or slip somewhat as follows :—
“This manuscript is submitted with the
understanding that, if accepted for publication,
the same shall be copyrighted by the publishers
and all rights under said copyright (except that
of magazine publication) shall be held in trust
for the benefit of the writer or his assigns, and
will be reassigned to him upon demand.”
The writer believes that, under the present
state of the law, only by one of the two methods
outlined above can a magazine writer be sure
that his rights will be properly protected.
ARTHUR C. TRAIN,
Attorney for Authors’ League of America.
—_ 9
ROYALTIES ON GRAMOPHONE RECORDS.
MoNnckKTON v. PaTuk FRERES
PaTHEPHONE, LTD.
‘as was an appeal from the decision of
Mr. Justice Phillimore relating to the.
payment of royalties on gramophone
records of the ‘‘ Mousmé Waltz,’’ which the
plaintiff, Mr. Lionel Monckton, composed in
1911 before the new Copyright Acts came into
operation. The defendants, who are manu-
facturers and sellers of gramophone records,
made records of the waltz in Belgium and
imported them into England, as they were
lawfully entitled to do before July 1, 1912,
when the Act came into force; and since that
date they had been selling the records without
the plaintiff's consent and without paying him
any royalties.
It was in respect of the sale, after July 1,
1912, that the plaintiff brought the action,
and claimed an account of the money received
by the defendants from such sales, and an
injunction to restrain them from making or
selling any records without his consent.
107
Mr. Justice Phillimore decided that under
section 19 of the Act, which provides for the
payment of royalties on gramophone records,
the defendants were not liable to pay royalties
on records made before July 1, 1912, but that
if they sold any records made after that date
they would have to pay royalties by the
purchase and affixing of stamps in accord-
ance with the regulations of the Board of
Trade.
The plaintiff appealed against this decision
and claimed that the defendants had infringed
his copyright by selling after July 1, 1912,
records made before that date without the
payment of royalties.
There was a cross appeal by the defendants,
who alleged that the regulations of the Board
of Trade as to the mode of payment of royalties
were ultra vires, and that they could not be
compelled to purchase and affix adhesive
stamps to the records.
The Court of Appeal reversed the decision
of Mr. Justice Phillimore as to the exemption
from payment of royalties, and held that on
all records of the waltz sold by the defendants
after July 1, 1912, the plaintiff would be
entitled to royalties at the rate of 24 per cent.
on the ordinary retail price ; and that the sale
of the records without the plaintiff’s consent
or the payment of royalties was an infringe-
ment of the plaintiff’s copyright.
In the course of his judgment Lord Justice
Buckley said that the seller of a record autho-
rises the use of the record, and such user is a
performance of a musical work; and as copy-
right includes the sole right to authorise a
performance of the work, an improper sale of
the record would constitute an infringement
of the copyright. The right of the plaintiff,
however, was qualified by the provisions in
the Act relating to the payment of royalties,
for if these were duly paid the sale of the records
would not be an infringement.
The argument advanced on behalf of the
defendants had reference to section 24, and
particularly the proviso (b), which gives pro-
tection to any person who has incurred expense
before July 26, 1910, in the reproduction of a
work then lawfully made, unless he is paid
compensation for his rights which were sub-
sisting and valuable at that date. It is
difficult, however, to understand how section 24.
could afford any protection to the defendants
upon the facts before the Court. There was
no dispute as to the circumstances. The
records made by the defendants were not made
before the year 1911, when the waltz was
composed, and the Court of Appeal held that
108 THE AUTHOR.
the contention of the defendants could not be
maintained. :
The plaintiff, therefore, was entitled _to
royalties unless the defendants could bring
themselves within the exemption mentioned
in section 19 (7) (0). :
The provisions of section 19 as to the pay-
ment of royalties may be generally stated as
follows :— : :
(A) On records of musical works published
before July 1, 1912.
(1) If records have been lawfully made
before July 1, 1910, no royalties are pay-
able on records sold before July 1, 1913.
(2) If otherwise, royalties at 24 per cent.
are payable.
(B) On records of musical works published
after July 1, 1912 :—
(1) On sales prior to July 1, 1914, royalties
at 24 per cent. :
(2) On sales after July 1, 1914, royalties at
5 per cent. :
As the defendants could not claim exemption
under (A) (1), they became liable for the pay-
ment of royalties under (A) (2), that is to say,
at 24 per cent. so long as the copyright in the
waltz continues.
Upon the cross appeal Lord Justice Buckley
in his judgment said that the question turned
upon the meaning of the word “ securing ”
in section 19 (b). Under that section the
Board of Trade might make regulations
prescribing the mode of payment of royalties
requiring payment in advance or otherwise
securing the payment of royalties.” If the
word ‘securing’? meant doing some act by
which the debt for royalties should become
secured, as distinguished from an unsecured
debt, the defendants were right; but if it
meant ‘ensuring or rendering certain” the
payment of royalties, then the defendants
were wrong. The Board of Trade had made
regulations whereby, unless it were otherwise
agreed, royalties were payable by means of
adhesive stamps purchased from the copy-
right owner and affixed to the records. The
royalties were very small amounts payable
upon a large number of records, and there was
obviously a great difficulty in ensuring that
the debt created by the sale of each record
should become known to and paid to the copy-
right owner. In these circumstances the fair
meaning of the word “securing’’ included
ensuring or rendering certain the payment of
the royalties. The regulations of the Board of
Trade, therefore, were not ultra vires, and the
cross appeal failed.
Haroip Harpy,
CARD INDEXING THE LITERARY
MARKET.
(From the ‘“‘ Editor,’’ U.S.A.)
HERE are so many good things in “ The
Literary Market ” that I must use every
day that I have devised a card index
system of classifying it. Not all of the informa-
tion is pertinent to the material I write, so I
file only those items in which I am interested.
I use a three by five card index drawer and
enter items under the following heads: Auto-
mobiles, Boys and Girls, Crops, Dairying,
Flowers, Horticulture, Household, Household
Mechanics, Humour, Live Stock, Motor-cycles,
Popular Mechanics, Poultry, Short Stories.
There is a guide card for each subject, and the
cards on which the information is entered are
prepared like the following sample :—
Humour.
Browning’s Magazine, 16, Cooper Square,
N.Y.
Short burlesques and narrative humour.
100 to 500 words.
Jokes.
1 cent a word on acceptance.
When I have a humorous article to sell, I
look over the cards marked ‘‘ Humour ”’ and
decide which market is most promising.
Supplementing the index is a file of all the
papers in which I am interested. As soon as
T learn of a new paper that offers a market for
the kind of material I write, I send for a sample
and file it with the other papers of like nature.
Unless I am very familiar with the paper I look
it over carefully before submitting anything to
it that differs from something I have sold it
previously. I have something over 200 papers
in my files.
In addition to the subject index I have a
graveyard—an index in which papers are filed
alphabetically by name. These are only those
papers that have suspended publication. It
is sometimes important to know that these are
no longer published.
Joun Y. Brary.
—_—_‘_ oo
MAGAZINE CONTENTS.
eee
BriTIsH.
The Exclusiveness of Journalists. By G. K. Chesterton.
Religious Drama. By W. L. George.
Our Conventional Press. By Scriptor.
Dramatists of To-day : III. John Masefield ; IV. Stan-
ley Houghton.
ConTEMPORARY.
The Ballad—English and Scotch. By E. R. Montague.
Literary Supplement: Saint Nicholas.
+i
THE AUTHOR.
HOW TO USE THE SOCIETY.
——
1, VERY member has a right toask for and to receive
EK advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
apecial reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel’s
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society,
2, Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination,
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
jars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
The
q. Many agents neglect to stamp agreements.
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
—~ >
WARNINGS TO THE PRODUCERS
OF BOOKS.
—_1—~<——_
ERE are a few standing rules to be observed in an
agreement, There are four methods of dealing
with literary property :—
I, Selling it Outright.
This is sometimes satisfactory, if a proper price can be
109
obtained. But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society,
Il. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to :
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements,
(3.) Not to allow a special charge for “ office expenses,”
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights,
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author,
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author.
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
<> —____—_
WARNINGS TO DRAMATIC AUTHORS.
ae
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2, 1t is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory, An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
110
(b.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent, An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum inadvyance of percentages. A fixed
date on or before which the play should be
performed. :
(c.) Sale of performing right or of a licence to
perform, on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case,
4, Plays in one act are often sold outright, but it is
tetter to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in anyevent. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time, This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance.
7, Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. They should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10, An author should remember that production of a play
is highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
pe ge
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
_—
haar typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant, One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2s, 6d. per act.
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author's fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
REE AG a Se
WARNINGS TO MUSICAL COMPOSERS.
oe
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
———__+—>—_e—____—_-
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble.
Se
THE READING BRANCH.
ae
EMBERS will greatly assist the Society in this
Mi branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea,
—_—_—__.-<—e___
REMITTANCES.
_——
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only.
ESE
Su
THE AUTHOR.
COLLECTION BUREAU.
—_—~—+
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland : : A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
GENERAL NOTES.
——-—-e——
AUSTRALIAN CoPyRIGHT REGISTRATION.
Ir is very important that the attention of
dramatic authors should be called to the
clauses in the Australian Copyright Act, 1912,
dealing with summary proceedings and regis-
tration.
This Act was printed as a supplement to
the April number of The Author, and gives
some very powerful Summary Remedies, but
the advantages to be gained by the special
remedies provided under Sections 15, 16,
and 17, can only be taken by those whose
copyright is registered. Under the Act
registration is optional. All those dramatists
who have had their works infringed in the
Colonies know how exceedingly difficult it
is to stop an infringement in a distant
country. Indeed, it is almost impossible to
do so if a civil action has to be taken against
the manager of a travelling company.
Under the United States Act, where criminal
proceedings are allowed, great advance has
been made in stopping infringements, in the
different States, and the same advance will,
no doubt, take place through the summary pro-
iit
ceedings allowed under the Australian Act ; but
it is essential, in order that dramatists may
obtain the full value of the powers given them,
that they should register their plays. We
advise all dramatists, therefore, without delay,
to take steps to see that their works are regis-
tered in due course under the Australian Act
in that country.
AUSTRALIAN Boox NOovreEs.
A MEMBER of the Society has been kind
enough to forward some notes on the sale of
books in Australia. He has taken the trouble
to make certain pointed inquiries from
Australian booksellers, and finds the complaint
which has been put before the Society in past
numbers of The Author has been amply con-
firmed, namely, that the American publisher is
much more enterprising and pliable and is
willing to meet the Australian bookseller on
better terms and is altogether a better man
of business than the English publisher. He
informs us that one or two publishers in
England show some enterprise, but the
majority do not do so.
In Melbourne it appears that novels are
mostly in vogue, and that, outside novels, the
more important books are difficult to get and
in many cases cannot be secured without much
delay. This is no doubt a good deal the fault
of the publisher, as the Australian bookseller
seems willing to take the more expensive books
for a moderate sale could he secure them
readily.
In the Melbourne lending libraries, just as in
the English libraries, there is a certain amount
of censorship. Of novels the most popular are
certainly not the best written, but the advan-
tage of cheaper cables will probably bring about
a readier sale. A bookseller in Sydney, how-
ever, one of the largest in Australia, does not
welcome the cheaper cables as it would
encourage the smaller firms, but the author
and the public will, of course, welcome the
increasing competition.
Enquiry at the minor shops both in Australia
and New Zealand, confirms the same points.
That there is a ready sale for novels if the
English publisher would only take advantage
of that sale; that the American publisher has
taken advantage of it, and is doing good
business.
Finally, a point of interest to dramatic
authors was noticed; that several English
playwrights have agents and that the piracy
in Australia has almost died out.
112 THE AUTHOR.
AGENTS’ CLAUSES IN PUBLISHERS’
AGREEMENTS,
Ir has become necessary to mention once
again the danger that may result from the
insertion of the agency clause in an agreement
between a publisher and an author, that is
the clause enabling the agent to collect, to
give valid receipts and sometimes even to
have the control when disputes arise. This is,
to use a legal phrase, an authority coupled
with an interest, and cannot be cancelled as
between the author and the publisher. Even
the best agents in London are in the habit of
inserting the clause in publishers’ agreements,
and to this we very strongly object. If, how-
ever, the agent, who is supposed to be acting
on behalf of the author—not only draws the
author’s attention to the fact that he is insert-
ing this clause, but explains to him fully the
dangers of the clause when it is inserted, and if
when the full explanation has been laid before
the author the author is still willing to sign the
agreement, then nothing can be said against
the agent or his methods of doing business ; but
if he inserts the clause without calling the
author’s attention specially to it, or if he does
call the author’s attention to it, doing so in an
off-hand manner, then he is acting unfairly by
the author, and without due sense of the
responsibilities of his position as author’s
agent. We do not desire to use any stronger
term as to his conduct, but think it essential
that the author should be warned of the posi-
tion.
U.S.A. Ricuts.
WE are reprinting from the Bulletin of the
Author’s League of America a case which was
tried some time ago, because the points then
settled have been raised again in an important
case which Mr. Jack London is carrying
through the American Courts. A short state-
ment of this appeared in the November issue
of The Author. It is as well that members of
the Society should understand some of the
dangers which may be ahead of them as far as
the United States copyright law is concerned,
in order that, in the future, they may be able
to safeguard themselves.
REGISTRATION AT WASHINGTON,
THE secretary has had a courteous reply
from the registrar of copyrights at Washington,
who has forwarded to him not only the
circulars issued from the library with regard to
the filing of dramatic pieces, but also copies of
the forms which it is necessary to fill up. The
registrar has also kindly forwarded samples of
the other forms, and the Society will be ready
to supply members should they wish to have
them for the purposes of registration.
The Society is deeply indebted to Mr.
Solberg for his kindness.
REMAINDER SALES.
Durinc the last two or three months some
serious questions have arisen with regard to
remainder sales. In one or two agreements
dealing with the publication of expensive books
—from 15s. to 30s.—no clause has been in-
serted covering the right of the publisher
to sell remainders. In the cases referred to
the publishers have remaindered the books
without any notice to the authors. As no
clause has been inserted in the agreements
with regard to remainder sales, or the amount
of royalty to be paid on such sales, a very
difficult position is the result. Under the
agreement the publisher would be bound to
pay a certain percentage on the full published
price. Under the usual clause for the sale of
remainders the publisher generally pays a
certain percentage on the net amount received.
It is difficult to know what the legal decision
would be if the author should bring an
action for the full royalty on the published
price. He would have to show that his damage
amounted to that sum; whereas a publisher
might maintain that, as the book was not
selling, his damage really amounted only to
the sum paid as a percentage on the remainder
sales. We put the matter forward as a warning
to authors. In almost every agreement there
is a clause which deals with remainders; if
there is no such clause, then we think, as a
matter of courtesy, quite apart from the right,
the publisher should give the author notice
before he effects a sale. It would be interesting
to take a case into court where a remainder
sale had been made without any clause lying
in the agreement dealing with the matter, in
order to test the author's rights. Perhaps
some. day such a case may be tried.
CANON SHEEHAN MEMorRIAL.
Ir has been proposed that a memorial should
be set up in Doneraile, to Canon Sheehan,
who died recently, and the secretary of the
THE AUTHOR.
fund has written to the Society of Authors to
enquire whether any member of the Society
would be willing to subscribe. Canon
Sheehan must be well known to the members
of the Society as the writer of a large number
of books and novels. He was a member of
the Society for many years, and has been a
warm supporter of the Society throughout
his membership. The patrons of the fund are
the following :—
The Right Hon. Lord Castletown, of Upper
Ossory.
The Right Hon. Alderman O’Shea, Lord
Mayor of Cork.
Sir John Arnott, Bart.
Sir Bertram Windle, President University
College, Cork.
Colonel Grove White.
Langley Brasier-Creagh, M.C.C.
Lieutenant-Colonel Cuming.
Captain Nichols.
Should any member desire to subscribe,
subscriptions should be sent to Rev. Br. P. A.
Mulhall, Hon. Secretary, Doneraile.
1
COMMITTEE ELECTION.
4
N pursuance of Article 19 of the Articles of
I Association of the Society, the committee
give notice that the election of members
of the Committee of Management will be pro-
ceeded with in the following manner :—
(1) One-third of the members of the present
Committee of Management retire from office in
accordance with Article 17.
(2) The names of the retiring members are:—
Sir Alfred Bateman,
W. W. Jacobs,
Stanley Leathes,
Aylmer Maude.
(3) The date fixed by the committee up to
which nominations by the subscribing members
of candidates for clection to the new committee
may be made is January 31.
(4) The committee nominate the following
candidates, being subscribing members of the
Society, to fill the vacancies caused by the
retirement of one-third of the committee,
according to the constitution :—
Sir Alfred Bateman,
W. W. Jacobs,
Stanley Leathes,
Aylmer Maude.
The committee remind the members that,
under Article 19 of the amended Articles of
Association ‘‘ any two subscribing members of
1138
the Society may nominate one or more sub-
scribing members other than themselves, not
exceeding the number of vacancies to be filled
up, by notice in writing sent to the secretary,
accompanied by a letter signed by the candi-
date or candidates expressing willingness to
accept the duties of the post.
The complete list of candidates will be
printed in the March issue of The Author.
—_———+ >_> —___——_-
THE PENSION FUND COMMITTEE.
pe
N order to give members of the Society,
I should they desire to appoint a fresh
member to the Pension Fund Committee,
full time to act, it has been the custom to place
in The Author a complete statement of the
method of election under the scheme for
administration of the Pension Fund. Under
that scheme the committee is composed of
three members elected by the committee of the
Society, three members elected by the Society
at the general meeting, and the chairman of the
Society for the time being ew officio. The three
members elected by the Society are Mr. Owen
Seaman, Mr. M. H. Spielmann, and Mrs. Alec
Tweedie. This year Mrs. Alec Tweedie retires
under the scheme and submits her name for
re-election.
The members have, however, power to put
forward other names under clause 9, which runs
as follows :—
“ Any candidate for election to the Pension Fund Com-
mittee by the members of the society (not being a retiring
member of such committee) shall be nominated in writing
to the secretary at least three weeks prior to the general
meeting at which such candidate isto be proposed, and the
nomination of each such candidate shall be subscribed by
at least three members of the society. A list of the names
of the candidates so nominated shall be sent to the members
of the society, with the annual report of the managing
committee, and those candidates obtaining the most votes
at the general meeting shall be elected to serve on the
Pension Fund Committee.”
In case any member should desire to refer to
the list of members he can do so if he gives
notice to the secretary, or if he prefers he can
forward the name of his proposed candidate or
candidates and the secretary will inform him
if they are members.
It will be as well, therefore, should any mem-
ber desire to put forward a candidate, to take
the matter within his immediate considera-
tion. The general mecting of the Society is
usually held in March. It is desirable that all
nominations should be in the hands of the secre
tary before January 31.
114
M. ANATOLE FRANCE IN LONDON.
—— +
ANATOLE FRANCE has been on a
visit to London during the past month
and on December 10, a dinner was
given in his honour at the Savoy Hotel. Lord
Redesdale presided at the dinner, among those
present at which were the Earl of Cromer,
Viscount Goschen, Mrs. Humphry Ward, Mr.
H. G. Wells, Miss Marie Corelli, Mr. Alfred
Sutro, Mr. Israel Zangwill, Mr. W. J. Locke,
Mr. John Galsworthy, Madame Sarah Grand,
Mr. C. Lewis Hind, Mr. Jerome K. Jerome,
Mr. W. W. Jacobs, Sir Frederick Pollock, Mr.
T. P. O'Connor, M.P., Sir D. Mackenzie Wallace
and Sir James Yoxall, M.P. Apologies for.
inability to attend were sent by Mr. Asquith,
Mr. Balfour, and Mr. Thomas Hardy.
The chairman, in proposing the toast of the
guest of the evening, said that he might have
referred to him as one who has distinguished
himself in many capacities, one who was an
antiquary, a scholar, a man of science, an
artist ; but he preferred to speak of him in a
capacity which included all those qualifications,
the capacity of an illustrious novelist. The
novel was the champagne of prose literature—
and it was a Yorkshire parson, Sterne, who
invented the novel, as it exists to-day. He
hoped he would not be charged with boasting
if he weleomed M. France to the home of the
novel.
M. France, in the course of his reply, said
that it was fitting the chairman should have
spoken of the novel, both because he was the
admirable writer who had made known in
Europe the heroic tales of Japan, and because
he was an Englishman. During two centuries
English writers had produced masterpieces in
this genre. Need he recall the names of
Richardson and Fielding, Swift and Defoe,
Seott, Dickens, Thackeray, George Eliot ?
There he pulled up, in order not to confer on
the living a premature apotheosis! England
was the native home of the novel, as was
Normandy of the apple or Valencia of the
orange. ‘Why? That question could be
answered only in a large volume or in a single
word. He would answer it in a word. The
novel was in its nature intimate, cordial, and
homely, and the spirit of the Englishman was
homely, intimate, and cordial. What was
infinitely precious to him as their guest, he
gontinued, was the opportunity which was
given to him now to express his respectful and
tender affection for England, and to pay
THE AUTHOR.
homage to all there who represented the
essential English genius, to all of them who,
after a long series of robust generations,
conveyed the vast and profound spirit of
Shakespeare and Bacon. In this English
genius there was a vigorous continuity which
provoked wonder and compelled admiration.
Its gravity, wedded to a perfect good humour,
its happy combination of realism with a
sublime idealism, its patient effort after justice,
its virile energy and constancy in virtue, made
it a perpetual homage to human liberty and
human dignity. It had won the esteem of the
whole world and had nowhere been better
known nor more esteemed than in France.
———_+— + —_—___
UNITED STATES NOTES.
——
HERE still continues to be discussion
about the relative quantity and quality
of books produced in the United States ;
and the: Publishers’ Weekly, in whose columns
the matter has been amply debated, has
recently expressed the hope that ‘‘ the much-
abused slogan ‘ fewer and better books’ is at
last being heard.” Figures do not, indeed,
support the idea that the output of books (of
all kinds) is decreasing at the moment, since
the Fall Announcement List shows an increase
in titles of 5 per cent. over last year’s—itself
nearly 29 per cent. larger than that of 1911.
But it is thought that, on the whole, there will
prove to have been a numerical decline in
book-production for two years past, accom-
panied by an improvement in quality in the
non-fiction class. One Boston publisher has
ventured on the opinion that the ery ought
now to be changed to ‘‘ more and better books.”
It is noteworthy that the publishers profess
the most vivid interest in the question. The
authors are comparatively silent.
Biographical works have been unusually
numerous since I last wrote. First place may
be given to ex-President Roosevelt’s and
Admiral Dewey’s autobiographies. Then there
are Senator H. Cabot Lodge’s “ Early
Memories ” ; Amelia Barr’s ‘“ All the Days of
My Life”; Mrs. John A. Logan’s ‘‘ Reminis-
cences of a Soldier’s Wife ’? ; and F. T. Martin’s
“Things I Remember.” ‘Harrison Gray
Otis”’ is portrayed by S. E. Morrison, a
descendant. W.J. Johnson writes of “ Lincoln
the Christian,” Dr. W. Elliot Griffis of “‘ Hep-
burn of Japan,’’ Caroline Ticknor of ‘‘ Haw-
thorne and his Publisher.’’ W. E. Ford edits
THE AUTHOR.
“The Writings of John Quincey Adams,”
Frederick Bancroft ‘‘The Speeches, Corre-
spondence, and Political Papers of Carl
Schurz,’ and Sara Norton and M. A. de Wolfe
Howe, conjointly, ‘‘ The Letters of Charles
Eliot Norton.”
Among the historical works are Senator
J. H. Lewis’s ‘‘ Two Great Republics—Rome
and the United States’; J. Spencer Bassett’s
“‘ Short History of the United States”; G. L.
Rives’s “‘The United States and Mexico,
1821-1848’; Rear-Admiral Fiske’s ‘‘ War
Time in Manila”; J. A. Le Roy’s “ The
Americans in the Philippines’; R. M. John-
ston’s ‘ Bull Run: Its Strategy and Tactics ” ;
and R. F. Guardia’s ‘‘ Discovery and Conquest
of Costa Rica.”
Two notable Anglo-American books are
Senator Lodge’s “‘One Hundred Years of
Peace’’; and Mr. Whitelaw Reid’s ‘“* American
and English Studies.”
Ex-President Taft has a work to his credit—
“Popular Government: Its Essence, its
Permanence, and its Perils.” Somewhat
similar in the suggestion of its title is H. C.
Emery’s ‘‘ The Politician, the Party, and the
People.”’ Political also are ‘‘ The Theory of
Social Revolution,’ by Brooks Adams ; ‘‘ The
Monroe Doctrine, an Obsolete Shibboleth,” by
H. Bingham ; and “‘ A Preface to Politics,”’ by
Walter Lippmann. The feminist question is
considered in ‘‘Sex Antagonism,” by W.
Heape; ‘‘ Woman in Science,” by H. J.
Mozens; and “A Survey of the Woman
Problem,” by Rosa Mayreder. “ Present
Forces in Negro Progress,” is by Dr. W. D.
Weatherford. C. O. Gill and G. Pinchot
discuss ‘‘ The Country Church: Its Decline
and the Remedy.”
Professor W. G. Bleyer is the author of
“Newspaper Writing and Editing,” and Pro-
fessor F. P. Graves of ‘‘ A History of Education
in Modern Times.”
Literature and art do not claim a long list
of recent books. Among them, however, is
ex-President Roosevelt’s “‘ History as Litera-
ture, and other Essays.” ‘“‘ The Book of the
Epic,” is by H. A. Guerber ; ‘‘ Art and Common
Sense,” by Royal Cortissoz; ‘‘ London in
English Literature,” by P. H. Boynton. In
“The Wallet of Time,’’ William Winter deals
with the American stage between 1791 and
1812, while Dr. R. E. Burton writes about
‘* The New American Drama.”’
Travel books and the like are fairly numerous.
“The Panama Gateway,’ by J. B. Bishop ;
“The Panama Canal,” by Earle Harrison ;
“The Story of the Panama Canal,” by Logan
115
Marshall ; and “‘ Pacific Shores from Panama,”
by E. C. Peixotto, all derive their inspiration
from one source. Home is dealt with in R. H.
Schauffler’s ‘‘ Romantic America,”’ Caroline
Richards’s ‘‘ Village Life in America (1852-
72), and Belmore Brown’s ‘‘ Conquest of
Mount McKinley.” P. J. Eder, with ‘‘ Colom-
bia,” and D. R. Williams, with ‘“‘ The Odyssey
of the Philippine Commission,” go further
afield; and further still, Theodore Dreiser’s
** A Traveler Abroad,’ C.S. Oleott’s ‘‘ Country
of Sir Walter Scott,” and A. H. Exner’s
** Japan as I Saw It.”
By exercising a discrimination,, which .may
not be entirely just, it is possible to reduce the
army of new novels to reasonable dimensions.
Undoubtedly the most popular of the autumn
volumes were Gene Stratton-Porter’s ‘‘ Laddie”’
and Rex Beach’s ‘“‘ The Iron Trail.’ The best
sellers’ lists have also included ‘‘ The Way
Home,” by Basil King; ‘A Fool and his
Money,” by G. B. McCutcheon; “ Otherwise
Phyllis,’ by Meredith Nicholson; ‘The
Business of Life,” by R. W. Chambers ; “ The
Lady and the Pirate,” by Emerson Hough ;
and ‘“‘ The White Linen Nurse,”’ by Eleanor
Hallowell Abbott. Richard Harding Davis’s
new novel is ‘‘The Lost Road”; Payne
Erskine’s ‘“‘ The Eye of Dread ”’ ; R. W. Kauff-
mann’s ‘‘ The Spider’s Web ”; G. R. Chester’s
“Wallingford and Blackie Daw”; Kate
Douglas Wiggin’s ‘‘ The Story of Waitstill
Baxter”; L. J. Vance’s “ Joan Thursday ”’ ;
Ridgewell Cullum’s “‘ The Twins of Suffering
Creek’; Edith Wharton’s “‘ The Custom of
the Country’; Stewart Edward White’s
** Gold ” ; F. H. Spearman’s ‘“‘ Merrilie Dawes ”
Harriet Hobson’s “‘ Sis Within ’?; and Harold
Bell Wright’s ‘‘The Eyes of the World.”
Margaret Deland has brought out “ Partners ” ;
Samuel Blythe, ‘‘ The Price of Place” ; Anne
Elliott, ‘‘ The Memoirs of Mimosa ”’ ; Marjorie
Patterson, ‘‘ The Dust of the Road”; David
Potter, “‘ The Streak’; Anne Wharton, “A
Rose of Old Quebec’’; Laura E. Richards,
“The Little Master’?; Mrs. Corra Harris,
“In Search of a Husband’; Will Levington
Comfort, ‘‘Down among Men”; Harold
MacGrath, ‘‘ Deuces Wild’; Mary Johnston,
‘Hagar’; Gouverneur Morris, “If You
Touch Them They Vanish”; J. B. Ellis,
‘“‘TLahoma’’; and W. M. Harvey and J. C.
Harvey, ‘“‘The Hills o’ Hampshire.” Mrs.
R. C. Sheffield’s novel, ‘‘ The Golden Hollow,”
sprang into immediate fame owing to an
attempt by the lady’s husband to prevent
its publication, on the ground that he was
libelled in it !
Finally, mention must not be omitted of
two posthumous works of fiction—Myrtle
Reed’s “Threads of Grey and Gold,” and
Vaughan Kester’s ‘‘ The Hand of the Mighty,
and other stories.” :
The obituary of the past half-year contains
many names of writers, though perhaps the
majority of them are but little known in
England. In June, too late for inclusion in
the last issue of these notes, occurred the deaths
of Lucius Harwood Foote, a poet who was once
U.S. Minister to Korea; of the Rev. Dr. C. A.
Briggs, hero of a Presbyterian heresy-trial
eleven years ago, and a prolific religious writer ;
of M. M. Muhleman, author of a number of
financial works; of T. A. Janvier, editor,
novelist, ete., and friend of Frédéric Mistral ;
of the Rev. E. G. Murphy, a southern philan-
thropist ; and of Judge T. M. Norwood, ex-
Confederate and Senator. Early in July died
Mrs. Mary Harrison Seymour, a writer of
children’s books. Miss Nell Speed, another
worker in the same line, followed her at the
beginning of August. Professor J. C. Coney,
of Princeton University, died on July 25.
September saw the deaths of Professor A. G.
Newcomer ; of the Kentuckian, R. T. Durrett ;
of the Rev. Dr. James Orr; and of Eliakum
Zunser, the Yiddish poet. In October died
Stanley Waterlow; Stephen Jenkins; the
Rev. Dr. J. I. Mombert; Professor C. F.
Richardson ; Mrs. Sara Andrew Schafer; W.
Garrott Brown; Mrs. M. B. Crowninshield,
widow of the Admiral; and Reuben Gold
Thwaites, of Wisconsin University. Price
Collier died on November 8, when on a visit to
the Baltic. The writings of the last named are,
of course, as well known in the Old World as
in the New.
Puitie WALSH.
—————p-~<¢—___
ARTISTS, CRITICS, AND EXHIBITIONS.
—-— +
A” interesting article in a recent issue
of The Author on artists and critics
prompts me to offer a few remarks on
the subject; my excuse being that I have
been writing about art for more years than I
care to recall, and that during that time I have
had considerable opportunity, not merely of
thinking about the vexed question of the
legitimate limits and province of art criticism,
but what is more to the point, of learning
from all sorts and conditions of artists, their
views thereon.
116 THE AUTHOR.
I would like to epitomise, as briefly as
possible, these views with which, I confess,
I have a large measure of sympathy. Artists
generally hold, as your contributor hints,
that it is absurd, speaking generally, to suppose
that one man can be competent to tackle
every phase of artistic thought and expression :
every school of art. They hold that the critic
is lacking, commonly, in catholicity of taste,
and that his knowledge of painting and ~
sculpture is necessarily limited, in a technical
sense and in other regards. In most cases the
critic has a strong bias toward a particular
school of painting, so that he is apt to judge
everything that comes under his review from
the standpoint of its approximation to, or
deviation from, the preconceived standard
he has set up in his mind, The literary
man is in a much happier case in regard
to the newspaper judgment of his work,
because, in the first place, his critic is
another literary man and consequently knows
something about the technical difficulties of
the literary vehicle of expression. Moreover,
as your contributor remarks, the editor sees
that a book coming to him for review is sent
out to the critic who has made, or is supposed
to have made, a special study of the subject
treated in that particular book. Editors know
that such and such a reviewer on their list is
incompetent to judge, say, a theological work,
though he may be trusted not to make a fool
of himself in dealing with a treatise on the
arts and crafts.
Artists maintain that the language of art
is art, and that although Ruskin and others
have tried to translate it, put it into words,
that is to say, it remains a thing apart, to be
understood fully by the practitioners of art
only. A writer can only tell you what is
wrong with a picture, whereas he should he
able both to point out a fault and tell you
how to correct it.
If a critic should tell a writer that his book
is full of split infinitives; that the meaning is
often obscured by the too free and too com-
plicated use of parenthesis, that its facts are
faulty; its opinions based on insecure or
fallacious grounds ; its style loose, or what not,
he has not only pointed out definite faults,
but in doing so has suggested remedies. The
assumption is that the literary critic knows
how to write well enough to improve the book
he criticises, and this he either proves or the
reverse by the quality of his own literary style
and the character of his criticism; whereas
an art critic is not called upon to prove his
power to improve a picture in writing about it.
THE AUTHOR. 117
In view of these and cognate considerations,
it is held by artists that they are to be pardoned
if they look upon art criticism generally in
the light of “notices,” rather than as a
guide to aid and correct performance. Conse-
quently, it is not unnatural that when a
notice becomes offensive they commonly
resent it.
' If a painter should come into another
painter’s studio and say bluntly, ‘‘ That arm’s
too long,”’ or ‘‘ That nose is too short,” indicat-
ing the alteration necessitated with a piece of
chalk, he is in fair way to prove himself right
or wrong; the matter can be determined one
way or the other. The like applies to much
more subtile criticisms. Whereas, when a
critic arbitrarily declares that a picture is
‘too degraded in tone,” that it lacks distinc-
tion, that the artist needs to take lessons in
perspective, that his colour gradations are in
defiance of truth, or too truthful to be
beautiful, and so forth, he merely makes
assertions upon which no onus of proof rests.
To come from the general to the particular.
It is undeniable that mixed exhibitions in
London and other great cities are, generally
speaking, arranged with the design to attract
attention, to draw the town, so to speak; to
express and take advantage of any new theory
that may have ‘“‘ caught on.” The result is
that pictures not painted with these aims are
fairly certain to be overlooked by the critic
whose one preoccupation frequently is to make
“copy.” So that in recent days, truth to
nature no longer counts, and the indirect
result is that too many artists, rather than
run the risk, amounting almost to a certainty,
of being left behind, throw nature and truth
overboard. They become frantically eager to be
in the movement, to assert their “individuality ”’
and so secure notice. To-day, moreover,
pictures are more and more regarded as mere
wall decorations, and this being so any new
convention pleases for the moment, so long, that
is to say, as the particular scheme of colour
and design is in the mode. To this scheme
pictures must accord. The result is lament-
able for the landscape painter ; for what does or
can the average fashionable Londoner know
about the country, which he merely resorts to
in the holiday-maker’s spirit? As the town
continually increases its boundaries, this must
be more and more the spirit in which the
country is regarded and tolerated. Despite
the fact that motors take Londoners from
centre to centre, their view of the country
must be merely panoramic, and their apprecia-
tion of it must become increasingly super-
ficial and artificial.* The real life and soul of
nature, the real meaning of the countryman’s
life and habit of |thought become less and less
understood. Hence, if a landscape painter in
any case is to attract a wide public his work
must become more and more decorative and
conventional: it must be painted to supply
a@ want.
The time has already arrived, speaking in
the social sense, when London exists solely for
those who follow fashion and resort to it to be
tickled with the latest novelty. Its exhibitions
of pictures must, if they are to pay their way,
conform to the inexorable necessity of tickling
the palates of the groundlings. Consequently
the true artist is returning to that happier
and far more gracious state when exhibitions
and critics were factors outside his considera-
tion. He is becoming content to paint for
those few whom the good God gives him; for
appreciative folk of his own neighbourhood,
folk familiar with and loving the scenes he
depicts. He works, as all great artists of old
worked, to please those with whom he comes
into direct contact, leaving his fame now and
hereafter, in a more extended sense, to take
care of itself. The artists who have arrived at
this sensible and dignified resolve are much
happier in themselves and in their work than
those to whom exhibitions and newspaper
notices are necessities.
Jas. STANLEY LITTLE.
——_——_ + —~>—__+-—______—__
WHO’S WHO, 1914.*
eg
2 HO’S Who” is so well known as
hardly to stand in need of recom-
‘ mendation. There is in any year
very little to be said about this valuable annual
except that it has again grown larger, and will
so be more helpful than heretofore. We have
only to remark that the new volume maintains
its traditional level, which is giving it the
highest praise that can be bestowed upon it.
ae
WHO'S WHO YEAR-BOOK FOR 1914—15.¢
ne
N a few words contained in his preface, the
editor of ‘‘ Who’s Who” very justly draws
attention to the assistance which all
possessors of that work will derive from this
* “Who's Who, 1914.” Sixty-sixth year of Issue.
London: Adam and Charles Black.
+ ‘“Who’s Who Year-Book for 1914—15.” London :
Adam and Charles Black.
118
fellow-volume, the ‘‘ Who’s Who Year-Book.”’
The commodious alphabetical arrangement of
the larger volume necessarily precludes any
grouping of the vast amount of information
which it contains. This grouping of infor-
mation is, at the same time, indispensable
when a name has to be sought; and 1s
immediately provided by the exhaustive
indexes under various headings presented in
the ‘‘ Year-Book.’’ We therefore entirely
agree with the editor that “it can be truly
said that no one who does not spend an extra
shilling on the lesser work can reap the full
advantage of the larger one.’”’” Among new
tables included for the first time in the present
edition are: A list of the Heads of Universities,
of General Officers and Admirals on the Active
List, of Premiers of Colonies, and Members of
Royal Commissions now sitting. While recom-
mending the work generally, we must add that
it is one likely to be particularly useful to
journalists as well as to other literary men.
——_+ + —___
THE WRITERS’ AND ARTISTS’ YEAR-
BOOK.*
1
S there any occasion to say that ‘‘ The
Writers’ and Artists’ Year-Book ”’ ought
to be in the hands of every author? We
hope that there is not, for no manual of equal
value exists, whilst its price puts it within the
easy reach of all. Among the new features of
the volume of 1914 are an article on cinema-
play writing by an expert, a detailed list of
cinema companies and their requirements, and
an article on press photography. In addition
to this the book has been this year greatly
enlarged by the inclusion of fresh matter;
whilst a last but most happily invented
novelty is, at the end of the volume, the
provision of blank pages, duly ruled, on which
authors may record where MSS. are sent and
when, and with what results. The conve-
nience of this will be instantly apparent to
all contributors to periodicals, and ought alone
widely to increase the popularity of this
valuable little book.
* “The Writers’ and Artists’ Year-Book, 1914,” Iondon:
am and Charles Black.
THE AUTHOR.
**BOOK PRICES CURRENT.” *
oo
HE numbers of Book Prices Current lying
aL before us complete the twenty-seventh
volume; and record the sales from
March 18 to August 1, 1918. We learn from
the preface that the auction season has been
‘*one of the busiest on record, as well as one
of the most successful.”” The total amount
realised, in more than sixty high-class sales,
has closely approached £200,000, a sum exceed-
ing any previously on record for a corresponding
period; whilst the average sum realised
throughout the season has been £5 Os. 7d. ;
also the highest on record; 1911, 1912,
previously the highest average recorded, gave
an average of £5 Os. 2d. This remarkable
record has not been due to the Huth sale alone.
During the last two years a very large number
of rare and valuable books have come into the
auction rooms, and they have fetched there
higher prices than at any previous date. On
the other hand, other books, of value, but not
such as are sought by the book collector have
sold for sums considerably smaller than they
fetched a fewyears ago. Here the scholar, as
distinct from the book collector enjoys an
advantage, and may hope to purchase volumes
required for working purposes at somewhat -
diminished prices. The editor of Book Prices
Current speaks of the impression that ‘“ all
sorts and conditions of owners desire to dispose
of their possessions as quickly as possible ’’ as
an. “‘ illusion,”” but we must confess to wishing
that we could be quite sure of that ; or even sure
that authors at least paid as much attention as
their calling demands to the possession of
books—and to reading them. A depreciation
in the value of books that are not collectors’
books has a sinister appearance of being of one
piece with a good many other phenomena of
“the advance of education,” or what at present
passes for such.
We have, unfortunately, space for picking
out only a very few plums from the widely
interesting details of the new numbers of this
always entertaining periodical. Those who
like to read of strange books, of the most
varied description, should turn to the pages
recording the sale (April 3, 4, Sotheby) of the ©
first portion of a book-lover’s library. Authors
are likely to be particularly interested in such
lots as (April 3, Hodgson) Meredith ‘‘ Ordeal
of Richard Feverel,”’ first edition, 8 vols.,
original cloth, 1859, £8 15s. The same price
* “ Book Prices Current,” Vol. XXVII., Nos. 4 and 5,
1913. 2s
London : -Elliot Stock.
te het Sg a ES
THE AUTHOR. 119
was paid (April 23, Sotheby) for two works by
Gissing (“Workers in the Dawn,” “ The
Unelassed’’), both similarly first editions in
three volumes in the original cloth. Very
striking were the prices fetched at the sale of
the Browning Collections (May 2, MSS. ;
May 5—7, printed books, Sotheby). Particu-
larly the prices paid for the MSS., should be
noted. Every one of them would be worth
quotation if we had space ;_ but we can record
here only such things as pairs of small manu-
script note-books selling for £33, £50, and £52 ;
and the autograph of “* Sonnets from the Portu-
guese” for £1,130. The printed books also
fetched quite fancy prices on account of
ownership, autographs and manuscript notes.
Eleven volumes of the Tauchnitz classics sold
for £24. On June 2 Messrs. Sotheby began the
sale of the fourth portion of the Huth library.
It will be needless to say that, as on previous
occasions, no notice could possibly do justice
to the rarities offered for sale. Mr. Bram
Stoker’s Library was sold by Sotheby on
July 7 and 8. The original MSS. of “ Personal
Reminiscences of Henry Irving ”’ sold for £1 4s.
THE PUBLISHING TRADE FROM
WITHIN.*
——_— +
HIS is really an American book, though it
comes to us from an English house ; and
it is solely of the transatlantic conditions
of the book trade that it treats. The author,
it must be added, writes from the publisher’s
point of view, and fails to perceive a good many
things which are conspicuous from the view-
point of this Society. He writes, for instance,
as if 10 per cent. were the royalty fixed by
the laws of nature, and does not seem-to see
the abandonment of those costly advertising
methods which, in America at all events,
once afforded some justification for the
doctrine warrants the appropriation to the
writer of a larger share of the returns. Nor
does he take sound views of the functions of
literary agents; and, indeed, it is not quite
clear what his views on that branch of the
subject really are. On one and the same page
he writes that the agent “‘ is often a beneficence
to publisher as well as author,” and that,
‘depending equally upon author and publisher
for his livelihood, he is always at odds with one
_ * “The Publisher,” by Robert Sterling Yard. Constable.
4s, 6d. net.
of them.’ Why either publisher or author
should always be ‘‘ at odds” with one who is
labouring successfully for his advantage we
have some difficulty in understanding ;_ but,
perhaps, the key to the mystery is contained
in the following sentence :—
‘** It is only when slack business or exces-
sive zeal drives him into forcing royalties or
luring authors from their natural publishers
in order to win a commission by placing
them with others that he becomes the devil.”
The implication here seems to be that the
agent is all right as long as he does no work for
his commission beyond the packing up of
parcels, and that, when he does any other
work, he does it, not in the interest of his
client, but in the interest of the new firm to
which he allures his client, and is entitled to be,
and commonly is, paid a commission by that
firm for his services. That is a view of literary
agency against which we have often had occa-
sion to protest. In England, at all events, it is
illegal as well as immoral; and it is doubly
important to emphasise its impropriety when
we find a publisher’s representative writing
as if he thought it a legitimate proceeding,
offensive to no one except the publisher who
suffered by it.
Still, though we often disagree with Mr. Yard,
we are glad to have read his book. It is
desirable that the author should know what is
in the publisher’s mind; and Mr. Yard not
only tells him this, but tells it in a light
and entertaining manner, and with a real
enthusiasm for literature as well as for success.
—__+.—_o—._
“PICTURES” AND PICTURE-PLAYS.*
ag does not, at first sight, seem to be
much that concerns authors, as authors,
in the subject which gives its title to
Mr. Talbot’s book. Nevertheless, even those
who are not attracted by the idea that they
may read therein something about the
practical side of the art or industry which
provides us with ‘“‘ the pictures’? on every
vacant spot where it is possible to erect a
‘* palace ’’—even those may turn with interest
to the eighteenth chapter of the book and see
what Mr. Talbot has to say about picture-
* ‘ Practical Cinematography and its Applications,” by
Frederick A. Talbot. London: Wm. Heinemann,
120
plays and the writing of them. The vogue of
the picture-palace, he points out, has created
a new profession ; and, while at the start the
public was not exacting as to the quality of
the drama shown upon the screen, content with
the mere novelty of the exhibition, now the
state of affairs is quite different. Better fare,
stronger plots (coupled with improved mount-
ing and acting) are demanded, and the un-
known struggling dramatist, foiled hitherto by
the lack of enterprise on the part of the
theatrical managers, has a golden opportunity.
Mr. Talbot speaks enthusiastically :—
To-day the embryo dramatist never bestows a thought
upon writing for the stage ; the cinematograph will absorb
all that he can produce, and as rapidly as he can complete
it. No longer need a budding genius starve unknown and
unappreciated in a garret. If his work possesses any merit
the cinematograph will turn it to profitable account.
About 300 picture-plays are placed upon the world’s
market every week, and consequently the consumption of
plots is enormous. What is more important from the
author’s point of view is the expanding nature of this
market, where supply cannot keep pace with demand, and
the proportionate improvement that is manifest in the
scale of remuneration. Ten years ago a plot seldom
fetched more than five shillings ; to-day the same material
will command anything between £5 and £50. In this field
of activity reputation counts for nothing. The play, and
the play only, is the thing.
We could quote much more, but it is un-
necessary, to show what a boon Mr. Talbot
considers that the development of cinemato-
graphy has bestowed upon the author with
dramatic talent. We must add that he finds
the British producing firms lagging behind the
times, though signs of awakening are becoming
evident, and one or two of the most pro-
gressive establishments now pay up to £10 for
a play. Further, we are told that so much is
the standard of excellence rising that ‘‘ the
highest work only now stands a chance of
being accepted.’ It must not, therefore, be
thought that anyone can write a picture-play,
nor must we trust the “ advertisements freely
inserted in the various periodicals offering to
teach the art of writing plays for the cinemato-
graph and to submit the plots to the various
producers in the manner of a literary agency.”
The author should submit his work directly to
the producer and deal with him alone, while
the art of writing cannot be taught by schools,
but can only be acquired by experience.
In a way the title of the chapter, “‘ How to
write photo-plays,” is misleading. Mr. Talbot
is not so foolish as to attempt to supply the
place of the experience which he declares
essential. Tis chapter, however, is suggestive,
and gives additional value to a book which can
be thoroughly commended on other grounds.
THE AUTHOR.
A large number of illustrations accompany the
text, showing both the apparatus by which
moving-pictures are taken and some most
instructive results.
-_-
A MODERN ENGLISH DICTIONARY,*
y VERY dictionary must be written from a
special view-point. Even Sir J. A. H.
Murray’s world-famed production, ex-
haustive as it is, cannot contain everything.
In a dictionary the general get-up is a matter
of vital importance. It must not be too large,
it must not be too heavy, the printing must be
clear, the paper good. In these essentials
the ‘Modern English Dictionary’? must be
commended.
One feature is a series of glossaries con-
taining comprehensive lists of technical terms
referring to certain sports. These lists are
compiled by such well-known authorities as
Lord Hawke on cricket, James Brady on golf,
Claude Grahame White on aviation, and J. E.
Raphael on Rugby football.
We are not so satisfied with the illustrations.
It is really an impossible thing to illustrate a
dictionary, and though the examples of aero-
planes may give to the reader of 1913 some
interest, yet the examples of marine engines,
p. 284, seem to be quite hopeless, and unable
to suggest anything even to the mind of an
engineer, certainly nothing to the lay mind.
The coloured illustrations also are not very
satisfactory. The standard cattle, p. 158, to
give but one example, afford little real infor-
mation to those who search the dictionary for
knowledge on the subject.
The illustrations in a dictionary are bound
to be so limited that it were better to omit
them.
For the dictionary itself, as far as it has been
possible to peruse it, there is nothing but com-
mendation. Indeed, the names of the editorial
contributors on the front page, Sir James
Yoxhall, Professor Gollanez, Professor Walter
Rippmann, Henry R. Tedder, H. J. L. J. Masse,
at once carry conviction that the work has
been satisfactorily done. There are, in addi-
tion to the glossaries, some useful appendices.
The book should prove of value to those who.
want a dictionary which attempts to bring
the outstanding interests of life into its
compass.
* “The British Empire Universities Modern English
Dictionary.” Published by the Syndicate Publishing
Company, 41, Southampton Row, W.C.
CORRESPONDENCE.
+
* Onxy.”
I.
Sr1r,—It was high time that protest should
be made against the misplacement of “ only.”
My books are crammed with marginal cor-
rections of examples; to cull them would fill
columns. But I will give only one, and that
from Lord Morley’s “ Diderot” (Vol. L., ii.,
p- 77), ‘‘ He only speaks as one brooding,” etc.
A writer in the current number of 7. P.’s
Weekly flatters Lord Morley by imitation,
‘when he says of a bookseller that “* of twenty
novels submitted to him he only ordered two.”
Yours faithfully,
Epwarp CLopp.
II.
Sir,—Your last issues contain letters in
which exception is taken to such sentences as
“the tide had only turned two hours before,”
‘“* T shall now only add three remarks for your
consideration,” ete. So far from being a
‘* vulgar error,” this throwing forward of the
‘only ” is a natural and instinctive action of
the mind by which the hearer is warned as
early as possible of the nature of the statement
asa whole. Of possibilities of various degrees,
a minor one is to be put forward as the predi-
cate. A colour and a force is thus often given
to what would be otherwise a mere correct
verbal statement. If a man asks me to give
him a book I have in my hand, I reply: “I
bought it only yesterday,” I am giving him a
formal verbally correct piece of information.
But if I say: “I only bought it yesterday,”
I am also making a protest. The “only”
represents my chief emotion and must come
out at once. Personally, I prefer living
language to dead formalism.
Yours obediently,
Louis ZANGWILL.
Boox Covers.
S1r,—I should like to utter a protest—I fear
a futile protest, for vulgarity is the order of
the day—against the paper covers, not only
with startling but with misleading pictures on
them which even respectable publishers give
to the books they issue. Has the author any
centrol over these? Reviews had _ lately
attracted me to a certain book but I was
inclined to think I must have been mistaken
THE AUTHOR.
121
as to its character when I saw the wrapper.
The pictorial decoration, however, proved to
be a gross exaggeration of an incident in the
novel—a noble book. The dodge, in order to
attract readers who would not be in sympathy
with the contents, was like to alienate those
who would be. It struck me as being bad
business as well as insulting to the writer.
Faithfully yours,
IsosEL Fitzroy Hecur.
THE LATE Dr. ALFRED RussEL WALLACE.
Dear S1r,—The family of the late Dr. Alfred
Russel Wallace having invited me to arrange
and edit a volume of letters and reminiscences,
they would be thankful if those of your
readers who have letters or reminiscences
would kindly send them to me for this purpose.
The letters would be safely and promptly
returned.
Will provincial, American, colonial and
foreign newspapers kindly republish this letter.
Yours faithfully,
JAMES MARCHANT.
BROWNING RELICs.
Dear Srr,—Will you kindly permit me to
interest some of the readers of The Author in
the following facts ?
It has been my privilege to purchase the
wonderful oak bookcase of that great poet—
and great man—Robert Browning. My object
in doing so was to save it to our own land,
as there was imminent danger of its leaving
the country.
I wish to give any and every lover of
Browning’s memory and poetry, an oppor-
tunity of subscribing his or her coin, as he or
she is able, towards the £250 required to secure
the bookcase a permanent resting place in
England as a national heirloom.
I am told that it would easily fetch from
two to three thousand pounds from America.
But that, of course, is unthinkable to fellow-
countrymen and women of the Brownings.
The insignificant sum of £250 should be easily
forthcoming within the three months for which
the offer remains open, if each sympathiser
will contribute his or her coin promptly and
endeavour to interest others. Would it not
be a shame and a national disgrace were we
to permit this precious relic to go abroad ?
The bookcase is of fine old carved oak,
gathered together by the poct himself, as he
wandered about Italy. Some of it is fifteenth
122 THE AUTHOR.
century oak; other pieces are of early
sixteenth and seventeenth centuries. The
bookcase is 11 feet high by 7 feet broad. It
stood in the drawing room at Casa Guidi, and
later in Browning’s London home. It is
mentioned in Mrs. Browning’s letters to
Miss Mitford, July 4, 1848. And there is a
very’ interesting allusion to it in “ Bishop
Blougram’s Apology,” which, if read in con-
junction with Mrs. Browning’s letter, sheds a
very pretty light on a personal matter in the
Brownings’ history.
Many of the poet’s MSS. must have been
locked up in the fine cupboard at the base of
the bookecase—probably ‘“‘ The Little Yellow
Book” itself found here a_ resting-place.
If any of your readers would care to see the
bookease, I should be glad to send them
permits to view it, which, thanks to the kind-
ness and hospitality of Mr. J. R. Thomas, is
now housed in the Georgian Galleries belong-
ing to that gentleman, and situated at 10, King
Street, St. James’s, S.W.
I am, dear sir, faithfully yours,
(Mrs.) E. M. Story.
Orchard House,
Whelton Road,
Twickenham.
Dear Srr,—I am suffering from a dis-
agreeable emotion—regret for having tried to
do a kind action for my fellow authors. I have
just received the following letter :—
*“DEar Mapam,—Acting on the sugges-
tion in your letter in The Author dated
September 16, I directed my publisher to
send a copy. of my (name of book) to
Monsieur Paul Louis Hervier, 28, Rue de
Beaumont, Bourges, France. He has not
acknowledged the book, nor taken any
notice whatever of a second application
asking him to do so—to return the book—
or give the review for which purpose now so
long ago it was sent. To my thinking, such
conduct reflects discreditably on the recom-
mendation, or . . . A brief acknowledgment
would have met the need—one cannot
afford to give books away in this way. I
shall feel obliged if you will bring the
omission to his notice, as my pen fails to
have any effect.”
“Yours truly,”
ee o>
The ellipsis represents a libellous suggestion
which The Author would not print,
I do not know when the book referred to
was published, but my letter appeared in
October’s Author, and La Nouvelle Revue is
published only twice each month; so, even
if the book was sent to the French editor
immediately, but four numbers have made
their appearance since.
I am writing to Monsieur Hervier, but not
quite in the way my correspondent suggests.
I am writing to apologise for a compatriot,
and to express the hope that he will not be
disgusted with his work of helping with a kind
and clever brain the English authors whose
books are sent to him.
By the way, this lady and her publisher
have evidently had the unique experience of
having every ‘“‘review copy” noticed gor
** acknowledged ”’—wonderful !
Yours truly,
Maup ANNESLEY.
ADVERTISEMENTS.
Srr,—It frequently is the misfortune of
those who read the daily papers to find after
wading through half a column of chatty gossip
that it all ends in advertisement—a recommen-
dation to buy some patent medicine, or to
dine at some special restaurant. All this is
bad enough; but it is my desire to call the
attention of my fellow members to an editorial
liberty that has been taken twice to my know-
ledge and, probably, much more often.
The editor of a young magazine—the name
can be obtained from the secretary—altered
the locale of a short story he had bought
by changing the name of one well-known
restaurant inserted by the author to that of
another whose advertisement he held.
The matter would have been of less import-
ance if only the description, somewhat detailed
of the former, applied to the latter. It did not.
Interested by this little incident I forgot
myself so far as to purchase another copy of
the magazine some months later. There I
found the heroine “* daintily throwing away the
end of her cigarette.”” I immediately
turned to the advertisement pages and found
’s cigarettes being advertised. If the
author desires to advertise some special
abnormity, let him do so.
his taste or his art. But it is not fair that he
should be at the mercy of the editor. I should
like very much to see an action brought.
What damages would the British jury award,
I wonder.
Yours truly,
AGGRIEVED.
I do not admire .
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The Author, Vol. 24 Issue 04 (January 1914)
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<em>The Author</em>, Vol. 24 Issue 04 (January 1914)
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The Author
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The Author
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<em>The Author</em>
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1914-02-02
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24
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5
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123–152
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19140202
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The Futhor.
(The Organ of the Incorporated Society of Authors. Monthly.)
FOUNDED BY SIR
WALTER BESANT.
Vou. XXTV.—No. 5.
FEBRUARY 2, 1914.
[Prick SIXPENCE.
TELEPHONE NUMBER:
374 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
——___+——_+____-
NOTICES.
++
a the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
_ ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
the Editor on all literary matters treated from
‘Vou. XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
case. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
Bee ee
THE SOCIETY’S FUNDS.
—_—
ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
2
124
matter closely connected with the work of the
Society. : :
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
——__+—__+#—___—_
THE PENSION_ FUND.
—_+——
N January, 1918, the secretary of the Society
I laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4% Extension Shares, 1914,
£10 fully paid. The number of shares pur-
chased at the current price was twenty-five
and the amount invested £296 1s. 1ld. The
trustees are also purchasing three more Central
Argentine Railway New Shares at par, on
which as holders of the Ordinary Stock they
have an option.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
Local Loans
Victoria Government 8% Consoli-
dated Inscribed Stock ........
London and North-Western 3%
Debenture Stock ............
Egyptian Government Irrigation
Trust 4% Certificates ........
Cape of Good Hope 84% Inscribed
‘ Stock
Glasgow and South-Western Rail-
way 4% Preference Stock ...
New Zealand 34% Stock .......
Trish Land 22% Guaranteed Stock
Corporation of London 21%
Stock, 1927-57 ... 6s ee:
Jamaica 384% Stock, 1919—49 .,
Mauritius 4% 1937 Stock .......
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1938 ......
Antofagasta and Bolivian Railway
5% Preferred Stock ..........
Central Argentine Railway Or-
dinary Stock 2. 2.5.6...4..0. 232
250
200
200
228
247
258
438
1382
120
bot bet
So o oo bo 0 bo oof >) (<>)
198
237
> o oo =O > oao o o o
THE AUTHOR.
Nominal Value.
£ 8. a,
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds
250 Edward Lloyd, Ltd., £1 5%
Preference Shares
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ....... ates
8 Central Argentine Railway £10
Preference Shares, New Issue..
400
250
PENSION FUND.
—_—+-—>—+
THE list printed below includes all fresh dona-
tions and subscriptions (i.e, donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 1913.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. ‘: : ;
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. .
Nov. 6, Bentley, E. C. ‘
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert
Dec. 4, Lunn, Arnold . :
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana
Dec. 4, Vallois, Miss Grace
Dec. 17, Beresford, J. D.
Dec. 29, Inge, Charles .
Dec. 29, Cross, Miss May .
Dec. 29, Hardy, Thomas, O.M.
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I.
_
mt _
Or Or Or NOS SHUM MHS S OO OO Ot OO OL
4
oco meooooococrmooococoooroocoocoocom
SSS SSR2SSSONSOSCOSOSOSOSCSCOOCSO SCOOP
ee ae:
THE AUTHOR. 125
Jan. 16, Cooke, Arthur O.
Jan. 23, Exley, Miss M.
1913. Donations.
Oct. 7, Darwin, Sir Francis .
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27. Frankish, Harold
Oct. 30, Rossman, Miss
Nov. 8, Holland, Theodore
Nov. 3, Steane, Bruce ‘
Nov. 3, Batty, Mrs. Braithwaite .
Nov. 10, Elrington, Miss Helen
Nov. 10, Waterbury, Mrs. . :
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dee. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
Dec. 20, Edwards, Percy J.
Dec. 21, Keating, J. Lloyd
Dec. 21, Church, Sir Arthur .
1914,
Jan. 5, Anon :
Jan. 5, Joseph, L. S
Jan. 5, Swan, Miss Myra
Jan. 5, Vernede, R. E.
Jan. 6, De Crespigny, Mrs. Champion
Jan. 6, Rankin, Miss F. M. .
Jan. 7, Sneyd- Kynnesley, E. M.
Jan. 7, Lathbury, Miss Eva .
Jan. 7, Toplis, Miss Grace .
Jan. 8, Palmer, G. Molyneaux
Jan. 9, Mackenzie, Miss J.
Jan. 10, Daniell, Mrs. E. H. .
Jan. 12, Avery, Harold
Jan. 12, Douglas, Mrs. F. A.
Jan. 15, Pullemn, Miss Catherine
Jan. 15, Thomas, Mrs. Fanny
Jan. 16, James, Mrs. Romane
Jan. 19, P. H. and M. K.
Jan. 19, Greenstreet, W. J. .
Jan. 19, Gibbs, F. Leonard A.
Jan. 23, Campbell, Mrs. L. A. R. .
Jan, 23, Cameron, Mrs. Charlotte,
PRES . :
Jan. 23, Blunt, Reginald.
Jan, 24, Raphael, Mrs. Mary.
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_
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_
Or
COMMITTEE NOTES.
a
ee first meeting of the Committee of
Management for 1914 was held at the
offices of the Society, 1, Central
Buildings, Tothill Street, Westminster, on
Monday, January 12, at 8 o’clock. Owing -
to the great pressure of business the committee
have found it necessary to call the meetings at
3 instead of 4, as hitherto.
After reading the minutes the committee
proceeded with the election of members. The
full list is set out on another page. The
committee are pleased to state that the year
has started very favourably, with an election
of forty-four members and associates, the
resignations only amounting to twenty-seven.
At the beginning of the year resignations are
always considerable—this happens inevitably
in all similar bodies. The number, this year,
is less than that for the corresponding period
of 1913. This is very satisfactory in view of
the much increased membership.
The solicitor then reported on the cases
during the month.
In the first case, against a well-known
Magazine, judgment was obtained, but it was
not till execution had been levied that the
sum was recovered. In the second case,
judgment was recovered but execution failed
to produce payment, and the solicitor is afraid
that the judgment will prove abortive. ‘This
is the more to be regretted because, before the
proceedings were taken, an offer of settlement
was made which, contrary to the solicitor’s
advice, the member refused. In a claim
against a paper for articles supplied, the
money has been paid, and in two small cases
against another paper the solicitors have been
forced to take proceedings, as no notice has
been taken of their preliminary letters. The
Elysian Press, which owned the Onlooker and
Throne, has gone into liquidation. There
were two claims against this limited company
which will not now, it is feared, be satisfied.
Another paper has gone into liquidation,
against which there is, at present, one claim
outstanding. Ina claim by a member against
a publishing firm the claim has been settled
by payment of the royalties due. Another
claim against an agent for exceeding his
instructions is being considered, and if no
satisfactory explanation is forthcoming will be
taken up on behalf of the member. The
solicitor reported a case against a pub-
lisher, who, after repudiating the construction
of his agreement, put forward, when an arbi-
tration was suggested, accepted the Society’s
view, and sent a cheque for the sum in
dispute. A small dispute between one of the
members and a firm which had been in
liquidation has now been settled,’ and the
member has accepted the legal view of the
contract as set out by the solicitors.
An important case respecting property in a
126
title was laid before the committee and very
fully discussed. The matter appeared to the
committee to be of such importance that they
instructed the secretary to write a letter to the
member concerned with a view of the Society
taking immediate action in the matter. Ina
question of alleged copyright infringement,
which turned upon complicated questions of
facts, the solicitors were instructed to write
to the infringers for a statement of the
circumstances in which they became possessed
of the rights they claimed to hold. :
In a case of infringement of a dramatist’s
copyright, considered by the committee, the
solicitors were instructed to take action on
the member’s behalf. :
The secretary then reported certain cases
which had come into his hands. A case of
infringement of dramatic rights in America
was considered. The committee decided to
send the papers to the Society’s American
lawyer, and if assured that the author’s title
was good, and that he had complied with the
technicalities of the American law, instructed
the lawyer to proceed in the matter. Ina
case of dispute between author and publisher
on the contract for publication, the com-
mittee regretted they were unable to assist the
author as he had not completed his part
of the contract. The secretary was in-
structed to write a letter to the member
advising him to complete the contract as
soon as possible, in which case the com-
mittee would be willing to reconsider the
_ matter.
A request from a member that an accoun-
tant should be placed in to inspect a publisher’s
books the committee were obliged to decline,
in the absence of any evidence of inaccuracy
on the face of the statement of sales delivered.
In a dispute between a member of the Society
and an agent, the secretary was instructed to
write to the agent that the committee were
unable to accept his view of the position.
Questions put forward by the Dramatic
Sub-Committee were then considered by the
committee. The committee adjourned the
consideration of a request for a list of drama-
tists from the Society’s New York agent,
pending information respecting the purpose
for which the list was required.
The committee sanctioned an arrangement
by which powers of attorney should be
despatched to the Society’s lawyers in all
parts of the world, with a view to facilitate
their action in the event of copyright infringe-
ments coming to their notice. The secretary
was instructed to put matters in train, such
THE AUTHOR.
action having been approved by the Dramatic
Sub-Committee.
The question of the insertion in The Author
of an article dealing with certain agreements
was referred to the next meeting for considera-
tion, in order that the Committee of Manage-
ment might see the form of the article.
Matters referred to the Committee of
Management by the Composers’ Sub-Committee
were then considered. The committee passed
an article for insertion in The Author, and
agreed to issue a pamphlet for the information
of those composers who were members or
desirous of joining. A proposal to alter the
name of the Society was passed, subject to a
discussion at the next meeting of the com-
mittee as to a suitable title.
A sub-committee was then appointed to
settle the Annual Report, and it was agreed
that the report, when finally settled, should be
placed before the next meeting of the full
committee. The appointment of an arbitrator
made at the last meeting was confirmed in a
case of dispute between. two members of the
Society.
The date of the General Meeting was left
to be settled by the chairman of the Committee
of Management. It was agreed that it should
be held some time in April.
The report of the meeting of the delegates
of the Society with the Society of British
Composers was then read, and the committee
decided to follow out the suggestions of the
Composers’ Sub-Committee thereon.
Counsel’s opinion, which had been taken
since the last meeting, in regard to the right
of income tax collectors to demand from
publishers information respecting the royalties
paid to authors, was read, and it was decided
to write to the publisher who had brought
the matter to the committee’s notice, and also
to write to the Publishers’ Association.
The consideration of the draft guarantee
form was adjourned to the next meeting, when
the form will be finally settled.
The secretary drew the attention of the
committee to the fact that important questions
often arose which affected writers of fiction
only, and it was essential in these matters
that the novelists should be consulted, just
as the dramatists are consulted on matters
specially affecting their interests. It was
decided to keep a ecard index of the novelist
members of the Society.
A question of United States Copyright Law,
laid before the committee by a correspondent
in the United States, was considered, and the
secretary was instructed to enquire of the
| a
ae
THE AUTHOR.
Society’s United States lawyer, as well as of
the correspondent referred to, their views as
to the best course to be pursued in the matter.
An important case in regard to copyright in
Canada was also laid before the committee.
The committee decided that a notice should be
printed in The Author, and instructed the
secretary to take what steps were possible to
draw the attention of the Government to the
present difficult position.
A proposal made by a member that a list
of authors should be periodically printed in
the Society’s magazine, giving particulars of
the subjects on which they would write as
experts, was negatived by the committee.
After some discussion, the committee decided
it was impossible to arrange for loans to authors
on their contracts, not only because it was
outside the work of the Society, but also
because of the many difficulties that surrounded
the proposal.
The question of sending representatives to
the International Congress in San Francisco
in 1915 was considered, and the secretary was
instructed to express the committee’s thanks
for the invitation extended to them, and to add
that arrangements would be made to send
delegates, whose names would be communi-
127
the clauses had been finally settled ; that the
remainder of the Treaty would be discussed
at a subsequent meeting. He was pleased to add
that many of the remaining clauses had been
approved, and that the matter was practically
finished. At the next meeting he hoped to
be able to report a final settlement.
The agreement for a run in a West End
theatre which had been settled by a duly
appointed sub-committee of the Dramatic
Sub-Committee was finally approved, subject
to two or three small alterations. The agree-
ment will, in the course of a few days, be ready
for any member of the Society desiring a copy.
An important question of infringement of
the property in a title by a cinema film was
then brought forward, and the secretary was
instructed to get the leave of the chairman of
the Committee of Management to take action,
as immediate action was necessary to carry
the matter forward. It was decided to refer
the whole question to the Committee of
Management with a view to taking action, if
necessary, to prevent similar infringements by
asking the Government to legislate on the
issues.
Another important case of copyright in-
fringement was laid before the sub-committee,
aks |
ys Letters from a member concerning Lending
cated later, when the date approached. and the secretary was instructed to write to the
member concerned thereon.
The secretary laid before the sub-committee
a letter received from the secretary of the
Société des Auteurs et Compositeurs Drama-
tiques on the question of film fees.
enue
43 OE
Libraries and the methods of the loaning of
books were very carefully considered, but the
suggestion appeared impracticable. The secre-
tary was instructed to write to the member to
thank him for his action in the matter.
reas |
an |
ef intl | A letter dealing with the Library Censorship
was adjourned to the next meeting.
The committee instructed the secretary to
convey their thanks to Mr. James T. Tanner
for a donation of five guineas and to Mr.
H. C. Davidson for a donation of ten shillings
to the Capital Fund of the Society.
—_—
Dramatic SuB-COMMITTEE.
Tur Dramatic Sub-Committee of the Society
met at No. 1, Central Buildings, Tothill Street,
Westminster, S.W., on Friday, January 16,
at three o’clock.
After the minutes of the previous meeting
had been signed, the chairman, as one of the
delegates appointed to meet the delegates of
the Society of West End Managers, gave a
report of the meeting which had been held the
beet afternoon. He stated that the
anagerial Treaty had been taken clause by
clause and very fully discussed; that six of
—_——+
ComposERS’ SuB-COMMITTEE.
Tue first meeting of the Composers’ Sub-
Committee for 1914 was held on Saturday,
January 10, at the Society’s offices.
After the reading of the minutes of the
previous meeting, the question of the Board
of Trade Regulations for the stamping of
mechanical contrivances was again considered.
It appears that in some cases the stamps fall
off after being affixed, and that in other ways
the arrangement is a source of annoyance to
the manufacturers. The sub-committee con-
sidered whether it would not be possible to
make some suggestion to the Board of Trade
which, whilst adequately protecting the com-
posers, will, at the same time, in no way
hamper the reproducers. When full con-
sideration has been given the composers will,
if necessary, make a suggestion to the Board
of Trade.
128
The report of the meeting “of the delegates
of the Society with the delegates of the Society
of British Composers was read, and after some
discussion it was decided to take no action at
present, but the sub-committee decided to
press the Committee of Management again
on the question of the alteration of the title
of the Society. The secretary informed the
sub-committee that the matter would be laid
before the Committee of Management at their
meeting on the 12th.
The Royalty Agreement which had been
drafted for the publication of sheet music
was gone into clause by clause, considered
carefully, and finally passed.
The Agreement will be set up in type and
be at the office of the Society for those members
who desire a copy.
oo
Cases.
Durine the past month sixteen cases have
been in the hands of the secretary. At
present the number of those carried through
to a successful issue is very small. This, no
doubt, arises from the fact that during the
end of December, and the first two or three
weeks in January, there was a lull in business,
and little came to the Society’s office. Now
that the Christmas festivities are over, work
is again being taken in hand, so that half
at least of the cases submitted have only just
come to the Society’s office.
There were six cases for the return of MSS.;
one has been placed in the hands of the solici-
tors, and the other five are in the course of
negotiation.
A question of infringement of copyright
has been settled and the amount claimed
paid as damages.
One claim for money has also been settled,
the sum due having been forwarded to the
author.
Of three claims for accounts one has been
closed, the other two are still open.
Two claims for monies and accounts are
still unsettled, and one dispute with an agent
is still being negotiated, as also is one dispute
on the interpretation of an agreement.
No foreign cases have come in during the
past month. Of the cases which were still
left open at the end of the year three alone
remain unsatisfied, but they are all cases
outside Great Britain, and the delay has
occurred owing to the necessary time which
must elapse between writing a letter and
receiving a reply.
THE AUTHOR.
January Elections.
Aberdeen, The Rt. Hon.
PC,
The Earl of,
K.C.M.G., ete.
Aikin, W. A., M.D.
Allen, Charles Edward.
Anderson, Arthur
James.
Astle-Allam, Mrs. Agnes
Mary.
Bunting, Freeman
Byng, Miss N. W.
Campbell, H. R. .
Cannéll, H. Skipwith
Cohn, Miss Phoebe
Cooke, Arthur Owens .
Daviel, Leon
Elson, Robert .
Enthoven,
Gabrielle.
Esdaile, Ernest
Hanrahan, Mrs. Agnes
I
Haworth, George K.
Hixton, Madelline
Hope, G. L. N.
Hudson, H. Lindsay
_Jackson, Holbrook
°
Mrs.
Levick, Dr. G. Murray
Light, Miss Tipara
Lynch, J. G. Bohun
Vice-Regal Lodge,
Dublin.
66, Bedford Gardens,
Kensington, W.
4, Bis Passage, St.
Charles, Tunis,
North Africa.
North Gate Cottage,
Launceston.
127, Rotherhithe
New Road, Lon-
don, S.E.
New Westminster,
British Columbia.
Wydford, Ryde, Isle
of Wight.
Holmer Court,
Amersham.
c/o American Stu-
dents’ Club, 4,
Rue Joseph Bara,
Paris, France.
14, Sussex Place,
N.W.
388, Dublin
Edinburgh.
2, Albert Studios,
Albert Bridge
Road, S.W.
Whittington,
westry.
97,Cadogan Gardens,
Chelsea, S.W. :
7, Carlton Parade,
Herne Hill, S.E.
28, Highfield Road,
Rathgar, Dublin.
Irwell View, Rams-
bottom.
Hollinhurst, Edger-
ton, Huddersfield.
Park View House,
Dartmouth.
Avonlwyd, North
Road, Glossop.
Mill Hill, N.W.
19, Dewhurst Road,
Brook Green, W.
c/o Messrs. Hom-
burg and Melrose,
Grenfell Street, -
Adelaide, | South
Australia.
207, Lauderdale
Mansions, Maida
Vale, W.
Street,
Os-
Macdonald, Frederika,
D.Litt.
12, St. George’s
Square, Primrose
Hill, N.W.
No. 1719, Isamian
Bazars, Hydera-
bad (Deccan),
India.
Mangiah, Jayanti, B.A.,
LT,
Merrick, Mrs. Hope .
Millard, C. Killick ‘
Miller, Mrs. E. Olive
(‘‘ Olive Chancellor ’’)
Moor, Lady : ,
Town Hall, Leices-
ter.
The Old Vicarage,
Brixton, Ply-
mouth.
Greystone, Estcourt,
Natal.
Author’s Club, 2,
Whitehall Court,
S.W.
Schloss Felsegg
Wiltenberg, Inns-
bruck, Tirol,
Austria.
Miigge, Maximilian A. .
Oliver, John Rathbone.
Philmar, Arthur J. :
Pullein, Miss Catharine.
Redfern, Miss Joan Lyceum Club, 128,
Piccadilly, W.
60, The Groton
Building, Cincin-
nati, Ohio, U.S.A.
Grey Friars, Ascot.
Reed, Dr. Charles A. L.
M.A., M.D., F.C.S.
Sarawak, Her Highness
the Ranee of.
Saunders, John G. ‘¢ Eissendon,’’ Wood-
ville Road, New
Barnet, N.
8, Portland Man-
sions, Clapham,
S.W.
Standing, Percy Cross .
(i
BOOKS PUBLISHED BY MEMBERS.
a
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate,
ARCHASOLOGICAL.
Norzs on Taz CHurcHEes IN THE DEANERY OF Kann,
Dzvon. By Beatrix F.Cresswett. 9 x 6. 191 pp.
Exeter: J. E. Commin and Son.
ARCHITECTURE.
VALUATION AND Comprnsations. A Text Book on THE
Practice or VALUING PROPERTY AND ON COMPENSA-
THE AUTHOR.
129
TIONS IN RELATION THERETO, FOR THE USE OF ARCHI-
TECTS, SURVEYORS AND OTHERS. By PRoFEssoR
BanisTeR Fiercuer. A fourth Edition. Revised,
Rewritten and greatly enlarged by BanistER FLIGHT
Fietcuer and Hrrsert Pumiies FuutcuEr. 7} x 43.
446 pp. Batsford. 7s. 6d. n.
BIOGRAPHY.
Paun VERLAINE. By Witrrm TuHorRLeY.
(Modern
Biographies.) 62 x 43.
107 pp. Constable. 1s. n.
DRAMA.
Puaxpra. A Tragedy in Five Acts, from the French of
Racine. By S. Cuaupr Tickert. 8} x 52. 79 pp.
J. Richmond, 14, Conduit Street, W. 2s. n.
ECONOMICS.
Tue Earty WEIGHTS AND MEASURES OF MANKIND. By
GENERAL Srr CHARLES WARREN, G.C.M.G. 82 x 53.
135 pp. Palestine Exploration Fund. 7s. 6d.
La GRanpeE Ittuston Park NoRMAN ANGELL. Translated
by S. Ruesrrers. 64 x 4}. 498 pp. (Collection
Espafiola.) Nelson. 1s. n.
7% x 5. 316 pp.
Jacop BatTeman’s LappEerR. By Asnitry L. Barnzs-
Mattory’s Tryst. By Mrs. Pumie CuHamrion DB
Crespicny. 74 xX 5. 306 pp. Mills and Boon. 6s.
314 pp. Lane. 6s.
Love anpATittr. By HerpertFLrowerprew. 73 x 43.
Cauuista IN Revott. By Onivia Ramsny. 72 x 6.
321 pp. John Long. 6s.
7% x 5. 320 pp. Everett. 6s.
Lats in Lire. By Aticze Prrrin. 64 x 43. 254 pp.
Ex Misterio pr LA VitLa Rosa Por A. E. W. Mason.
Translated by F. Battv#. 308 pp. 64 x 4}. (Collec-
JemMMY ABERCRAW. By BERNARD CAPES.
Library.) Cheap Edition. Nelson. 7d. n.
7% x 6.
301 pp. Methuen. 6s.
Ont Kinp anp AnotHEeR. By Barry Parn. 73 x 5.
Gay Mornina. By J. E, Buckrose.
Mills and Boon. 6s.
73 x 5. 320 pp. Stanley Paul. 6s.
Tue Master or Merripir. By Epen Poiiwporrs. 72 x 5.
Dust rrom tox Loom. By Epwarp Nopin, 7} x 65.
Constable. 6s.
303 pp. Melrose. 6s.
Tue Decoy. By Tau Countrss or CRoMARTIn. 7} X 5}.
Terms or Surrenper. By Lovis Tracy. 7% x 43.
346 pp. Cassell. 6s.
320 pp. John Long. 6s.
Otp Motn’s Nover. Revised and Expurgated by
6d. n. i
Lawrence. Illustrated in Colours. §.P.C.K.
Somepopy’s Lucaace. By F. F. Ranpau. 72 x 5.
320 pp. Greening. 6s.
Tue Curtain. By Gertie DE S. WENTWoRTH JAMES.
(Re-issue.) Methuen. 7d. n.
tion Espafiola Nelson.) Nelson. Is. n.
(The Nelson
Tue Friyine Inn. By G. K. CHesterton.
308 pp. Martin Secker. 6s.
Tue Waters or Letun. By Dorotuea GERARD.
304 pp. Ward Lock. 6s.
Buryp Eyrs. By Marcarret Puterson. 7% x 5.
176 pp. Erskine Macdonald. 3s. 6d. n.
A Brspoxen Bripz. By Frep Wuisuaw. 72 x 5.
GILBERT Cannan. 6} x 4}. 63 pp. Martin Secker,
(Cheap Reprint.) 63 x 44. 247pp. Methuen. 7d. n.
130
HISTORY.
ANNALS AND Memorrs or THE Court or Pexine. From
the Sixteenth to the Twentieth Century. By E. Back-
Housr. J. O. P. Buanp. 10 x 6}. 531 pp. Heine-
mann. 16s. n.
POETRY.
Wittow’s Forar anp Orner Porms. By SHemma Kaye-
Suiru. 73 x 5}. 52 pp. Erskine Macdonald.
LITERARY.
S’Amusr. By W. Wurrem Bram Fisu.
Blackwell. 3s. 6d.
Sa Muss
OXFORD :
—_——_—_ + o—___—_-
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
— + —
e HE SCHOOLMASTER,” by Mr. A. C.
Benson, C.V.O., President of Mag-
dalene College, Cambridge, is the
new volume in Murray’s Shilling Library. It
is described as a commentary upon the aims
and methods of the public-schoo] master, in
relation to the boys in his house, his pupils, and
his classes.
In ‘“‘ Ancient and Medieval Indian Archi-
tecture,” Mr. E. B. Havell completes the
previous survey of the subject, and traces the
history from the earliest times to the Moham-
madan conquest. The book is announced for
publication by Mr. John Murray.
The new publications of the same firm
include ‘‘ Buddhist China,” by Mr. R. F.
Johnston, of the Weihaiwei Government (15s.
net); ‘‘ Christina of Denmark, Duchess of
Milan and Lorraine,” by Julia Cartwright (Mrs.
Ady), (18s. net); ‘‘ The Mounted Police of
Natal,” by Mr. H. P. Holt, with an introduc-
tion by General Sir George Dartnell (10s. 6d.
net); ‘‘ Memories of a Musician,” by Wilhelm
Ganz (12s. net); and a second edition of ** Law
and Politics in the Middle Ages,’ by Edward
Jenks, M.A., B.C.L.
Mrs. Ellis H. Chadwick’s ‘‘ In the Footsteps
of the Brontes ”’ is published by Sir Isaac Pit-
man & Sons, at 16s. net.
The Canadian publishers of Mr. Arnold
Haultain’s “ Goldwin Smith: His Life and
Correspondence,”’ are McClelland and Good-
child, of Toronto.
A book of ‘‘ Reminiscences, Social and
Political,” by the Lady Southwark, has been
published by Williams & Norgate, at the
price of 12s. 6d. The book contains glimpses
of Queen Victoria, Prince Albert and the Royal
children, and other celebrities of the Victorian
THE AUTHOR.
era. The volume is illustrated by many por-
traits drawn by the pencil of the author.
Mr. Herman Scheffauer’s translation of
Heine’s “‘ Atta Troll,’’ with an introduction by
Dr. Oscar Levy and illustrations by Mr. Willy
Pogany, has been published by Sidgwick &
Jackson.
‘* Busy Days ”’ is the title of a collection of
extracts from the fourteen previous works of
Mrs. Alec Tweedie, whose ‘‘ America as I Saw
it’? is in its second edition.
The sub-title of E. Nesbit’s ‘‘ Wings and the
Child,’’ gives some idea of its scope—‘‘a Plea
for the Culture of Imagination” (Hodder &
Stoughton, 6s.).
Dr. Marie Stopes is bringing out in the first
week of February a volume of original verse
called ‘“‘ Man, other Poems, and a Preface.”
Messrs. Heinemann are publishers of this, as
well as of ‘‘ Plays of Old Japan: The No,” by
Dr. Marie Stopes and Professor Sukurai, to
which the Japanese Ambassador, Baron Kato,
contributed a congratulatory preface.
Mr. Walter M. Gallichan’s new book will be
published in the spring by Holden & Harding-
ham. It is an illustrated volume dealing with
the position of women under plural marriage in
the Eastern nations. The title is ‘““ Women
under Polygamy.”
‘* A Moralist’s Birthday Book ”’ is the title
of a little volume in which the quotations are
selected and edited by Mr. Mark Meredith.
‘** Behind the Veil,” by Mr. George R. Sims,
figures among the spring announcements of
Greening & Co.
Mr. Horace A. Vachell’s new novel is
‘** Quinneys.” This and Mr. Eden Phillpott’s
latest volume of Dartmoor stories, ‘‘ The
Judge’s Chair,’ are announced by Mr. John
Murray.
Other works of fiction from the same house
are ‘“‘ Cake,” by Mr. Bohun Lynch; “ The
Race of Castlebar,” by the Hon. Emily Lawless
and Mr. Shan F. Bullock; ‘‘ Through Other
Eyes,”’ by Miss Amy McLaren; ‘ The Vision
Splendid,” by Messrs. D. K. Broster and G. W.
Taylor; and ‘“‘ Loot,” a collection of Mr. H. A.
Vachell’s short stories.
Miss Jeanette Marks’s ‘‘ Leviathan,”’ a novel
dealing with the drug habit, is published by the -
George H. Doran Co., of New York.
Mrs. Alice Perrin’s story, ‘The Happy
Hunting Ground,” which has appeared serially
in the Daily Telegraph, is coming out in volume
form on the 19th inst. (Methuen).
Mr. Frank Savile’s ‘‘ The Red Wall’ (Nelson),
appeared in the Pall Mall Magazine under the
title of ‘‘ The Secret,” but a change was
?
THE AUTHOR.
necessary owing to the latter name having
already been used for a novel by another
author. Mr. Savile’s ‘‘ The Pursuit ”’ is coming
out in a cheap edition (Hutchinson & Co.).
In “ Square Pegs,”’ Mr. Charles Inge, author
of “ The Unknown Quantity,”’ raises again the
question what is failure and what is success,
as illustrated by the careers of a big man from
South Africa and a little solicitor, each of whom
both succeeds and fails.
Mr. Max Rittenberg has two novels for 1914,
“The Modern Chesterfield ” and “* Every Man
His Price.” The former is in the nature of a
Fleet Street satire, and is described in the sub-
title as ‘‘ being a series of letters from a self-
made baronet to his son, imparting counsel
and an occasional grilling, through the latter’s
career in philanthropy, halfpenny journalism,
politics, & marriage.” Hurst and Blackett
are to publish this during March. The second
novel projects into the future, and deals with a
young scientist’s career in the development of
wireless telephony. Methuen in London and
Dillingham in New York will publish this in
August next.
Among the novels appearing through John
Long, Ltd., are ‘‘ Faith and Unfaith,” by Mr.
James Blyth; ‘‘ Mary’s Marriage,” by Mr.
Edmund Bosanquet ; and ‘“‘A Bespoken Bride,”
by Mr. Fred Wishaw.
Miss Ivy Low’s “‘ The Questing Beast ’’—
the title of which recalls both the ‘‘ Morte
d’Arthur’”’ and the ‘‘ Faery Queen ’’—deals
largely with the life of girl-clerks, of which the
author has intimate knowledge.
Mr. Ralph Stock’s “‘ Marama ”’ is a novel of
the South Seas (Hutchinson). The dramatic
rights have been secured by the Leibler Co., of
New York, for production in March.
“‘ Drum’s House,” by Ida Wild (Mrs. Meynell
Pearson), was published by Constable & Co.
last year.
E. W. Savi’s “ Baba and the Black Sheep,”
an Anglo-Indian love story, is to be published
early in the spring by Hurst & Blackett.
The same author’s ‘“‘ The Daughter-in-law ”’ is
now in its third edition.
Stanley Paul & Co. are the publishers of
““The Twin Soul of O Take San,” by the
Baroness d’Anethan, sister of Sir Rider
Haggard; of ‘The Split Peas,” by Mr.
Headon Hill; and of ‘‘ Cupid’s Caterers,”’ by
Mr. Ward Muir. The two last-named are
included in Stanley Paul’s Empire Library.
In the same firm’s 2s. net series Miss Dorothea
Gerard’s ‘“‘ The Unworthy Pact ”’ is to appear.
' Stanley Paul & Co. are also producing * Jill
All Alone,” by Rita (Mrs. Desmond Hum-
131
phreys). A 7d. edition of this author’s novel,
‘** A Man of No Importance,” has been issued
by Hurst & Blackett.
The most recent of Mr. Ascott Hope’s books
for prizes, school libraries, ete., is ‘“‘ Half and
Half Tragedy ” (A. & C. Black, 5s.).
Mrs. Fred Reynolds’s new book, to be pub-
lished shortly by Mills & Boon, is entitled
**An Absent Hero.’ It owes its interest to
the rather unusual fact that the hero never
appears on the scene at all; his character and
personality being entirely worked out in the
conversation of those who are his friends or
otherwise.
Mrs. Charlotte Mansfield’s novel, ‘‘ Red
Pearls,”’ introduces the great strike of last year
in South Africa (Holden & Hardingham).
Mr. Dugald Ferguson’s ‘“‘ Mates” is pub-
lished by Hurst and Blackett.
“ At the Back of the World,” by George and
Jennie Pugh, is published by Lynwood & Co.
Miss Constancia Serjeant is the author of
‘“ A Christmas Rose: a Story of the Christ
Child.”
The late Mr. H. D. Lowry left an unfinished
Cornish story, ‘‘ Wheal Darkness.” This was
completed by his cousin, Mr. C. A. Dawson
Scott, and is now running serially in the Cornish
Post, Cornish Telegraph, and Redruth Efficient
Advertiser.
In the December number of Health and
Vitality, the organ of the International Health
League, appeared a complete Christmas story
by Miss Annabel Gray, entitled “A Bitter
Cup; or, Jack’s Yarn.”
An article on ‘‘ Differences in Animal and
Plant Life,” by Mr. F. Carrel, appeared in the
January number of Science Progress.
In the letter from Mr. James Marchant in
the January Author, concerning the late Dr.
Alfred Russel Wallace, the address—Loch-
nagar, Edenbridge—was omitted. As a result
Mr. Marchant fears that those who would have
responded to the letter did not know whither
to send their reminiscences.
In the same Correspondence column the
address of Mrs. E. M. Story, who wrote con-
cerning ‘‘ Browning Relics,” should have
appeared as Orchard House, Whitton Road,
Twickenham.
On the front page of the January Author the
advertisement of Mackirdy’s ‘Veekly stated
that the circulation of the paper was “10,000
weekly.” Mrs. Archibald Mackirdy (Olive
Christian Malvery) writes to say that this
should have been ‘‘ 100,000 weekly,” and that
the standing orders are now far over that
figure.
132
The fourth number of€Poeiry and Drama
(published at the Poetry Bookshop, 2s. 6d. net,
or 10s. 6d. per annum, post free) completes
the first volume of this quarterly. The editor
announces a new departure in the section of the
magazine devoted to criticism. ‘‘ We have
decided, with certain exceptions, to represent
the volumes which come before us in 1914
solely by quotation, without comment.”
Mr. S. B. Banerjea, author of ‘Tales of
Bengal,” etc., is publishing a volume of
“JIndian Tales” with the Oxford University
Press, Bombay, immediately. Though mainly
intended for young people, the book will
interest and entertain their parents also.
Mrs. Philip de Crespigny’s new novel,
“Mallory’s Tryst,”’ was publi hed last month
by Messrs. Mills & Boon. It is a modern-
day story. Mrs. de Crespigny has also a short
story coming out in the Storyteller.
DRAMATIC.
Mrs. Leonard Merrick’s new four-act play,
‘* Mary-Girl,”” was produced at the Vaudeville
Theatre on January 13.
After the 150th performance of Mr. Louis N.
Parker’s “‘ Joseph and His Brethren,’ ‘‘ The
Darling of the Gods’’ was revived by Sir
Herbert Tree at His Majesty’s Theatre on
January 17, under the supervision of Mr.
Yoshio Markino.
The Play Actors produced at the Court
Theatre on January 25, Mr. Israel Zangwill’s
“The Melting Pot,” which has been played
many thousand times in the United States,
but has only been seen in London in a Yiddish
version. The play is published in book form
by Heinemann, with an afterword by the
author, dealing with the problems involved in
the play.
Mr. Paul Rubens contributes the book and
the music to the new musical comedy, ‘“ After
the Girl,”’ at the Gaiety Theatre.
“The Ladies’ Comedy,” by Mr. Maurice
Hewlett, is to be seen at a matinee at the Little
Theatre on February 8.
A dramatic version of Mr. H. de Vere
Stacpoole’s romance, ‘‘ The Blue Lagoon,”’ is
among the ventures contemplated by Sir
Herbert Tree.
A dramatic version of Sir Rider Haggard’s
“ A Child of Storm ”’ will be seen at the Globe
ea with Miss Lily Brayton in the title-
role.
At the Comedy Theatre on the 5th inst. ‘‘ The
Tyranny of Tears,’”’ by Mr. C. Haddon Cham-
bers, is being revived.
THE AUTHOR.
On the termination of the matinee season of
‘** Peter Pan” at the Duke of York’s Theatre
this month, Sir J. M. Barrie’s “‘ Quality Street ”’
will be seen at Thursday and Saturday matinees
as well as in the evening bill.
A German version of Mr. Herman Scheffauer’s
play, “‘ The New Shylock,” has been given at
the Stadt Theatre, Dantzig.
Miss Cicely Hamilton lectured to the Gallery
First Nighters’ Club on January 18.
The post of Examiner of Plays, vacant on
the death of Mr. Charles Brookfield, has been
given to Mr. G. S. Street.
Some of the work of Rita (Mrs. Desmond
Humphreys) has been purchased for the Kinema
by the Edison Co. and by Pathé Fréres.
Mr. W. Percival Westell, F.Z.S., gave four
“cinema nature lectures”? at the Playhouse,
Hitchin, last month.
Mustc.
Mr. Theodore Holland’s new violin pieces,
“* Poéme ” and “‘ Fireflies,’ were introduced by
Mr. Horace Fellowes at his recital in the
AKolian Hall on January 28, accompanied by
the composer.
> —_____—_
PARIS NOTES.
VY ““La Perception du Changement,” M.
Henri Bergson explains to us, with his
usual simplicity and wonderful clearness,
some of the essential points of his theories.
““L’Appel des Armes ”’ is the title of a novel
by Ernest Psichari, a grandson of Ernest
Renan. The author tells us the story of the
son of an anti-militarist Professor, who, against
the wishes of his father, enlists for five years’
service in Africa. We see the influence of his
Captain, who, having no high ideals, can only
teach him his profession. As a psychological
study the book is extremely interesting, and
from a literary point of view we see with the
greatest pleasure that something of that
exquisite writer, Renan, lives again in his
grandson.
** Vivre la Vie,”” by Jacques des Gachons, is
a sequel to that clever psychological study
entitled “ La Vallée Bleue.’ Each of the two
books is a complete story in itself. In the
- first, we see the influence of surroundings on
two brothers, one of whom lives in Paris and
the other in the country. In the second story
we have the history of the descendants of the
two brothers. This novelist’s books are
greatly appreciated in France and have already
won, for their author, two of the French
Academy prizes.
“La Ville Assiégée,” by Guy Chantepleure,
is not a novel, but a story of real life. Madame
Guy Chantepleure was at Janina in October,
1912, just as war was declared with Turkey,
and she describes the town to us, in November,
when all the schools were transformed into
ambulances. On December 26, in the very
midst of the horrors of warfare, she had
organised a féte for the Greek children, who
danced around the Christmas tree and forgot
for a short time, at any rate, the privations and
miseries they were enduring.
An excellent translation of the well-known
novel by the Swedish author, Gustaf af
Geijerstam, has been made by Wilhelm Bauer
under the title of ‘‘ Le Livre du Petit Sven.”
It is merely a story of family life, but told with
such delicacy and refinement that the reader
is held spell-bound by it. Little Sven and his
dog Fox, his mother, father, and the other
members of the family, become real, living
individuals, and as one reads the father’s diary
one sympathises with him in his great grief,
after the death of his little boy and his wife.
To all lovers of Old Paris we would recom-
mend the volume by André Hallays, entitled
+ Bn flanant a travers la France, Paris.”” The
author tells us of the Auteuil of the seventeenth
century, of the history of the Hotel Biron,
and also of the house in the Rue Saint-Jacques,
in which Mdlle. de la Valliére took refuge.
After Old Paris comes ‘‘ Le Nouveau Paris
{la vie artistique de la Cité moderne),” by Ray-
mond Escholier. The preface is written by
M. Gustave Geffroy.
The book entitled ‘“‘ Espagne et Portugal,”
by Marcel Dieulafoy, can now be read either in
French or English. No better informed writer
could have been chosen for this volume of the
collection : Historie générale de ’ Art than the
celebrated explorer and archzxologist whose
travels in Persia resulted in the interesting
collection now to be seen in the Louvre
Museum. M. Dieculafoy has travelled a great
deal in Portugal and in Spain, and he gives us,
in this volume, his theories with regard to
architectural origins and the influence of the
various styles. About 700 illustrations are
given in this work.
Rabindranath Tagore’s Gitanjali has been
translated into French by André Gide and is
entitled ‘‘ L’Offrande Lyrique.”
“Les Lettres, les Sciences, les Arts, la
Philosophie et la Religion des Anglo-Saxons,”
by H. Pierquin, seems to us rather a vast
subject to treat in one volume.
THE AUTHOR.
183
“La Résistance legale en Finlande ”’ by J. J.
Caspar, Avocat a la Cour d’Appel a Paris, may
interest the Society of Friends of Finland. The
preface is written by Pierre Mille.
‘‘Visages de Femmes” is another of the
volumes of excellent studies by André Beaunier.
He tells us of Lucile de Chateaubriand, of Mme.
de Staél and of Mme. de Beaumont, of Adéle
Schopenhauer and of Eugénie de Guérin
among others.
The Abbé Blandin gives us another volume
to add to those already written on “J. K.
Huysmans.”’ As he knew him intimately, he
tells us of his life, his first books, his evolution
and his conversion. He endeavours to explain
many things which have always appeared
unexplainable.
M. Paul Leprieur, Curator of the Louvre
Museum, gives us a volume with illustrations
entitled ‘‘ Millet.” It is an excellent bio-
graphical study and criticism of the celebrated
painter of ‘‘ The Angelus.”
‘“‘TImpét sur le Revenu,” by M. Joseph
Caillaux, is certainly the book of the moment.
M. J. Combaricu now gives us the second
volume of his ‘‘ Histoire de la Musique.” For
the first volume the sub-title was ‘ Des
origines 4 la fin du XVI.™°siécle,” and for the
second volume: ‘‘ Du XVII.™ siécle ala mort
de Beethoven.”
To all interested in scouting, a book entitled
“‘ Les Eclaireurs de France et le Réle social du
Scoutisme frangais,” by Captain Royet, may
throw some light on the progress of the move-
ment in France. The preface is written by
Gaston Deschamps.
M. Couturier who was for many years
Frangois Coppée’s secretary, has published a
volume entitled ‘‘ Chez Frangois Coppée.”’
He tells us of the simple and beautiful life of
the “‘ people’s poet ” and of the fine character
of that Parisian of Paris, whose absolute
sincerity and kindliness won all hearts.
At the Theatre Frangais, Henry Bataille’s
play ‘‘ La Marche Nuptiale”’ is being played,
and at the Odéon “Rachel” fills the
house.
Sarah Bernhardt may be congratulated on
having found, in ‘‘ Jeanne Doré,” a play which
the public hope may have a very long run.
Everyone is genuinely delighted that the
great French tragedian should, at last, receive
the recognition which she ought to have had
years ago. Her promotion to Chevalier of the
Legion of Honour was the occasion of a special
fete. At present, the indefatigable artiste is
giving a series of lectures at the request of the
University of Les Annales.
134
Among theatrical enterprises, it seems likely
that ‘The Little English Theatre,” organised
by Mr. Philip Carr, will be welcomed enthusias-
tically. For some years, it has been proposed
to have a theatre here of comparative ltera-
ture, and it seems now quite possible to realise
this plan. M. Camille de Sainte Croix,
director of the Compagnie frangaise du Theatre
Shakespeare, is putting on in French “ Le
Marchand de Venise,”’ and almost immediately
afterwards, Mr. Philip Carr will produce ‘‘ The
Merchant of Venice ’’ here in English. Other
plays will be given in the same way by these
two directors, who, with separate organisations,
will work together to carry out this idea. On
his honorary committee, M. de Sainte Croix
has some of the best names in France, including
those of the Duchess of Rohan, Professor
Charles Richet, Princess Lucien Murat, M.
d’Estournelles de Constant, Jean Finot, whilst
Mr. Carr has on his honorary committee, The
British Ambassador, the Ambassador of the
United States, the Dowager Duchess of Uzes,
Duchess of Guiches, Anatole France, Auguste
Rodin, M. and Mme. Albert Besnard, M. and
Mme. Emile Boutroux and many others.
Atys HALuarp.
Oo
COPYRIGHT IN A TRANSLATION.
——4+—<— 4 ‘
Byrne v. THE Statist Co., Lrp.
HE decision of Mr. Justice Bailhache in
this case is important to authors and
journalists because it determines several
interesting questions relating to copyright in a
translation of a non-copyright work, the rights
of an author who is in the employment of a
newspaper, and the new defence to an action
for damages in respect of an infringement for
copyright, wherein the defendant alleges that
he was not aware and had no reasonable
grounds for suspecting that copyright subsisted
in the plaintiff’s work.
The plaintiff, Mr. F. D. Byrme, who is
employed on the editorial staff of the Financial
Times, and has an extensive knowledge of
foreign languages, including Portuguese, sued
the defendant company for damages for the
infringement of his copyright in a translation
of a speech dealing with financial matters,
which was delivered in the General Legislative
Assembly of the State of Bahia by the governor
of that State. The speech, which was in
Portuguese, was published in a Bahian news-
paper ; and the plaintiff was asked by the
business manager of the Financial Times to
quote a price for making a translation of the
THE AUTHOR.
speech for publication in that paper as an
advertisement. ‘The plaintiff agreed to do the
work for twenty guineas and asked that his
name should appear as the translator. The
work was done by the plaintiff out of office
hours and the English translation of the
speech appeared in the Financial Times with
the note, ‘‘ Translated from the Portuguese by
F. D. Byrne.”
This advertisement in the Financial Times
was seen by the business manager of the
Statist, who obtained permission from the
Bahian Government to reproduce the speech,
as an advertisement in the Statist. The
defendants published the plaintiff's English
translation in the Statist and this was the
infringement of copyright for which the
plaintiff claimed damages.
It was contended on behalf of the defendants
that the plaintiff's translation was not an
‘*‘ original literary work’’ and was not the
subject of copyright; and that if it was
capable of copyright, the translation was made
by the plaintiff when he was in the employ-
ment of the Financial Times and in the course
of his employment, so that the copyright, if
it existed, would belong to his employers. It
was further pleaded that the defendants were
not liable for damages, because they were not
aware and had no reasonable grounds for
suspecting that copyright subsisted in the
work. It was upon this latter point that the
defendants most strongly relied. Evidence
was given that the practice of the managers of
newspapers with regard to advertisements is
that when they see an advertisement in a
paper, which they would like to have the profit
of publishing, they apply to the advertiser or
his agent for leave to print the advertisement
in their paper; and having arranged a price
they print a verbatim copy of the advertise-
ment, apparently relying upon the supposition
that there is no copyright in the advertisement
or that the copyright belongs to the advertiser.
The points raised on behalf of the defendants
are dealt with in the judgment of Mr. Justice
Bailhache, who said that he thought the words
‘*‘ original literary work’? meant a literary
work of which the person in whom the copy- |
right was laid: or through whom the title to
the copyright was traced was the author. A
translator of a literary work had for many
years been held to be the author of his transla-
tion. The plaintiff’s translation was not
merely mechanical. The plaintiff had com-
pressed the speech and edited it by omitting
the less material parts. He had divided it into
suitable paragraphs and supplied appropriate
headlines. The plaintiff's translation was
therefore an original literary work.
As to the question of employment, the judge
pointed out that the plaintiff did not make the
translation in pursuance of any duty owed by
him to the Financial Times as one of their
staff, or in the course of his employment as
such, but his employment to make the trans-
lation was an independent engagement quite
outside his ordinary duties, and the work was
done entirely in his spare time.
The last point raised on behalf of the
defendant company also failed. The adver-
tisement in the Financial Times contained an
intimation that it had been translated by the
plaintiff. The evidence showed that such a
notice was unusual, and in the judge’s opinion
there was reasonable ground for suspecting
that there was copyright in the plaintiff's
translation. The position of the defendants in
truth was not so much that they did not
suspect the translation was the subject of
copyright as that they supposed that the
copyright belonged to the governor of Bahia,
whose permission to reproduce it had been
obtained. This merely amounted to saying
that they supposed they had the authority of
the owner of the copyright, which was a very
different thing from not suspecting that any
copyright existed. The Act does not give
protection to a person who, knowing or
suspecting that copyright exists, makes a
mistake as to the owner of the copyright and
under that mistake obtains authority to pub-
lish the work from a person who is not in fact
the owner of the copyright.
The defence therefore failed and judgment
was given for the plaintiff for £150 damages and
costs.
Haroitp Harpy.
i
COPYRIGHT TITLE AND TRADE MARK.
9
U.S.A. Law Case,
aS. of space has prevented our quoting
sooner the opinion of the Circuit Court
of Appeals at St. Louis in the case of
Atlas Manufacturing Co., et al. v. Street and
Smith, which involved several very interesting
questions of the protection of the name of a
fictitious character by trade mark or copy-
right or both, this though questions of copy-
ag per se, were not presented by the case.
T e name involved was “Nick Carter,”
which Street and Smith were attempting to
THE AUTHOR.
135
protect against moving picture piracy. The
decision rendered was a divided one and will,
it is understood, be appealed to the U.S.
Supreme Court.
Van Valkeburgh, District Judge :—
‘* Appellees, complainants below, are citizens
of the State of New York, and are the members
of a co-partnership known and styled as
Street & Smith. This firm is engaged in the
business of publishing detective _ stories
characterised by the general name of ‘ Nick
Carter.’ Its publications are issued weekly
and consist, exclusive of cover, of 32 pages,
11 by 8 inches in size. Of these pages, 26 are
devoted to a detective story complete in
itself ; 5 pages to space-filling items under the
heading ‘ News of All Nations’; and 1 page to
advertising other publications issued by the
same firm. The cover is in colours and pre-
sents in order the serial number, date, price,
general title ‘ Nick Carter,’ the specific title of
the detective story, as ‘The Red Button,’
contained in that issue, and an illustration
characteristic of the story, or depicting some
incident in it. Slight modifications of interior
make-up have since been made, but this
description applies to complainants’ exhibit,
filed with their bill July 1, 1913. The func-
tion of the weekly issue is the publication of
the single detective story contained therein.
A different story under a distinct title is pub-
lished each week. These stories are complete
in themselves. The only connection between
them is that the detective character, Nick
Carter, is the central figure in each. On April
19, 1910, complainants registered the name
‘ Nick Carter’ as a trade mark for ‘ a weekly
publication devoted to fiction,’ alleging that it
had been used in their business and that of
their predecessors since March 30, 1885.
“The appellant, Atlas Manufacturing Com-
pany, is a Missouri corporation domiciled in
the city of St. Louis. Its business includes
the manufacture and sale of moving-picture
films. Appellant Crawford is its president.
In January or February, 1912, said Atlas
Manufacturing Company employed certain
persons, named, respectively, Wolcott and
Hamilton, to write a scenario or memorandum
of the series of events in a detective story,
This story was then acted with appropriate
stage setting and the performance photo-
graphed in sequence. From _ these photo-
graphs a film was prepared, and it is the pur-
pose of appellants to sell, rent, or lease this
film to such persons as may desire to display
it in moving-picture theatres. As advertised‘
the story presents ‘Nick Carter, the Great
136
' American Detective, Solving the $100,000
Jewel Mystery.’ It appropriates neither
title, plot, nor situations of any story pub-
lished by complainants: The name Nick
Carter is used and a detective story portrayed.
The name of the appellant corporation, a
manufacturer, is displayed upon the screen.
Complainants, claiming the ‘ exclusive right
to make, sell, print, publish, and display to the
public detective stories marked with the name
and trade mark ‘ Nick Carter,’’ and called
and known by the trade name “‘ Nick Carter,”’ ’
filed their bill of complaint July 1, 1912, to
restrain defendants from using his name in
any connection or form. A preliminary
injunction was granted, and _ defendants
appealed. Complainants have taken out no
copyright upon any of their publications,
therefore no rights arising under the copyright
law are presented for determination. The
property rights asserted are based (1) upon
registered trade mark; (2) upon long-estab-
lished trade name.
““(1) The trade mark registered is ‘ Nick
Carter.’ The law authorising such registra-
tion provides that the applicant shall specify
‘the class of merchandise and the particular
description of goods comprised in such class
to which the trade mark is appropriated, . . .
a description of the trade mark itself,’ and ‘a
statement of the mode in which same is
applied ‘ and affixed to goods... .’ Act,
February 20, 1905, 33 Statutes at Large, pt. 1,
ce, 592, p. 724 (U. S. Comp. St. Supp., 1911,
p- 1,459). In compliance with this requirement
complainants particularly describe their so-
called goods as ‘a weekly periodical devoted
to fiction.’ To entitle this publication to
protection under the trade mark granted it
must conform to the description filed ; it must
be a periodical. In Smith et al. v. Hitchcock,
226 U.S. 58,33 Sup. Ct. 6, 57 L. Ed.—,decided
November 18, 1912, the Supreme Court held
that the ‘Tip Top Weekly,’ issued by these
same complainants, and practically identical
in structure with the ‘ Nick Carter ’ publica-
tion, is not a periodical, but a book.
(2) Literary property in a book cannot
be protected by trade mark, nor otherwise
than by copyright. Black v. Ehrich (CC)
44 Fed. 798 ; Brown on Trade Marks, 116, 117.
This is conceded by complainants’ counsel in
brief and argument ; but it is claimed that
whether the publication be regarded as a
periodical or a book the trade mark protects
it in its character as goods or merchandise.
It is therefore well to determine the exact
nature of the ‘ merchandise’ to which the
THE AUTHOR.
trade mark applies. This must be the publica-
tion, as such, whether book or periodical. It
is the form, not the contents. ‘ Nick Carter’
is not the name of the specific story, as, in this
case, ‘The Red Button.’ None of the indi-
vidual stories are covered by the mark. To
publish a little booklet entitled ‘The Red
Button,’ distinct in size, form and dress, not
bearing the imprint ‘ Nick Carter,’ would not
infringe this technical trade mark. Con-
ceding to this registered mark its broadest
application, it can at most protect only against
something in the nature of a periodical publica-
tion of the same class.
‘““No exercise of imagination, however
fertile, can transform defendants’ film or its
intermittent exhibitions into anything re-
sembling a periodical publication.
‘**(3) Complainants’ chief reliance would
seem to be upon the claim asserted in their
bill that they have possessed for many years,
and still possess, the exclusive right to make,
sell, print, publish, and display to the publie
detective stories called and known by the
trade name ‘ Nick Carter.’ This is a direct
appeal to the law affecting unfair competition
in trade. Because they have long published
detective stories associated with this name and
character, they now assert the exclusive right
to construct and make public in any manner
whatsoever all detective stories involving the
name and character of ‘ Nick Carter.’ It is
the individual story as an article of mer-
chandise, and not the form of publication for
which protection is thus invoked. In the
language of the brief, ‘ the sole question in this
case for the court to decide is whether or not
a moving-picture film is of the same class of
goods as a printed book.’ The claim advanced
is ingenious and decidedly comprehensive in
its scope.
““(4, 5) We agree with counsel that ‘ the
fact that appellees’ (complainants’) stories
are not the highest class of literature does not
bar complainants from relief by the courts.’
In other words, this fact does not take from
the stories their essential character as litera-
ture in the eyes of the law. They are subjects
of copyright. And this leads us to inquire
what complainants’ standing would be under
the law of copyrights? The author of a
literary work or composition has, by common
law, the exclusive right of the first publication
of it. He has no exclusive right to multiply
or control the subsequent issues of copies by
others. The right of an author or proprietor
of a literary work to multiply copies of it to
the exclusion_of others is the creature of
statute. This is the right secured by the
copyright laws of the different governments.
Palmer v. De Witt, 47 N. Y. 532, 7 Am. Rep.
480.
“*(6) Neither author nor proprietor of
a literary work has any property in its
name. It is a term of description, which
serves to identify the work; but any other
person can, with impunity, adopt it and
apply it to any other book, or to any trade
commodity, provided he does not use it as a
false token to induce the public to believe
that the thing to which it is applied is the
identical thing which it originally desig-
nated. If literary property could be pro-
tected under the theory that the name by
which it is christened is equivalent to a
trade mark, there would be no necessity
for copyright laws.’ Black v. Ehrich
(C. C.) 44 Fed. 793.
(7-9) So the copyright of a book does
not prevent others from taking the same title
for another book, though the copyright has
not expired ; and on the expiration of the copy-
right of a novel any person may use the plot
for a play, copy or publish it, or make any
other use of it he sees fit. In such case, where
one writes and copyrights a play based on a
novel, and bearing the same title as the novel,
he cannot prevent another from giving the
same name to an entirely different play which
has been constructed from that novel. Glaser
v. St. Elmo Co. (C. C.) 175 Fed. 276. The
right to use a copyrighted name upon the
expiration of the copyright becomes public
property, subject to the limitation that the
right be so exercised as not to deceive members
of the public and lead them to believe that
they are buying the particular thing which
was produced under the copyright. G. & C.
Merriam Co. v. Ogilvie (C. C. A.) 159 Fed.
688, 88 C. C. A. 596, 16 L. R. A. (N. S.)
549, 14 Ann. Cas. 796.
(10) Original section 4,952, R. S. U. S.,
provided that ‘authors may reserve the
right to dramatise or to translate their own
works.” Unless this reservation was made
the public was free to make such use of them.
By Act of March 8, 1891, c. 565, 26 Stat. 1,107
(U. S. Comp. St. 1901, p. 3,406), it was pro-
vided that * authors or their assigns shall have
exclusive right to dramatise and_ translate
any of their works for which copyright shall
have been obtained under the laws of the
United States.’ This made such exclusive
right an integral part of the copyright itself.
Under this section, so amended, the Supreme
Court has held that an exhibition of a series
THE AUTHOR.
137
of photographs of persons and things,
arranged on films as moving pictures and so
depicting the principal scenes of an author’s
work as to tell the story, is a dramatisation
of such work, and the person producing the
films and offering them for sale for exhibitions,
even if not himself exhibiting them, infringes
the copyright of the author. Kalem Co.
v. Harper Bros., 222 U.S. 55, 32 Sup. Ct. 20,
56 L. Ed. 92, Ann. Cas. 193 A, 1,285. Never-
theless, it is held that the owner of the copy-
right of a novel is not entitled to protection
against the use of that name in connection
with a dramatic composition which does not
present any scenes, plot or dialogue imitated
or adapted from the novel; it being the name
in connection with the novel, and not the
name alone, which the copyright protects.
Harper et al. v. Ranous (C. C.) 67 Fed. 904.
If the copyright has expired, or none has been
taken out, neither the rights and privileges
conferred, nor the limitations and obligations
imposed by that law are present, because,
apart from the statute, none exist.
“Complainants do not rely upon copy-
right. The name ‘ Nick Carter’ is not the
title of any story, nor the name of author or
publisher. But complainants insist that we
shall consider their books, not from the liter-
ary standpoint, but as merchandise, and cite
numerous Cases recognising that the principles
of trade mark law, and the law forbidding
unfair competition in business, may, under
certain conditions, apply to books, magazines,
periodicals and newspapers. That they may
and do apply to magazines, periodicals and
newspapers, as such, we have already seen; to
books the application is more limited. The cases
cited reveal that protection is accorded in con-
nection with specific kinds of books, such as
bibles, dictionaries, and works of a like nature,
where the name has so long been used to desig-
nate the production as to have become identified
with such particular publications as denoting
their origin, and where the use of such name
by another publisher, having no connection
with the place or name, can have no purpose
except to deceive purchasers. Chancellor,
etc., of Oxford University v. Wilmore-Andrews
Pub. Co. (C. C.) 101 Fed. 443; Merriam Co.
v. Straus et al. (C. C.) 186 Fed. 477; Ogilvie
v. Merriam Co. (C. C.) 149 Fed. 858 ; Merriam
v. Holloway Pub. Co. (C. C.) 48 Fed. 450;
Merriam et al. v. Tewvas Siftings Pub. Co.
(C. C.) 49 Fed. 933; Merriam v. Famous
Shoe and Clothing Co. (C. C.) 47 Fed. 811.
In instances where the same method of
selection, illustration and style of binding, as
138 THE AUTHOR.
well as name on the cover, have been taken, the
form of publication is the feature of critical
importance. _ Estes et al. v. Williams et al.
(C. C.) 21 Fed. 189 5 Estes et al. v. Leslie et al.
(C. C.) Fed. 22; Estes et al. v. Worthington
(C. C.) 81 Fed. 154. In all cases the courts
have been careful to limit the doctrine
announced to the special circumstances, and
have coupled it with a re-statement of well-
known principles. Thus, In Merriam Vv.
Straus et al., supra, J udge Wallace said :
‘““¢ It is proper, however, to say that the
pill is in part an attempt to protect the
literary property in the dictionaries, which
became publict juris upon the expiration
of the copyrights. This attempt must
prove futile.’ :
“In Ogilvie v. Merriam Co. (C. C.) 149
Fed! 858, it is pointed out that this public
right cannot be taken away or abridged on
any theory of trade mark or unfair competi-
tion, which is only another way of seeking
to perpetuate the monopoly secured by the
copyright. Similar views are expressed in
Merriam v. Texas Siftings Pub. Co. (C. C.)
49 Fed. 944, and Merriam v. Famous Shoe
and Clothing Co. (C. C.) 47 Fed. 411. In
G. & C. Merriam v. Ogilvie (C. C. A.) 159 Fed.
638, 88 C. C. A. 596, 16 L. R. A. (N. 8.) 549,
14 Ann. Cas. 796, the Court of Appeals for the
First Circuit used language still more explicit:—
““*Phe name ‘‘ Webster” having been
copyrighted by the Merriams, they were
protected in its use under a statutory right
during an express term of years. The pro-
tection, therefore, in that respect, came by
virtue of the copyright, rather than by
virtue of its use in publication and trade.
The statutory monopoly having expired
under statutory limitation, the word ‘‘ Web-
ster’ used in connection with a dictionary
became public property, and any relief
granted upon the idea of title or proprietor-
ship in the trade name of “* Webster ” would
necessarily involve an unwarrantable con-
tinuance of the statutory monopoly secured
by the copyright.’
‘The important principle involved is, per-
haps, most pointedly stated by Mr. Justice
Miller in Merriam et al. v. Holloway Pub. Co.,
supra. He says :—
“* JT want to say, however, with reference
to the main issue in the case, that it occurs
to me that this proceeding is an attempt to
establish the doctrine that a party who has
had the copyright of a book until it has
expired may continue that monopoly indefi-
nitely, under the pretense that it is pro-
tected by a trade mark, or something of
that sort. I do not believe in any such
doctrine, nor do my associates. When a
man takes out copyright for any of his
writings or works, he impliedly agrees that
at the expiration of that copyright such
writings or works shall go to the public and
become public property. I may be the first
to announce that doctrine, but I announce
it without any hesitation. If a man is
entitled to an extension of his copyright,
he may obtain it by the mode pointed out
by the law. The law provides a method of
monopoly of the sale of his writings for a
definite period, but the grant of a monopoly
implies that after the monopoly has expired
the public shall be entitled ever afterward
to the unrestricted use of the book. ... I
will say this, however, that the contention
that complainants have any special pro-
perty in ‘‘ Webster’s Dictionary” is all
nonsense, since the copyright has expired.
What do they mean by the expression
‘“‘ their book,” when they speak of Webster’s
Dictionary ? It may be their book if they
have bought it, as a copy of Webster's
Dictionary is my book if I have bought it.
But in no other sense than that last indicted
can the complainants say of Webster’s
Dictionary that it is their book.’
“* In the Chatterbox Cases (Estes v. Williams,
supra, Estes v. Leslie, supra, and Estes v.
Worthington, supra), emphasis is laid chiefly
upon similarity of form. In Estes et al. v.
Williams, et al., supra, it was said :-—
““<«There is no question but that the
defendants have the right to reprint the
compositions and illustrations contained
in these books, including the title of the
several pieces and pictures. That does
not settle the question as to the right
claimed here. There is work in these publi-
cations aside from the ideas and concep-
tions. Johnston was not the writer of the
articles nor the designer of the pictures
composing the book, but he brought them
out in this form. The name indicates this
work. The defendants, by putting this
name to their work in bringing out the same
style of book, indicate that their work is
his. This renders his book less remunera-
tive, and while continued is a continuing
injury which it is the peculiar province of a
court of equity to prevent.’
““In Kalem Co. v. Harper Bros., 222 U. S.
55, 82 Sup. Ct. 20, 56 L. Ed. 92, Ann. Cas.
1913 A, 1285, it was suggested by counsel that
to extend the copyright of a case or reproduc-
r
. THE AUTHOR. 139
ing scenes from Ben Hur by means of moving
pictures was to extend it to the ideas as
distinguished from the words in which those
ideas are clothed. Mr. Justice Holmes said :—
““* But there is no attempt to make a
monopoly of the ideas expressed. The law
confines itself to a particular, cognate, and
well-known form of production.’
““(11, 12) It may be conceded: That the
law relating to unfair trade has a three-
fold object: First, to protect the honest
trader in the business which fairly belongs to
him ; second, to punish the dishonest trader,
who is taking his competitor’s business away
by unfair means ; third, to protect the public
from deception. Gulden v. Chance (C. C. A.)
182 Fed. 303, 105 C. C. A. 16. That to sus-
tain a charge of infringement the owner of a
trade mark must have used it on the same
class, but not necessarily on the same species,
of goods as the alleged infringer. Layton
Pure Food Co. v. Church & Dwight Co. (C. C. A.)
182 Fed. 35, 104 C. C. A. 475, 82 L. R. A.
(N. S.) 274. Of course, defendants’ film
bears no resemblance to complainants’ books.
No one would buy the one in the belief that
he was getting the other. It is the display
that constitutes the infringement, if there
is one; and in such case the producer of
the film is responsible equally with the
exhibitor. Kalem Co. v. Harper Bros., supra.
We do not think a moving-picture show is of
the same class as a written book. One belongs
to the field of literature; the other to the
domain of theatricals. Originally there was
no legal connection between the written novel
and a dramatisation based upon its characters
and incidents. The connection was made by
statute in derogation of the common law. In
the absence of copyright, the situation is as
if no such connection had ever been made.
We are unwilling, indirectly, to extend to
writings a protection beyond that conferred
by statute. Congress created a specific form
of monopoly for literary property in this
country, and made it subject to express limita-
tions. It is for Congress to say whether these
limitations should be relaxed.
““(13) Neither trade-mark nor trade-name
can afford protection to, detective stories, as
such, whether published ‘or still unborn, and
much less where neither title nor composition
is pirated, and but a single common character
is used. The suggestion involves an attempt
to make a monopoly of ideas, instead of
confining the application of the law to ‘a
particular cognate and well-known form of
production.’
**(14) Moving pictures and dramatisations
are cognate forms of production. When
copyright was extended to the latter, it neces-
sarily included the former ; but in the absence
of copyright no such relation exists between
either of these forms and the written book.
It is not thought that the public will be
deceived into belief that it is seeing a produc-
tion of one of complainants’ stories when it
witnesses that displayed from defendants’ film.
But, if so, it is no more deceived than when it
reads a book of the same name as one thereto-
fore published, but unprotected. It may be
that the defendants are profiting by the use
of a name made distinctive by complainants,
but this is true of one who sells a brand of
cigars named after a famous book or a famous
personage. In the absence of some positive
legal right in complainants, these are con-
ditions for which equity cannot undertake to
create a remedy. The decree below must
therefore be reversed and the case remanded,
with directions that the preliminary injunc-
tion be dissolved and the bill dismissed for
want of equity. Mast, Foos & Co. v. Stover
Manufacturing Co., 177 U. S. 485, 20 Sup. Ct.
708, 44 L. Ed. 856; Castner v. Coffman,
178 U.S. 168, 20 Sup. Ct. 842, 44 L. Ed. 1021.
‘It is so ordered.
** Hook, Circuit Judge (dissenting). My
objection to the above conclusion can be
expressed in a sentence: The defendants are
engaged in appropriating the fruits of com-
plainants’ current endeavours, and are deceiv-
ing the public.”
———___ +»—~<__-—____—__
MAGAZINE CONTENTS.
8
BritisH.
The Writing of Irish History. By Padriac Column.
The Silence of Journalists. By G. K. Chesterton.
Language and National Unity. Francis W. Grey.
Dramatists of To-Day: Synge; St. John Hankin. By
Edward Storer.
CoNTEMPORARY.
The “New Way” of Playing Shakespeare.
Scott James.
Literary Supplement :
By R. A.
Traditional Christmas Carols.
EncuisH REVIEW.
Yeats, Lady Gregory and Synge. By George Moore.
Dialect Words. By Logan Pearsall Smith.
The Bi-Centenary of Laurence Sterne.
Gosse.
The Piano-Player and the Music of the Futuro. By
E. Newman.
Stanley Houghton: An Appreciation.
Ellis.
M. Anatole France Comes to London.
By Edmund
By Anthony L.
By 8. 0.
THE AUTHOR.
HOW TO USE THE SOCIETY.
—
VERY member has a right toask for and to receive
4, advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel's
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2, Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not seruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination.
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
&1e independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a_fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers;
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
jars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
The
7, Many agents neglect to stamp agreements.
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members,
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
ee
WARNINGS TO THE PRODUCERS
OF BOOKS.
a
“ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property:—
I. Selling it Outright.
This is sometimes satisfactory, if a proper price can be
e
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
Il. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for ‘“‘ office expenses,”
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author.
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
So —_—_——
WARNINGS TO DRAMATIC AUTHORS.
———+ —
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters inte
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the:
play-bills,
THE AUTHOR.
(b.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system, Should
obtain a sum inadvance of percentages. A fixed
date on or before which the play should be
performed. :
(¢.) Sale of performing right or of a licence to
perform on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights‘of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance,
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘They should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
is highly speculative : that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
———_+—~>—_ ——_____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
os
ne typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2s. 6d. per act.
141
DRAMATIC AUTHORS AND AGENTS.
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
———_—_+—@—+ —__
WARNINGS TO MUSICAL COMPOSERS.
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
—— 4 gg
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
————-— >> —______
THE READING BRANCH.
Se
EMBERS will greatly assist the Society in this
VI branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS, includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works, The
Readers are writers of competence and experience, The
fee is one guinea,
—_o1—>—_
REMITTANCES.
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
—$— > ——
HE Society undertakes to collect accounts and money
j due to authors, composers and dramatists. :
1. Under contracts for the publication of their
works.
9. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :-—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland . ; ; . A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany . Mrs Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
————————__+—_>—_+—__—_
GENERAL NOTES.
+ 4
UNITED STATES COPYRIGHT.
WE print in another part of this issue a very
interesting case dealing with infringement of a
title. The judgment on the point before the
Court is not of much importance, as it was a
question of trade mark under the American
law. But the “ obiter dicta”’ of the judge with
regard to the difference between rights created
by statute and rights under the common law
are worthy of careful consideration. It is, of
course, difficult to say what view an English
judge would take of these points. It is
doubtful whether he would confirm the sayings
of his American brother.
CANADIAN COPYRIGHT.
TuE present unsatisfactory position of an
author as regards copyright in Canada has
been brought to the notice of the Committee
of Management on one or two occasions
recently. The Imperial Act of 1842 still runs
in the Dominion. This Act, as everyone
knows, has been repealed as far as Great
Britain is concerned. In consequence, certain
difficulties arise.
THE AUTHOR.
The first deals with dramatic” production.
Under the Act of 1842 a copyright performance
was essential. This performance, as the Act
of 1842 still runs, is still essential in Canada,
if the copyright is to be acquired there.
Dramatists, therefore, who set store by their
Canadian and American rights must be very
careful to see that they are properly protected,
otherwise it might chance that either the
Canadian or United States rights have been
lost.
The second point arises with regard to book
publication. If the work is published in England
copyright is still obtained in Canada under the
Act of 1842. If the English author places his
Canadian market in the hands of the English
publisher, although the Customs Authorities
in Canada refuse to prevent the importation
of foreign reprints, yet it is possible for the
author to bring an action against the sellers
of the foreign reprints should he care to do so,
and thus preserve his market; but, if the author
is unfortunate enough as to grant the book
rights for the United States and Canada to
the United States publisher, then, although
the United States publisher has the right of
selling the work in Canada, he cannot stop
the importation and sale of books lawfully
printed under the English Copyright Act. In
other words, supposing the English publisher
without knowledge sells thousands of copies
to a middleman, and the middleman chooses
to import and sell them in Canada, the United
States publisher has no remedy.
These points for the time being are rather
serious, and it is necessary to warn members
of the Society to be exceedingly careful how
they deal with their Canadian rights. It is
hoped that at no distant date they will be set
right by the introduction of an equitable
Canadian law.
CopyriGHt AND Fitm RIGHTS.
TuE Daily News in one of its issues pub-
lished an interview with a well-known authoress
upon the question of copyright and film rights.
In case this article may have come to the view
of any members of the Society, and has led
them to make false deductions, it may be of
interest to members to know the exact position
as far as it is possible to diagnose it under the
new law.
The lady who was interviewed stated that
the copyright acquired by a publisher exists
only in the book as it stands. No publisher,
she says, has ever claimed the right to alter
or adapt novels for either cinematograph or
THE AUTHOR.
dramatic performances. It is quite clear that
this statement has been made without any
study of the present law. If any unfortunate
author reading the article assigns his copyright
to a publisher on the idea that he is not assign-
ing his dramatic and cinematograph rights, he
may wake up suddenly one day and find him-
self in a very difficult position. Under the
first schedule of the Act of 1911, if a person
before the passing of the Act has acquired the
copyright: (in the case of works other than
dramatic or musical works) he acquires under
the new Act, as a substituted right, copyright
as defined by the Act. Now copyright as
defined by the Act covers dramatic and cine-
matograph rights. Accordingly, to take a
concrete ease, if A., before the Act, has assigned
his copyright in a story or a novel to a pub-
lisher, the publisher, after the passing of the
Act, will hold both the dramatic and cine-
matograph rights. But the publisher will hold
these rights subject to the special provisions of
clause 24 as to duration, ete. It is quite clear
also that if, after the passing of the Act, A.
has assigned his copyright in a story or a
novel, such assignment will cover the dramatic
and cinematograph rights.
It is a serious matter, therefore, that the
statement printed in the Daily News should be
allowed to pass unchallenged, as it may lead
unfortunate authors into signing away their
rights in total ignorance of what those rights
cover.
Dramatic MIpDDLE-MEN.
THE attention of the Dramatic Sub-Com-
mittee has been called by one of its members
to a form of speculation that is taking place
in the dramatic world, and the sub-committee
desires members of the Society to be warned.
Certain persons have been approaching authors
with a view to buying up certain portions of
their dramatic rights. They have no prospect
whatever of producing the dramatic rights
themselves, but desire to gamble in these
rights by selling them to. other people.
Members of the Society, therefore, should
make it an essential point of any sale or
licence they may make, that production shall
be ensured within a certain fixed time, and
that the production shall be made by the
people to whom the rights are being sold.
Otherwise the dramatist may find himself
in a*very serious position. Not only that,
he may find he is obtaining a considerably
. smaller amount in royalty than he would
143
be entitled to if he had placed his own wares,
owing to the fact that two or three middle-
men are intervening between himself and the
producing manager.
AGENTS AND THE Four-Boox CLAUSE.
THE question that is now so frequently
before authors not only of fiction, but of other
literary works, is the demand made by
publishers to have the control of one, two,
three and in some cases, even as many as six
more books from the author’s pen.
We have pointed out that the publishers’
argument for making this demand is that by
special advertisement they can push an author’s
books more satisfactorily. We have generally
found that where an author is tied in this
way by his contract, he does not get any special
advantage, indeed, the publisher knowing that
he is entitled to receive future works, generally
pushes the authors to whom he is not so
bound.
The author’s argument in answer to this
is :—
1. If you push my book by special advertise-
ment without my binding myself, I shall be
willing to put my second, my third, and even
my fourth book in your hands.
2. If I do bind myself, will you undertake
in the contract to insert a special clause by
which you will carry out your suggestion to
give it special advertisement.
The publishers’ answer to this is always
in the negative.
It is not, however, the danger with the
publisher that is so serious, but it is the danger
with the agent who makes the clause for the
author. In a clause of this kind the agent’s
and the author’s interests are not incommon,
and it is essential if the agent should do
his best for the author that their interests
should be in common. It is to the advantage
of the agent to bind the author to a publisher
for a series of books in one agreement, for he
knows that, however dissatisfied the author
may be with the agreement, and with his
methods of doing business, so far as that
contract is concerned, he is entitled to his
commission on the following books, and that
the author cannot take the matter out of his
hands.
The question has become so serious that it is
necessary to warn authors once again of the
danger of such a clause, not only as between
themselves and the publisher, but as between
themselves and the agent.
144
PUBLISHERS AND LENDING LIBRARIES.
Ir appears that certain publishers have
started a lending library of their own. We
do not refer to publishers of books. There
are subscribers to this lending library who pay
so much per annum, and they are entitled for
this subscription to receive certain orchestral
parts and certain other musical pieces. The
publishers reap the benefit from the annual
subscriptions but the composer, unless he is
aware of the position, does not make any
arrangement in his contract by which he should
be entitled to a share of the profits of the library
and in consequence may possibly lose a circu-
lation which he otherwise would have obtained.
When composers have learned the art of
insisting on reasonable agreements in addition
to the art of writing music, they will cover a
point of this kind and claim a certain fee
each time their music may be lent. It would
be as easy for them to check such a transaction
as it would be if they received a royalty on
every copy sold.
A Minister oF FINE Arts.
AutL those who believe—in spite of the
Chancellor of the Exchequer’s statement in
the House of Commons some time ago that
such a thing was “‘ not practical ’’—that the
foundation of a Ministry of Fine Arts in this
country is not only possible, but eminently
desirable, will rejoice to hear, on the authority
of Mr. Wynford Dewhurst in the Journal of the
Imperial Arts League for January, that the
investigations of the large and influential com-
mittee of professional men working to formu-
late a scheme for presentation to Parliament,
are most encouraging to the hope that public
opinion will be able to force the establishment
of such a Ministry in the near future. To Mr.
Dewhurst, indeed, it is manifest that it “ might
have been successfully inaugurated twenty years
ago,” had public opinion been the only body to
be consulted. Elsewhere—in his book entitled
“Wanted: A Ministry of Fine Arts ’’—the
same writer has shown with the aid of the
French Government Yellow Book issued by
the Ministére des Beaux Arts, that, so far from
being an expensive institution, a Ministry of
this kind is a direct means of retrenchment of
expenses, our present method of encouraging
Art being most wasteful and unproductive.
The report of the Committee mentioned above
is expected very shortly.
THE AUTHOR.
THE NEW YEAR’S HONOURS.
——S
ITERATURE has not been prominent in
+ the recent list of New Year’s Honours.
It included, however, the names of two
well-known members of the Society of Authors,
Mr. James Bryce and Mr. Owen Seaman, the
former becoming a viscount and the latter
receiving knighthood. Of all the awards so
made norie has been better deserved than
these, and the hearty congratulations of their
fellow-members will be added to those of
their private friends and of the general public.
The Right Honourable James Bryce, or The
Viscount Bryce of Dechmount in-the county
of Lanark, as he now becomes, enters the
House of Lords as the natural and customary
reward of political and diplomatic service to
his King, rather than in recognition of the
literary ability and encyclopedic learning
which have added distinction to his career.
He is, however, one of the now, alas! dwindling
band who enrolled themselves as_ original
members of the Society when it was founded
in 1884. To him public honours are no new
thing, and if his peerage is political and recalls .
the fact that he was recently British Am-
bassador at Washington, and that so long ago
as 1892 he first had a seat in the Cabinet, he
is not only a Privy Councillor, but also a
Fellow of the Royal Society, and, moreover,
can append to his name initials representing
degrees conferred by about a dozen universities
at home and abroad. He has also received
the high honour, and one independent of
politics, of the Order of Merit, as well as the
Prussian order Pour le Merite. Politics have,
however, no doubt claimed his chief attention
since the year of Liberal triumph at the
polls which gave its name to the Eighty Club,
and the fact that he once practised at the Bar,
and was for twelve years Regius Professor of
Civil Law at Oxford, may fairly have been
forgotten by many who recognise him better
as Under Secretary for Foreign Affairs, as
Chancellor of the Duchy of Lancaster, or as
President of the Board of Trade. Here we
will remember rather that the publications
from his pen commenced in 1859 with a work
on the Flora of Arran, followed in 1862 by
“The Holy Roman Empire,” and by others
covering a wide range in politics, law, juris-
prudence, history and other subjects, down to
a recent date. We will also record our
esteem for one who, being an original member
of our Society and of its council, in more
recent years has assisted its efforts in the
THE AUTHOR.
cause of copyright in America, and in other
ways, when the occasion has. offered itself,
has rendered to it, and through it to his
fellow-members, practical service and valued
help.
Thirty years after Mr. James Bryce was
called to the Bar at Lincoln’s Inn Mr. Owen
Seaman took the same step at the Inner
Temple. This was in 1897, after he had been
a master at Rossall School and a prof-ssor
at Newcastle-on-Tyne, and when fourteen
years had elapsed since he took a first class in
the Classical Tripos and captained his college
boat club at Clare. His distinguished talent
for light verse had, however, already attracted
attention. The World and the National
Observer had frequently published his work,
and the editor of Punch had for some little
time recognised the talents of his future
successor, who was to become Sir Owen
Seaman, as he became Sir Francis Burnand.
Journalism, therefore, claimed him from the
law before it had taken a close hold of him, or a
judge now on the bench not unknown for his
talent as a versifier and a humourist might
have had a very dangerous rival. Mr. or Sir
Owen Seaman, as we must now call him, is
recorded to have joined the staff of Punch in
1897, to have become its assistant editor in
1902, and editor in 1906. It is hardly necessary
now to recount the volumes in which have
been collected his polished verses upon every
kind of topic, and the gay travesties of the
more serious poems of others which earned
for their author, in a newspaper paragraph
recording his knighthood, the description of
““the best living exponent of the art of
parody, succeeding to the laurels of Calverley
and H. D. Traill.’”” We may add to this that
the high classical degree mentioned above may
well be recalled by those who appreciate the
scholarly spirit and refined polish of Sir
Owen Seaman’s verses, and that other qualities
both in his verse and in his work as editor
suggest in like manner the mens sana in the
sound frame of one whose athletic distinc-
tions were not confined to the waters of the
Cam,
ryAs a member of the Society of Authors,
the editor of perhaps the most widely known
English periodical occupies a seat upon its
council and finds time to serve upon its Pension
Fund Committee.
145
COMPOSERS’ ROYALTIES AND THE
COPYRIGHT PROTECTION SOCIETY.
=<
HE question of the collection of royalties
T' due under the clauses of the new Copy-
right Act is a matter of great importance,
and musical composers, in particular, should
be very careful how they deal with their rights.
They should, if possible, keep full control; but
in any event they should not allow those
agents who collect on their behalf to make
charges which are not clearly defined when
the contract is made. There seem to be three
very important points in the rules of the Copy-
right Protection Society, the body supported
by music publishers, to which it is necessary
to call attention.
First, the expenses of the society of and
incident to the collection of royalties, and the
carrying out and administration of the business
operations of the society, without any appor-
tionment of such expenses in respect of or
amongst the works of its members individually,
are to be deducted from the aggregate fund
collected.
Secondly, of the balance remaining after
this indefinite sum has been deducted, 30 per
cent., is to go to the publisher.
Thirdly, although the member may with-
draw from the society by giving a certain
notice, still, inthe event of his withdrawal or
death, all the rights that he shall have conveyed
shall continue to be vested in and exercisable
by the company.
It is proposed to discuss these points entirely
from the composer’s standpoint. The com-
mittee of this Copyright Protection Society is
composed of three composers, three authors
and six publishers, and in addition a chair-
man who shall be a composer. Authors in this
connection have very little claim in comparison
with composers and publishers who have pur-
chased copyrights.
It is right that the original creators, the
composers, even though they may be so foolish
as to transfer their copyright to the publishers,
should have control of any company started
for the collection of their royalties. It is
reasonable that publishers and composers
should both be represented—though the former
in a lesser degree—because both are holders of
copyright. But it is an astonishing thing to
see composers sitting on the board of a company
whose regulations proclaim clearly that com-
posers are expected to surrender the greater
part of their royalties without having control
of the expenditure which is to be deducted,
146
and, after that, to surrender a great part of
the residue to the publishers who ought to
have no claim whatever upon them.
Dealing with the first point, it should be
stated that there are societies which collect
royalties for composers, deducting a definite per-
centage. From a business point of view this
is no doubt the best method. These societies
do not ask the compdsers to give away
any portion of their royalties to other people.
If a composer likes to give away a certain
portion of his royalty to other people, that is
quite a different thing, but that he should be
bound to do so, seems an astonishing line for
members of the musical profession to advocate.
The composers are bound under the rules of
the Copyright Protection Society by a clause
in which the committee of that society demand
the transfer to the society for the entire
period of membership of the rights of repro-
duction by mechanical instruments of all
works which are or may be published by a
member. This is apparently contradictory to
article 5 already quoted, which states that
such rights shall continue to be vested and
exercisable by the company in the event of a
member’s withdrawal or death. But it would
appear that if a member has once vested his
rights in the company he cannot withdraw them.
There are other rules, by which the member
is bound to notify the society of all works,
which he writes—rules which compel him to a
sterner slavery, rather than admit him to a
_ freedom. When he has vested all
is rights in the company, the committee
are allowed to conduct and defend such
legal proceedings as may be sanctioned by
them. Now this is a very serious matter
when it is considered that the general body
of members have no control over the expen-
diture. The committee can take or omit to
take any action they like. They can take
action where a member strongly objects to
any action being taken; they may omit to
take action where a member may strongly
desire action to be taken. The unfortunate
composer whose property is being dealt with,
has no power of control one way or the other.
The only limit to these expenses appears to be
the total amount of royalties collected. It is
possible, of course, under these Rules, that the
members of the committee may be replaced,
but the members of the first committee cannot
be replaced until the general meeting in 1915,
so that there is some time to run before the
members can take any action whatever. And
whatever they do, the general body cannot be
freed from the tyranny of the rules.
THE AUTHOR.
The second point refers to the division of the
royalties with the publisher. Various reasons
have been given for this division. The music
publisher has claimed that by publishing the
composer’s music, he makes the gramophone
rights valuable. This may or may not be the
case, but it is a matter for the composer to
decide whether or not to give the publisher
any of his rights. The point must not be
settled arbitrarily by the company. As
another reason, it has been stated that the
production of pieces on mechanical instru-
ments has reduced the sale of sheet music enor-
mously. This may indeed be the case; and,
in fact, it is possible that at no distant date
the production by mechanical instruments will
act as an advertisement for the sheet music
rather than the sheet music for the production
on the mechanical instruments. When the
taxi-cab drove the unfortunate hansom off the
streets, the driver of the hansom, however
much he may be regretted, was allowed to die
a natural death, and was not awarded a liberal
pension by those who had _ patronised_ his
vehicle. If the production of mechanical in-
struments has reduced the sale of sheet music,
this is no reason why the composer should be
bound to pay part of his royalties as a pension
to the publisher. The publisher must either
readjust his business or suffer.
The final point has already been mentioned
when dealing with the first one, namely, that
the composer, when he has once become a
member of this society, and has yielded over
his rights to the society, can never withdraw
those rights again or obtain control of his own
property. It is possible that there may be
some explanation of the two contradictory
clauses referred to, other than the one put for-
ward, but this does not seem probable. No
doubt, after a member has retired, future com-
positions can be dealt with by other firms.
It would seem, therefore, the best advice to
give to composers is that they should with-
draw from any society that collects their
royalties on an indefinite charge, and that
gives 80 per cent. of the royalties when
collected to the publisher, and should join
some society where, at any rate, they know
that the deductions are limited to a certain
ercentage. The Mechanical Copyrights
icensing Company collects for composers on
a 25 per cent. basis, subject to certain condi-
tions; the Authors’ Society collects at 15 per
cent. without any conditions at all except the
payment of an annual subscription of one
guinea, for which very full value is given in
organising and defending the whole body of
THE AUTHOR.
composers’ interests, including those which are
opposed to those of publishers. But even
those composers who have an objection to the
organisation of their own profession might at
least employ a solicitor. A solicitor who gave
80 per cent. of his client’s royalties to a pub-
lisher would get into serious trouble. Sensible
composers, by joining the Society of Authors,
get the services of a solicitor and a skilled and
disinterested agent at one stroke.
——_—_+-—<—_ 2 —_____—__
AUTHOR’S CORRECTIONS.
—— +
S the question of the charges for correc-
A tions is constantly recurring, and as
the matter is of considerable importance
to all authors, the difficulties connected with
this subject must once again be put before
the members of the Society. In the first
instance sundry clauses collected from
different publishers’ agreements bearing on
the question of corrections are printed below
for consideration. Clauses on the lines of the
following appear in nearly every agreement ;
they are taken at random as examples.
1. ‘The said author to correct proof sheets with all
reasonable despatch, and if any alterations or additions
to proofs are made beyond the usual corrections of printer’s
errors he is to pay for such extra work.”
2. “The cost of correction of other than the printer’s
errors in the proofs of the said work exceeding 10s. per
sheet of thirty-two pages is to be borne by the said author,
and the amount thereof shall be payable to the publishers
by the said author within one month after the publication
of the book.”
3. ‘‘ All alterations in proof sheets made by the author
while the book is passing through the press, the cost of
which shall exceed 16s. per sheet of sixteen pages, shall be
at the expense of the author.”
4. ‘That the author shall not be liable for expenses of
author’s proof corrections (exclusive of the correction of
printer’s errors) up to the amount of £5, equivalent to
100 hours of work, but that should such charges exceed
this amount, the author shall be debited with the excess.”
The first two are exceedingly dangerous to
the author. In the first clause the author is
bound to pay for all extra work. This is
unfair, for, as will be pointed out later,
some printer’s errors must under the most
favourable circumstances be included in
author’s corrections. In the second clause
the author is allowed 10s. per sheet of thirty-
two pages (this is a low allowance) and is
bound to pay the amount within a month
from the publication of the book. This is not
customary; in a fair contract the amount (if
any) is deducted from the returns. In the third
‘clause the amount the author has to pay is
147
anything in excess of 16s. per sheet of sixteen
pages. This clause would be a favourable one
for the author if printer’s errors had not been
included. In the fourth clause he is bound to
pay anything over £5, which is equivalent to
one hundred hours’ work; this may be a low
allowance.
The charge the author has to bear in agree-
ments from the best publishing houses varies
from anything over 7s. 6d. to about 12s. per
sheet of sixteen pages. Let us consider for
a moment what this means.
The ordinary 6s. book runs to about 320
pages, generally rather over that amount.
This would be twenty sheets of sixteen pages,
and if the author was allowed 7s. 6d. per sheet,
he would be therefore allowed for corrections
an amount of £7 10s., for which he would not
have to pay. It will be seen therefore, that
the amount put forward in the above clauses,
with the exception of clause three would be
exceedingly small ; and in clause four, whether
the amount was reasonable, would of course
depend on the size of the book. In any case,
where a fixed allowance is made, care should
be taken that the amount is reasonable as
compared with the cost of composition. If
the author exceeds the sum of £7 10s., say he
has to pay £10 himself, this would mean there
would be £17 10s. of corrections, or in other
words, would mean 350 hours’ work, or the
work of a man for thirty-five days at the rate
of ten hours a day, reckoned at 1s. per hour,
the ordinary charge. This will give some idea
of the absurdities of some charges made under
the cover of corrections.
In the draft agreements issued by the
Publishers’ Association we find the following
clause :—
“The author agrees that if costs of corrections and
alterations in the proof sheets exceed 25 per cent. of the
cost of composition it shall be deducted from the royalties
payable to him.”
The cost of composition of the ordinary
6s. book varies between £20 and £80.
Here allowance for the corrections free to
the author is very small, especially as the
clause makes no statement whatever with
regard to printer’s errors. It is a clause to
be avoided therefore. There is one point,
however, on which the clause is reasonable,
namely, that the amount should be deducted
from the royalties and in most publishers’
agreements where it is not expressly stated
this course is generally adopted. There is
one publisher who offers the author 10 per
cent. of the cost of composition, or about
£2 for corrections on the composition of an
148
ordinary length /novel.{ Special mention is
made of this as the firm is one of the best known
in London. The only redeeming point in the
case is that he does not often’insist on any
charge; but it is not fair that the author
should be dependent on the _ publisher’s
generosity. oe
The next point for consideration is how the
author’s corrections are to be distinguished
from printer’s errors. Printers will tell you
that the proofs are read over before they are
forwarded to the author, and the author,
therefore, has a clean sheet. Any corrections
made on the clean sheets are author's cor-
rections. If the author finds many printer’s
errors still in the proofs he should return them
for a clean sheet before he makes any cor-
rections of his own (this may be sometimes
necessary if the author comes across proofs
so corrupt that they have evidently been
in the hands of a young compositor). This
would be an admirable way of ascertaining
the difference if the printer’s reader was
infallible, but not only is such a_ position
impossible, but this further difficulty must
be taken into consideration, that the printer
may make mistakes unnoticeable by the
reader but very clear to the author, and every
author who has been accustomed to read
proofs will know that, as a matter of fact, he
never receives a proof clear of printer’s errors.
He has however, on the printer’s own confes-
sion, to be responsible to the publisher for
more than his own corrections—in the result
this position, however unfair, is almost
unavoidable. An honourable house will, how-
ever, act fairly, but a dishonest publisher not
infrequently takes advantage.
In case of a dispute is it possible to determine
what are printer’s errors and what are author’s
corrections, and how much time is expended
on one and how much on the other? It is
almost impossible. The author should keep
duplicate proofs and should make his correc-
- tions. on both, and in both cases should make
the corrections of printer’s errors in different
coloured ink from his own corrections. This
would be the most secure way of ascertaining
the facts of the case correctly. Is all this
trouble worth while ? The following statement
will show the contrary, even if any author
would undertake this pedantic accuracy.
The time necessary for alterations when picked
out by this method is only approximately
ascertainable and tends to make the sugges-
tion valueless. Even when the author has
— the corrections distinct, the fresh difficulty
will arise in determining the time expended on
THE AUTHOR.
the re-composition for the correction of
printer’s errors as apart from those of the
author, and if the matter has to be settled
before a judge as the final arbiter expert
evidence can only prevent an_ exorbitant
overcharge, but no expert can reduce the
question to the accuracy of a mathematical
problem. If, then, the printer or publisher
intends to be dishonest to the extent of £5
or so, no power on earth can prove the
dishonesty. On some publishers’ accounts
these few uncheckable pounds are always in
evidence. The safest way, therefore, is to
send in a clean typescript in the first instance
and to know exactly how to correct at the least
cost. The author should be careful to make
such alterations and to such an extent that
the lines should not overrun and necessitate
the carrying forward of the whole type.
Sometimes an exceedingly small correction,
from the author’s point of view, will be an
exceedingly large one from the printer’s.
The cost of corrections is vouched for by the
printer’s time-sheet showing so much time
spent by the compositor, whose time is
reckoned at 1s. per hour. As a matter of
fact he is not always paid so much, but
it is one of the many plans by which the
printers put a little into their own pockets.
The publisher is bound to produce proper -
vouchers from the printers if called upon to
do so.
One other point should be mentioned, and
that is the question of corrections in the
American cost of production. It is much
more difficult to settle any disputes with
American publishers than it is with a publisher
in England owing to the distance, and the fact
that if the matter is taken finally into the
courts it is hardly worth while to bring an
action in America unless the amount involved
is very large or the principle very important.
Authors, however, should be much more
particular in dealing in America as to the
position of the publishers and as to the form
of correction clauses, and should be careful
to deal with those houses only of an established
reputation. This further point must also be
noted ; the cost of labour in America is higher
than the cost of labour in England, and there-
fore the cost of corrections is proportionately
greater.
Finally, it has been suggested that the
author should not in any case be liable to pay
for corrections above a certain fixed amount.
But such an arrangement, it is feared, would
never be agreed to by the publisher, and would
hardly be fair, as the author might involve
THE AUTHOR.
the publisher in an enormous expense and the
publisher would have no possibility of obtaining
any redress. As the fault of many corrections
must lie with the author it is only fair that the
author should pay a reasonable proportion.
What such reasonable proportion is will adjust
itself by the conditions of the trade when at
last the full details of cost are known to both
author and publisher.
“THE LITERARY YEAR-BOOK.” *
—_+—<— + ——
d.
HE 1914 issue of ‘‘The Literary Year-
Book” is now to hand. _ This is its
eighteenth annual issue, and the book
like all good year-books, has been growing
in usefulness and handiness during those
eighteen years.
In another column of The Author is a review
of the general features of the book. I desire
only to deal with the Law and Letters.
It is a small portion of the book, about
forty pages out of a total of 650 and more, but
in some points it is the most important section
of the whole book.
These forty pages are divided into (1) The
Law of Copyright, which is sub-divided into
Imperial Copyright; Colonial Copyright ;
International Copyright; (2) Author, Pub-
lisher and Agent; (3) Memorandum of
Agreement.
The Imperial Copyright gives in a short
space a rough outline of the present law,
and quotes the judgments under the new Act
which have been declared during the past
year. It makes special mention of the clauses
in the Bankruptcy Act of 1913 and states as
follows: ‘‘ Owing to the decision in the case of
In re Grant Richards, Ex parteW arwick Deeping,
an author parting with his copyright to a
ublisher who had the misfortune to become
ankrupt, might to his dismay find the
trustee in bankruptcy of the publisher within
his legal rights in publishing the author’s
work for the benefit of the creditors without
paying him any royalty, or selling the copy-
right without attaching any condition as to
* “The Literary Year-Book, Authors’ Who’s Who and
Illustrators’ Directory,’ Vol. XVIII. London, Heath,
Cranton and Ousley, 1914.
149
the payment of royalties to the author.”
This was a very serious position, and the
Authors’ Society may be justly proud of
having been instrumental in amending the law
by the insertion of section 15 into this years
Bankruptcy Act. The clause is quoted at
length.
The explanation of the law under the Act
of 1911 must of necessity be very curtailed,
but setting this point aside, it is creditably
and carefully done.
The case of Corelli v. Gray is quoted, and an
important statement of the judge on the new
Act as dealing with that case.
It is difficult to deal with Colonial Copyright
in the space of a little more than two pages.
The Australian Law of 1912 is explained in
half a page. With regard to the Canadian Law,
which is dealt with in a page and a half, it is.
impossible to be satisfied, but as most probably
the new Canadian Act will be passed in 1914,
it is as well not to lay too heavy a stress on the
present difficult position of copyright property
in Canada. The countries which have been
covered by Orders in Council under the. new
Act are fully set forth and form a very useful
reference for those who desire to know how
far the copyright of a British author ex-
tends.
The next section on Author, Publisher and
Agent, has an important note at the beginning:
in black clarendon, drawing attention to a
note at the end of the article. To this note
attention should be drawn. The editor states.
‘It is the object of ‘The Literary Year-Book ’”
to deal with facts as they are. The Authors’
Society is at hand to try and often to succeed
in moulding facts, as perhaps they ought to be.”
Though not entirely agreeing with this state-
ment, the articles which deal with the con-
tracting parties and the terms of their con-
tracts are written carefully and by one who
has considerable knowledge of the intricacies
of marketing literary property. :
The writer of the articles deals with the
agency clause, but surely in the first line he
should not have stated, ‘‘ The author should be
warned against a clause sometimes intro-
duced into agents’ agreements.” The diffi-
culty of the agency clause lies in its introduc-
tion into the agreement between the author
and the publisher, not into the agent’s agree-
ment, where it is often counteracted by other
clauses. Agents are springing up all round.
There is no standard of knowledge, no standard
of education, and no standard of financia
honesty necessary in order to become a literary
agent. Any person who has placed an articlein,
150 _ “THE AUTHOR.
a magazine or seen one agreement between an
author and a publisher, thinks he knows
sufficient to take up the work, and the author
suffers accordingly. To many authors a good
literary agent is a necessity ; to no author is
a bad literary agent of any good. It is
essential, therefore, that a note of warning
should be given. The note in the present
instance is hardly strong enough.
There is no space to criticise the proposed
forms of publication in detail, but, the criticisms
on the whole, are fair. The writer, referring
to the account clause, by which the publisher
renders annual accounts made up to a certain
date and delivered three months afterwards,
states, ‘‘It is better that these accounts
should be rendered semi-annually, but we
print the clause in the form in which it is
commonly found.” This statement we cannot
support. The great majority of publishers
consent now to give semi-annual accounts
and many of the old-fashioned houses that
have annual renderings, consent during the
first two or three years from the _publi-
cation to give approximate semi-annual state-
ments. Though the annual account clause is
bad, that a publisher should make up his
accounts annually and render and pay them six
months after they are made up is much worse
and must never be tolerated. Some publishers
have lost quite good business owing to this
grievous delay.
The question of prices is dealt with cursorily.
It is almost impossible to give any advice on
this point without an accurate knowledge of
each particular case. Some publishers or editors
will offer figures which would disgrace a sweat-
ing East-end tailor. When it comes to the ques-
tion of figures, as the editor wisely remarks,
it is as well to invoke the opinion of a literary
agent. I think it might be better still to
invoke the opinion of the Society of Authors.
There is little further to be said about the
forms of agreement, but one or two remarks
might be made. The writer advises never to
hand over the copyright, but to alter this to
“the exclusive right of printing.” The writer
should have gone further and should have
advised the alteration to an exclusive licence
to print and publish in book form, in the
English language. Sometimes it is even
necessary to limit to book form, in the English
language, at a certain price, or again, to a
certain number of copies, or again to a form
to be mutually agreed between the author and
the publisher. But in any event, the publisher
should only have the right of producing the
work in book form in the English language.
He is not there as the agent of the author to
sell the translation rights, and serial rights,
and many of the minor rights. To give this
larger power is a fatal error.
II.
ALTOGETHER “‘ The Literary Year-Book for
1914’? contains more information, and that
information dealing with a wider field, than
has been given in previous issues. That a
very great deal of interest to authors is col-
lected in the Year-Book is undeniable, but
we are not in a position to bestow upon it
whole-hearted approval. Parts are undeniably
very well done. The public library re-
turns which have been included in the Year-
Book for some years past are this year omitted,
and we think with good reason. Full par-
ticulars still remain respecting libraries likely
to be used by authors for purposes of research.
Certain changes have been made in the list
of periodical publications. Periodicals which
gave no information beyond an address are
now omitted. This also appears to us to
be fully justified; and we may add that the
arrangement of the information in the
‘Contributors’ Index to Periodicals” and
the hints to contributors are excellent. An
entirely new feature is a section dealing
with photo-playwriting, with an introductory
article on ‘‘ How to Write Photo-plays,” by
Mr. E. A. Dench, and a list of firms which
purchase photo-plays, with notes of their
requirements. Many writers will welcome
this addition, though whether anyone desiring
to write photo-plays will derive much real
assistance from the article devoted to the
subject is a question on which we will not
venture to express an opinion. The Supple-
ment contains a ‘‘ Tabulated List of the
Books contained in Eighty-six different Series
of Cheap Reprints.” So far as it goes this
catalogue is certainly useful; but it must
be understood that a very large number of
reprinted cheap books are not to be found in
it. Other quite familiar features of the
Year-Book remain in forms in which they are
already well known, and will require no
mention.
rf
}
|
4
en ee ee
THE AUTHOR.
THE ENGLISHWOMAN’S YEAR-BOOK AND
DIRECTORY, 1914.*
ee
- HE Englishwoman’s Year-Book and
Directory” again presents the familiar
mass of valuable information, care-
fully brought up to date, which has made
it indispensable to all women taking any part
in public or social life; but not without
new additions that are certain to be welcomed.
An entirely new feature is a table of ‘‘ Records
for Women,” showing how “ all along the line,
women are breaking new ground in the pro-
fessions previously supposed to be man’s
exclusive privilege.” Another most valuable
new article is that on “‘ Health Centres and
School Clinics.” We are particularly pleased
with the chapter devoted to literature, and
have seldom seen anywhere better advice than
is given at its commencement under the
heading of ‘‘The Author.”” The book naturally
contains, under other headings, subjects of
which we cannot pretend to judge; but we
may say that, if here also the information and
advice is as excellent as that given respecting
literature, the work may claim to be ideal.
Divided into two parts, educational, profes-
sional and social life; and philanthropic and
social work, the volume deals in turn with all
the activities of women ; whilst its information
is so admirably digested as to make reference
extraordinarily easy.
tot
FREE-LANCING.+
9
HERE is an insidious, romantic flavour
about the word ‘“ free-lance,’ which is
calculated to attraet the young author
whom Mr. Percy Vere avowedly writes to help
and encourage (see the cover of this book).
How fast the romance fades is known to nearly
all who set themselves to the task of free-
lancing for a living. Some lucky few there no
doubt are whose talents are of such a kind
that they soon succeed in making a competence
by their hireling profession. But of the rest
it is sad even to think. The writer who
* “The Englishwoman’s Year-Book and Directory,
1914.” Thirty-third year of Issue. London: Adam and
Charles Black.
+ ‘The Confessions of a Literary Free-Lance,” by Percy
Vere. Edinburgh: Wm. Nimmo & Co, 1s. 6d. net.
151
disguises himself under the cheerful pseudonym
now before our eyes would be doing an ill turn
to the “ earnest literary aspirants ’’ to whom
he dedicates his work, were it not that he
admits from the start that his livelihood never
depended on his writings. He was in an office
from the age of fourteen and a half, and his
salary rose steadily ever afterwards. Writing
for the magazines was a pastime, a hobby, to
him. The phrase “born in the purple of
commerce ”’ flashes across our mind, and we
wonder what right he has to~call himself a
literary free-lance. When he turned his office
experiences into magazine articles, he was
perhaps a bit of a condottiere—but surely only
inanamateurish way. How grateful he should
be to his desk !
Having made this protest, we may admit
readily that Mr. Percy Vere is both entertaining
and instructive in his account of how by
‘“‘ pereyverance’’’ he earned the privilege of
describing himself as contributor to the Strand
Magazine, Royal Magazine, Chambers’s Journal,
etc., etc., and that his hints on the writing of
short stories and articles have their value for
those who yearn to give the public what it
wants. Let the yearners, however, keep their
feet all the time, like their monitors, under the
desk.
————_o_xca—_——_
CORRESPONDENCE.
+
A PROTEST.
Dear Sir,—A book ealled “ Children’s
Stories from English History,”’ purporting to
be by E. Nesbit and Doris Ashley, has been
sent out for review by Messrs. Raphael Tuck
& Sons, and has been reviewed as a new book.
Now I do not know Miss Ashley, and have never
collaborated with her. Those stories, in this
book, which are mine, are very early, immature
stuff, written between twenty and thirty years
ago, and at.that time, unfortunately, sold by
me to Messrs. Raphael Tuck & Sons.
Authors who part with their copyrights have
to endure the mortification of being unable to
suppress early and unworthy work—and I do
not resent Messrs. Tuck’s continuing to sell
this stuff. It is theirs, and they have a right
to sell it. And it serves me right, for parting
with the copyright. But I think I have just
cause to resent the publication of this early
work—or any other work—in a form which
makes two authors who are strangers to each
other appear to have written a book in col-
152
laboration. Further, it seems to me that the
publication of old stuff, again and again, year
after year, without any announcement or
admission that the work is old, is an outrage
to the press, the public, and the author. That
such work is sent out in a form which offers no
hint of its being a reprint is proved by the
reviews which treat it as new.
Yours faithfully,
E. Nespir BLAnp.
ta —
THE WANDERING JEW.
Str,—In order to forestall one of those
misunderstandings as to priority of theme and
treatment which so frequently arise between
authors, I should like to say that I have
written a play which, like that announced by
Mr. Temple Thurston, deals with the legend
of the Wandering Jew. This play of mine has
been published in Germany some time ago,
and as it is shortly to be translated by Heiman
Scheffauer, I think it expedient to make this
preliminary announcement.
G. SIL-VARA,
Literary Correspondent of the
** Neue Freie Presse,’’ Vienna.
11, Chester Place,
Regents Park, N.W.
—_—+—
** ONLY.”
Srtr,—Whilst expressing entire agreement
with Mr. Edward Clodd’s protest against the
all too frequent misplacement of “only,” I
should like to point out in reply to Mr. Louis
Zangwill that his contention applies to col-
loquial rather than to literary language, and
that, in the conversational instance he gives,
the “only” can be correctly placed, and at
the same time fulfil his condition of its coming
out at once and making a pretest, by saying,
“Only Saturday I bought it,” or ‘* T'was
‘only on Saturday I bought it.”’
Surely much may be forgiven in the spoken
‘word which is unpardonable in the written.
In such discussions as the present, it is
always well to see what the Oxford Dictionary
has to say. This is how it judicially sums up
the matter: ‘‘ Only was formerly often placed
-away from the word or words which it limited ;
this is still frequent in speech where stress and
‘pauses prevent ambiguity, but is now avoided
THE AUTHOR.
by perspicuous writers.” Of such placing
the earliest example given is from Caxton,
and is dated 1483.
With all due respect, the antithesis of living
language and dead formalism with which
Mr. Zangwill concludes his letter is both vague
and irrelevant.
Yours faithfully,
T. Francis Howe...
— 1 —
On Some EpitroriaAL EcCcENTRICITIES.
Srr,—I am a somewhat elderly person, who
is perhaps approaching his dotage, and one of
my habits (I hope a harmless one) is to spend a
certain amount of my leisure time in writing to
the newspapers. As a rule my letters are
inserted, but the joy that I naturally feel on
such oceasions is frequently diminished by the
fact that the editor has broken up my letter
into paragraphs on an_ irritating system,
entirely of his own devising. The rule, I
understand, is that a new paragraph indicates
a new subject, and this rule I carefully observe
myself in writing, but there are editors who
appear never even to have heard of it, and
their idea of breaking up a letter is to begin a
new paragraph where a break looks well.
Thus, the other day, I wrote a letter of thirty-
six lines to a well-known daily paper, and began
a new paragraph at the twenty-eighth line ;
when the letter was printed the only para-
graph began at the twenty-fourth line. Surely
the person who writes the letter is the best
judge of its form; he, if he is a fairly com-
petent writer, studies the rhythm, and, if I may
so phrase it, the build of his letter, far more
carefully than any editor is likely to have time
to do.
Another objectionable practice of editors is
to insert a letter, signed perhaps with the
writer’s proper name, with two or three lines of
matter excised at the end or elsewhere. A
curious tale has been told me of an editor who
cut out all the vital part of a writer’s argument,
so that another correspondent with a well-
known name might triumph over him next
day. All this appears to me to prove that
discussion is not so free as it might be, even in
first-class newspapers, and that the editor, by
tampering with letters or suppressing them,
may give the victory in a discussion to anyone
he likes.
I am, Sir,
Yours truly,
SENEX.
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The Author, Vol. 24 Issue 05 (February 1914)
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<em>The Author</em>, Vol. 24 Issue 05 (February 1914)
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1914-03-02
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Che Muthbor.
(The Organ of the Incorporated Society of Authors. Monthly.)
FOUNDED BY SIR WALTER BESANT.
Vou. XXIV.—No. 6.
Marcu 2, 1914.
[PrIcE SIXPENCE.
TELEPHONE NUMBER: the standpoint of art or business, but on no
other subjects whatever. Every effort will be
e74 VICTORIA. made to return articles which cannot be
TELEGRAPHIC ADDRESS: accepted.
AUTORIDAD, LONDON.
ADVERTISEMENTS.
t, 1G
Messrs. Matthews’ Advertising Service,
NOTICES. Staple Inn Buildings, High aikorn: W.C.,
1 will act as agents for advertisements for
OR the opinions expressed in papers that “ The Author.” All communications respect-
K are signed or initialled the authors alone 18 advertisements should be addressed to
are responsible. None of the papers or them.
paragraphs must be taken as expressing the As there seems to be an impression among
opinion of the Committee unless such is readers of The Author that the Committee are
especially stated to be the case. personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
Tue Editor begs to inform members of the CS¢- | Although care is exercised that no
Authors’ Society and other readers of The undesirable advertisements be inserted, they
Author that the cases which are quoted in The do not accept, and never have accepted, any
Author are cases that have come before the liability.
notice or to the knowledge of the Secretary of Members should apply to the Secretary for
the Society, and that those members of the advice if special information is desired.
Society who desire to have the names of the
publishers concerned can obtain them on ee oe
application. THE SOCIETY’S FUNDS.
—
ARTICLES AND CONTRIBUTIONS. ROM time to time members of the Society
Tue Editor of The Author begs to remind desire to make donations to its funds in
members of the Society that, although the recognition of work that has been done
paper is sent to them free of cost, its production for them. The Committee, acting on the
would be a very heavy charge on the resources suggestion of one of these members, have
of the Society if a great many members did not decided to place this permanent paragraph in
forward to the Secretary the modest 5s. 6d. he Author in order that members may be
subscription for the year. cognisant of those funds to which these con-
Communications for The Author should be tributions may be paid. ;
addressed to the offices of the Society, 1, Cen- The funds suitable for this purpose are:
tral Buildings, Tothill Street, Westminster, (1) The Capital Fund. This fund is kept in
_ §.W., and should reach the Editor not later reserve in case it is necessary for the Society to
than the 21st of each month. incur heavy expenditure, either in fighting a
Communications and letters are invited by question of principle, or in assisting to obtain
the Editor on all literary matters treated from copyright reform, or in dealing with any other
Vou. XXIV,
154
matter closely connected with the work of the
Society. : :
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
THE PENSION FUND.
—
N January, 1914, the secretary of the
Society laid before the trustees of the
Pension Fund the accounts for the year
1913, as settled by the accountants. After
giving the matter full consideration, the
trustees instructed the secretary to invest a
sum of £350 in the purchase of Great Eastern
Railway Ordinary Stock. The amount pur-
chased has been added to the investments set
out below.
The trustees desire to thank the members of
the Society for the continued support which
they have given to the Pension Fund. They
have given notice to the Pension Fund Com-
mittee that there is sufficient money at their
disposal to enable them to give another
pension.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £5,419 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
fos
: d
500
Local Loans... .25-sen pecs esses 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ............
London and North Western 3%
Debenture Stock ..................
Egyptian Government Irrigation
Trust 4% Certificates.............
Cape of Good Hope 34% Inscribed
Stock
Glasgow and South-Western Rail-
way 4% Preference Stock ......
‘New Zealand 34% Stock ......... i
Trish Land 22% Guaranteed Stock
Corporation of London 23%
Stock, 1927—57 ............eceees ;
Jamaica 34% Stock, 1919-—49 ...
Mauritius 4% 1937 Stock ..........
Dominion of Canada, C.P.R. 33%
Land Grant Stock, 19388 .........
Antofagasta and Bolivian Railway
5% Preferred Stock ...............
Central Argentine Railway Or-
dinary Stock 5 2..0....-sc).ieseicisse
291 19 11
250 0 0
200 0
200
228
247
258
438
1382
120
198
237
232
THE AUTHOR.
Nominal Value.
£ 8. a.
$2.000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds
250 Edward Lloyd, Ltd., £1 5%
Preference Shar es
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) .-......4..22..
3 Central Argentine Railway £10
Preference Shares, New Issue...
Great Eastern Railway Ordinary
Stock 20.0
409
250
PENSION FUND.
—+—~< ——
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 1913.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it. :
Subscriptions.
1913.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. ; : ;
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. . :
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert .
Dec. 4, Lunn, Arnold . :
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana :
Dec. 4, Vallois, Miss Grace .
Dec. 17, Beresford, J.D. .
Dec. 29, Inge, Charles . ‘
Dec. 29, Cross, Miss May .
Dec. 29, Hardy, Thomas, O.M.
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THE AUTHOR.
2
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I. :
Jan. 16, Cooke, Arthur O.
Jan. 23, Exley, Miss M. ‘
Jan. 26, Sarawak, The Rance of
Feb. 20, Eden Guy : : :
Feb. 21, Mayne, Miss Ethel Col-
boura . : :
Feb. 21. K. ‘ e
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ee 9
1913. Donations. COMMITTEE NOTES.
—— +
BSc February meeting of the Committee
of Management was held at the offices
of the Society, No. 1, Central Buildings,
Tothill Street, Westminster, S.W. After the
minutes of the former meeting had been read
and signed, twenty-five new members and
associates were elected. The Committee are
pleased to see that the elections are well
maintained. This gives an election of over
one a day for the first two months of the year.
The total number at present elected being sixty-
nine. Five resignations were laid before the
committee and these were accepted with
Dec. 20, Edwards, Percy J. . regret. The committee then considered the
Dec. 21, Keating, J. Lloyd numerous cases before the Society, the solicitor,
1914. in the first instance, making his report. In
Jan. 3, Church, Sir Arthur three small cases against papers he was able
Jan.5, Anon. : to report that the money had been recovered.
Jan. 5, Joseph, L. 5 In a ease of dispute on accounts, which has
Jan. 5, Swan, Miss Myr been running on for some time, the solicitor
Jan. 5, Vernede, R. E. ; ‘ reported that the matter had been settled as
Jan. 6, De Crespigny, Mrs. Champion the member had decided to sell the balance
Jan. 6, Rankin, Miss F. M. . . of his interest in the work fora sum down. In
Jan. 7, Sneyd-Kynnesley, E. M. a small claim against a magazine, the solicitor
Jan. 7, Lathbury, Miss Eva . reported that as no notice had been taken of
Jan. 7, Toplis, Miss Grace his first application for money, a summons had
Jan. 8, Palmer, G. Molyneaux been issued. There were two disputes with
Jan. 9, Mackenzie, Miss J. . a certain publisher. In the first, proceedings
Jan. 10, Daniell, Mrs. E. H. . had to be taken but the matter had been
Jan. 12, Avery, Harold : satisfactorily closed. In the second, the
Jan. 12, Douglas, Mrs. F. A. publisher had been to see the solicitor and
Jan. 15, Pullein, Miss Catherine he hoped that the negotiations would result
Jan. 15, Thomas, Mrs. Fanny in a settlement.
Jan. 16, James, Mrs. Romane In a complicated dispute between agent and
Jan. 19, P. H. and M. K. author it was decided not to take the matter
Jan. 19, Greenstreet, W. J. . any further. The committee instructed the
Jan. 19, Gibbs, F. Leonard A. solicitor to write to the complainant setting
Jan. 23, Campbell, Mrs. L. A. R. . out the reasons why the committee had come
Jan. 28, Cameron, Mrs. Charlotte, to this decision. ;
F.RGS. . ; It was brought to the notice of the committee
Jan. 28, Blunt, Reginald that authors and playwrights had been placed
Jan. 24, Raphael, Mrs. Mary. in a very serious position owing to the use
Jan. 25, Plouman, Miss Mary by various film manufacturers of titles which
Jan. 80, Gibson, Miss L. S. . had been used by the authors in respect of their
Feb. 5, Brooker, Lt.-Col. E. P. books or plays. From the evidence before
Feb. 6, Buchrose, J. E. ‘ them the committee, fecling that the matter
Feb. 7, Smith, Herbert W. . was of high importance, decided to take up a
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold . ;
Oct. 30, Rosman, Miss Alice Grant
Nov. 3, Holland, Theodore
Nov. 3, Steane, Bruce ;
‘Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elrington, Miss Helen
Nov. 10, Waterbury, Mrs. . :
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dec. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
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_
156
case asa testcase. If the result of such a case
was to give no relief, then it was agreed to
approach the Government with a view to the
introduction of remedial legislation. In_ the
meantime, the secretary was instructed to
obtain all the support possible from managers
of theatres who themselves held copyright
plays, and also the cinematograph film manu-
facturers who had suffered and were suffering
equally with authors and playwrights from
similar practices. The matter was adjourned
for further consideration.
A case of copyright infringement in Burmah
was brought to the notice of the Society. It
appeared very doubtful to the committee
whether under the existing law it would be
possible to take any action. As the claim was
a very small one and it was probable that
at no distant date, the India Council will
have passed fresh copyright legislation, the
committee instructed the secretary to inform
the member that they could not take up the
case.
In a complicated dispute on an agreement
which had been dealt with at former meetings,
a further complaint from the member was laid
before the committee, and the chairman was
instructed to write to the member putting
forward the work the Society had done and
explaining that it was impossible for the com-
mittee to go any further as the member had
shown no legal ground for the interference of
the Society. It was decided to take up a case
of infringement of the dramatic rights of a
member in Germany.
One of the members, whose case had been
settled by arbitration, wrote a letter to the
committee suggesting the manner in which she
desired the matter should be dealt with in The
Author.
The committee requested the secretary to
inform her that she must be content with one
of the two alternative courses : (1) that the full
award with the full letter of apology settled by
the arbitrator as part of the award should be
published, or (2) that the whole statement should
be withdrawn from publication. In a case of
breach of agreement between dramatic author
and manager, the committee decided that the
secretary should write and explain the legal
position to the member concerned, expressing
their regret that they were unable to take the
matter further, and setting out the reasons
for this decision. :
In a case of infringement of dramatic copy-
right in Canada the secretary was instructed
to obtain the solicitor’s opinion as to the exact
position of the law, and if that opinion was
THE AUTHOR.
satisfactory, to write to the Canadian lawyers
to carry the matter further if it was possible
to do so.
Sir Edward Elgar, O.M., was elected a mem-
ber of the council and a share was allotted to
him.
It was agreed to change the name of the
Incorporated Society of Authors to the Incor-
porated Society of Authors, Playwrights and
Composers, and the secretary was instructed
to take the necessary legal steps to see that
this matter was carried through.
A letter from a member on the subject of
the library censorship was read and considered,
and the secretary was instructed to thank the
member concerned on behalf of the committee
for the interest he had shown in the matter.
The report of the committee for 1913 was
considered and passed. An article for inser-
tion in The Author was also considered and
passed, and instructions were given for the
publication of the same.
It was decided to invest a sum of £200 from
the Capital Account of the Society. °
As it has been found that the present form
of guarantee, signature to which the com-
mittee require before action is taken on behalf
of amember, was not quite satisfactory, either.
to the member or to the Society, a revised
form was drafted and placed before the com-
mittee and accepted by them.
On the recommendation of the Dramatic
Sub-Committee, the Committee of Manage-
ment agreed to send out a list of the names
and addresses of the members of the Dramatic
Section to Mr. Walter Jordan, the Society’s
New York agent. ;
The secretary reported that the Board of
Trade had conferred with him on the subject
of a book exhibition to be held at Leipzig. It
had been suggested that such an exhibition
might interfere with an author’s copyright.
The secretary pointed out, that some diffi-.
culties might arise on an author’s contract.
when the sales of books by English publishers.
were limited as to country. Notice will be
given in due course in The Author on the
matter.
The secretary read letters he had received.
in regard to Canadian and New Zealand copy-:
right. It appears that an Act has been passed
in New Zealand which will come into force in.
April of the current year. The Act is printed
in full as a Supplement this month. -
Two letters from members of the Society.
were laid before the committee. The. com-
mittee regretted they were unable to support.
the suggestions put forward. i
Dramatic Sus-CoMMITTEE.
I,
A SPECIAL meeting of the Dramatic Sub-
Committee was called on Friday, January 30,
at No. 1, Central Buildings, Tothill Street,
Westminster, S.W., at 3 o’clock, to consider
the question of the infringement of rights
in titles as shown in two or three special cases
recently brought to the Society’s notice. It
appeared in three cases that the titles of plays
and books had been taken for films.
The sub-committee considered the subject
one of importance. There was _ consider-
able discussion as to what action should be
taken.
Finally, it was decided'to urge the Committee
of Management to take up one case as a test
ease. If the Committee of Management con-
sented to this course, and judgment went
against the Society, it would then be necessary
to decide what further action should be
taken, in order to save dramatists and authors
alike from the serious loss inflicted on their
property.
It was decided, also, to get into touch with
the film manufacturers, as it was clear that
this appropriation of titles would affect them
in a similar manner.
It was further decided to ask the Committee
of Management, if it should prove impossible to
obtain any redress under the law as it at
present exists, to consider seriously the advis.-
bility of asking the Government for legislation
on the subject.
II.
TueE February mecting of the Dramatic Sub-
Committee was held at the offices of the Society,
1, Central Buildings, Tothill Street, West-
minster, S.W., on Friday, February 20, at three
o'clock.
After the reading of the minutes of the
previous meeting the secretary laid before the
sub-committee a report of a dramatic agent’s
transactions with members of the Society.
Two play-producing societies had submitted
their agreements for the consideration of the
sub-committee, with a view to obtaining, if
possible, from the sub-committee approval of
the forms they proposed to submit to authors
whose plays they accepted. After careful
consideration the sub-committee thought it
inadvisable to give this approval, but instructed
the secretary to write to the societies and inform
_ them that their agreements were not such as
THE AUTHOR.
157
the sub-committee could advise authors to
accept.
A suggestion was then made by a member
that a fighting fund for dramatic cases should
be established. The idea was approved by the
sub-committee, but further discussion of the
details was adjourned to the next meeting.
A letter received from the Society of West
End Managers in regard to the Managerial
Treaty was laid before the sub-committee.
The secretary was instructed to send, as
requested in that letter, a copy of the treaty as
at present settled to the solicitor of the Society
of West End Managers.
A letter from a member of the Society was
read. It contained a suggestion that the sub-
committee should deal with the plays of
members and assist them in obtaining intro-
ductions to managers and others. The sub-
committee regretted they were unable to adopt
the suggestion and instructed the secretary to
write accordingly.
A letter from the National Operatic and
Dramatic Association of Worcester was laid
before the sub-committee. It was decided to
give this association the same facilities in
regard to the borrowing of MSS. as are at
present accorded to the Dramatic Clubs’
Association.
Authority was given to the secretary to write
to one of the agents of the Society who had
failed to reply to letters addressed to him.
The secretary was instructed to request the
agent to give immediate attention to these
letters.
Mr. Cecil Raleigh was formally appointed to
attend an international meeting of dramatists
in Paris on March 2, when questions were to be
discussed dealing with cinematograph repro-
duction.
Certain legal cases were next discussed.
The first matter related to the infringement
of authors’ rights in their titles by cinema pro-
ducers. The secretary reported the steps that
had been taken in the cases which the com-
mittee had decided to take up. He also read
letters he had received from certain associations
in the cinematograph trade. It was decided to
call a conference to which representatives of
the film-producing industries, the Theatrical
Managers’ Association, and the Touring
Managers’ Association should be invited, for a
discussion of the questions at issue.
The secretary reported e of breach of
contract in Australia which con placed in
the hands of the Society’s s ors in Sydney.
A dramatic author’s case which had been
placed before the Committee of Management
158
(which body had regretted its inability to
support the member) was referred to the
Dramatic Sub-Committee for an expression of
their opinion, as the case had not previously
been before them. The sub-committee re-
gretted they could not do anything further,
and supported the view of the Committee of
Management.
In the last dispute discussed the sub-com-
mittee regretted they could not recommend
the Committee of Management to take any
further action. This case will be referred
to the Committee of Management in due
course.
——
Composers’ SuB-COMMITTEE.
Tur Composers’ Sub-Committee met at the
offices of the Society on Saturday, February 14,
at eleven o'clock. Following the reading of
the minutes of the previous meeting, a question
referred back by the Committee of Manage-
ment was discussed. It dealt with the practice
of loaning composers’ music for performing
purposes. The sub-committee decided to draw
the attention of the Committee of Management
to the fact that, as a rule, speaking broadly,
although the performing rights ought to be
held by the composers, they were, in fact, held
by the publishers.
The secretary then raised the question of
agreements between publishers and com-
posers. He pointed out that in all agreements
which had any pretensions to being equitable
as between party and party, there were a
certain number of clauses which might be
termed common form clauses; that in most
music publishers’ agreements these clauses
were not to be found. No doubt this was due
to oversight on the part of the publishers. He
suggested it would be as well to approach the
Music Publishers’ Association with a view to
agreeing to certain clauses which should appear
in all contracts. He instanced the account
clause, and pointed out that it was as much for
the benefit of the publisher as for the composer
to have some clause in the contract settling
dates for delivery of accounts. In the absence
of such a clause the publisher was liable to be
called upon to deliver statements at reasonable
times, although such times might be very
inconvenient to him in his business.
_ A question arose as to the legality of the
importation of records, and the secretary was
instructed to obtain an opinion on the matter
and, if it was clear that the records so imported
THE AUTHOR.
infringed copyright, to write to some of the big
collecting agencies to invite them to join with
the Society in taking legal action.
A composer who was a member of the Society
wrote to the secretary a statement for sub-
mission to the sub-committee in regard to one
of his works, and suggested that an article
should appear on the subject in The Author.
The sub-committee passed an article and
referred the matter to the Committee of
Management.
A question of the collection of mechanical
instrument fees by publishers and companies
was then discussed. The chairman laid before
the sub-committee a letter he had received
from one of the publishing houses, and the
secretary read a letter to the sub-committee
from a composer on the same subject. It was
decided to invite the composer to discuss the
question with the secretary, and, if he cared to
do so, to attend the next meeting of the sub-
committee.
The last matter related to the interpretation
of a section of the Copyright Act in regard to
the mechanical reproduction of a composer’s
works, and it was decided that, if a clear
case came forward, to ask the Committee of
Management to take the case into court, so
that the point might be settled finally by case
law.
Cases.
Durtnc the past month the secretary has
dealt with nineteen cases. The largest number
was for the return of MSS. In one case only,
so far, has the Society been successful, though
in another some of the MSS. have been
forwarded. There are still five of these
matters waiting settlement.
There have been four demands for money,
two have been satisfactorily terminated, the
cheques have been received and forwarded to
the authors. In two cases, however, although
answers have been received, the money has not
as yet been paid, one excuse or another being
put forward. It is probable, however, that
cheques will be received in the course of the next
few days, in which event there will be no need to
put the claims into the hands of the Society’s
solicitors.
There have been two disputes over the
interpretation of agreements, one has been
settled, but one in the United States of
America is still outstanding.
There have been four cases for accounts and
money; one has _ been successful, in one
accounts have been rendered and the money
will be paid in due course, but the other two
are still in the course of negotiation. It is
well to draw the attention of composers, who
are members of the Society, to the fact that
great difficulty is experienced with music
publishers owing to no proper account clause
being inserted in their agreements. No doubt
music publishers think this plan is satisfactory,
but as a matter of fact, it is much more
inconvenient to the publisher than it is to the
author, forif there is no formal account clause
in the agreement, a composer has a right to
make demands at any reasonable time. In
consequence, as the publisher never seems
ready, considerable difficulty arises when
' demands for accounts, or for accounts and
money are made. No doubt in time the music
publisher will see that his agreements are
properly drawn up.
There have been two claims for accounts
only. One has been settled and one is still
open.
From cases reported in former months, three
are still lying open; one it has been impossible
to carry through owing to the fact that the
address of the defendant cannot be found.
Another case of a demand for the return of
a MS. will have to be placed into the hands of
the Society’s solicitors. The last one is a
complicated case of dispute which is still in
course of negotiation. All the other cases have
either been settled or have been placed in our
solicitors’ hands.
——-—< +
February Elections.
Barker, John Goddard.
Beeston, L. J. .
Best, Florence
“* Stratton Strawless.”
Bowditch, Miss Lucy
A. M.
Bradley, R.N. . “
M.
Gwelo, Rhodesia.
61, Temple Fortune
THE AUTHOR.
Coventry, R.G.T. .
Ewing, Montague
Floyer, Mrs. Frederick.
Hill, Graham : :
Hubert, John
_ Jacks, L. P.
Lorimer, Emilia Stuart
Mahoney, Nellie O.
Molesworth, Arthur W.
Nicholson, Watson
M.A., Ph.D.
Nicholson, Mrs.
Florence Emily, B.L.
Petrie, Gerald
Prendergast, Mrs. T. J.
W.
Rathbone, R. Le B.
Small, Louisa Watson
(‘* Mary Buckley.’’)
Stroud, D. Aikenhead,
LL.D. (Lond.).
Vale, W. T., A.R.C.O. .
Wignacourt, John
159
Sherridge
Malvern.
Upper Walmer, Kent.
Holywood Cottage,
Sway, Hants.
45, Stanhope Road,
Streatham, S.W.
12, Victoria Cres-
cent, Jersey.
Strete, Shotover,
Oxford.
45, Marston’ Street,
Oxford.
Lyceum Club, 128,
Piccadilly, W.
43, Albemarle Street,
W.
28, Bedford Place,
W.C.
28, Bedford Place,
W.C.
20, West End Man-
sions, West End
Lane, N.W.
cjo Messrs. Cox
& Co., Bankers,
Charing Cross.
8, Ravenscourt
Square, Hammer-
smith, W.
2, Sicilian House,
Southampton
Row, W.C.
Solicitors’ Depart-
ment, General
Post Office,
London.
Pittville, Upper
Duke’s Drive,
Eastbourne.
Lodge,
—_—____.——_e-_—__—_
BOOKS PUBLISHED BY MEMBERS.
Brodzky, Miss Beatrice
Brooker, Lt.-Col. E. P.,
R.E.
Brown, Miss Julia .
Byles, Charles Edward.
Hill, Hendon,
N.W.
22, Hawarden Grove,
Herne Hill, S.E.
Centinilla, Dene-
wood Road, High-
gate, N.
17, Narbonne
Avenue, Clapham,
S.W.
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
BIOGRAPHY.
In THE Footsteps or THE Brontis. By Mrs. Exvis H.
Cuapwick. 8} x 5}. 502 pp. Sir Isaac Pitman.
16s. n.
160
Tue Memorrs oF Maria Stevia (LADY NEWBOROUGH).
By Hersey. Translated from the original French by
M. Harrier M. Cares. 9 Xx 5}.- 299 pp. Nash.
10s. 6d. n.
Paut VeRLaine. By Witrrip Tuortry. (Modern
Biographies.) 63 x 43. 107 pp. Constable. 1s. n.
REMINISCENCES oF MY Lire. By Henry Hovipay.
104 x 64. 475 pp. Heinemann. 16s. n.
DRAMA.
Tue Pray or THE Fururn. By SypNEY GRUNDY.
72 x 54. 41 pp. French. 6d.
ParsIFAL AND Tristan unD Isotpu. The Stories of
Richard Wagner’s Dramas told in English by R. Fynzs
and Lovis N. Parker. 7} 5. 88 pp. Smith,
Elder. Is. 6d. n.
Tur Mextine Por. By Israry Zanewrtu. A Drama in
Four Acts. 8} x 53. 216pp. Heinemann. 2s. n.
Stories FROM THE OPERAS. By Guapys Davipson.
74 x 5}. 559 pp. Werner Laurie. 6s. n.
ECONOMICS.
Tue Nature anp Frrst PrrycrPLe oF TAXATION
R. Jones. Witha Preface by SipNey WEBB. 8}
299 pp. P.S. King. 7s. n.
MarriaGE oN SMALL MEANs.
7k x 5. 193 pp. Constable.
By Mrs. C.
3s. 6d.
FICTION.
By Darrett Fieais.
JacoB ELTHORNE. 7k x 5.
435 pp. Dent. 6s.
THe WANDERER’S NeckLAace. By H. Rrper Haaaarp.
7% x 5. 328 pp. Cassell. 6s.
THe Maxine or AN ENGLISHMAN.
74 x 5. 369 pp. Constable. 6s.
Cuppy YarsorovucH’s Davucuter. By Una _ L.
SmBERRAD. 74 X 5. 350 pp. Constable. 6s.
Lonpon, 1913. By Maragaret DE VERE STACPOOLE.
74 x 5. 347 pp. Hutchinson. 6s.
THE MarriaGEor Ceca. By Maupr Lesson.
400 pp. Fisher Unwin. 6s.
Tue Puree Mists. By F. E. Mitus Youna.
360 pp. Lane. 6s.
THe Wonprer YEAR. By MauprE GoLpRIne.
319 pp. Erskine Macdonald. 6s.
Tue Cockney aT Home. Stories and Studies of London
Life and Character. By Epwix Puan. 7} x 5.
296 pp. Chapman and Hall. 6s.
BEHIND THE VEm. True Stories of London Life. By
Gro. R. Sims. 73 x 5. 272 pp. Greening. 2s. n.
THe Turee Trees. By Guy Rawuence. 7} x 5.
322 pp. Fisher Unwin. 6s.
Tut Icr. By ANNE WEAVER.
Long. 6s.
Tue Lost Roap. By Ricuarp Harpine Davis. 7} x 5.
266 pp. Duckworth. 6s.
TuroveH OTHER Eyes. By Amy McLaren.
322 pp. Murray. 6s.
A Maponna oF THE Poor AND OTHER Stories. By
Cuive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.
Man and Woman. By L. G. Mosuriy. 72 x 5.
307 pp. Methuen. 6s.
Money or Wire. By Erriz ADELAIDE RowLanps.
7? x 5. 320 pp. Ward, Lock. 6s.
Wun Guost MEETS Guost. By Witt1am Dr Mora@an.
7% x 5. 892 pp. Heinemann. 6s.
Iyitration. By Rozsert Hugo Benson.
396 pp. Hutchinson. 6s.
A Lapy- or Letsurz. By Erxen Srpewick.
420 pp. Sidgwick and Jackson. 6s.
By W. L. Grorce.
7k X 5.
7} X 5.
7% x 5. 320 pp. John
72 x 5.
74 x 5.
Tk Xx 5.
THE AUTHOR.
Smatt Sours. By Lovis Covuprrus.
ALEXANDER TEIXEIRA DE Marros.
Heinemann. 6s.
Ten-Minute Stories. By AtaERNON BLAcKWoop.
7k x 5. 271 pp. Murray. 6s.
THE Ransom ror Lonpon. ByJ.8. FLErcurEr. 7} & 5.
296 pp. J. Long. 6s.
SEHABORNE OF THE BonneT SHop. By R. K. WerExzs.
7} x 5. 42 pp. Herbert Jenkins. 6s.
Tue Spirit Peas. By Heapon Hi. 7} x 43. 288 pp.
Stanley Paul. 6s.
THe Paraway. By GerrrupE Pace. 320 pp.
Ward, Lock. 6s.
Tue Way or THESE WomEN. By E. Puiviips OPPEN-
HEIM. 73x 5. 316 pp. Methuen. 6s.
Una and THE Lions. By Constance SMEDLEY. 7} & 43.
305 pp. Chatto and Windus. 6s.
TurovucH Fouiy’s Minx. By Avice and CLaupDE ASKEW,
7% x 5. 319 pp. Ward, Lock. 6s.
Tue Fryine Inn. By G. K. Cuusrerron.
301 pp. Methuen. 6s.
One Krinp anp Anotuer. By Barry Parn.
308 pp. Martin Secker. 6s.
Gay Morninc. By J. E. BuckRose.
Mills and Boon. 6s.
Tue Waters or Letue. By DoroTHEA GERARD. 72 X 5.
320 pp. Stanley Paul. 6s.
Tue Master or Merrivitr. By EprEn
72 x 5. 304pp. Ward, Lock. 6s.
Dust From THE Loom. By Epwarp Nos Le.
842 pp. Constable. 6s.
Buinp Eyres. By Marcarer Peterson. 7} x 5. 303 pp.
Melrose. 6s.
Tue Decoy. By the CounrEss oF CROMARTIE. 7} x 5.
7} x 43.
Translated by
72 x 5. 315 pp.
7% x 5.
72 x 5.
1 Xx 5.
id x 5.
316 pp.
PHILLPOTTS.
72 X Be
176 pp. Erskine Macdonald. 3s. 6d. n.
TerMsS oF SuRRENDER. By Louis Tracy.
346 pp. Cassell. 6s.
THE QuestTine Brast.
Martin Secker. 6s.
THE GaRDEN oF Dreams. By H. GRAHAME RICHARDS.
72 x 5. 356 pp. Hutchinson. 6s.
A Bespoxen Bripe. By Frep WuHiIsHAW.
320 pp. J. Long. 6s.
Way Sue tert Him. By Frorence WARDEN.
320 pp. John Long. 6s.
Otp Monz’s Nover. Revised and Expurgated by
GILBERT CANNAN. 6} X 4}. 63 pp. Martin Secker.
6d. n.
Miser Hoapiey’s Secret. By A. E. Marcumont.
(Cheap Reprint.) 64 x 44. 247pp. Methuen. 7d.n.
Tue Ducuess oF WrexE: Her DEcLINE anD DEATH.
A Romantic Commentary. By HucH WaLPoLe.
7k x 5. 421 pp. Martin Secker. 6s.
Havuntep HicgHways AnD Byways. By E. O’DoNNELL.
72 x 5}. 220 pp. Nash. 3s. 6d. n.
Smpson. By Exryor Morpavnt. 332 pp.
Methuen. 6s,
7% x 5.
7k x 43.
By Ivy Low. 7} x 5. 301 pp.
72 x 5.
7% x 5.
7t X 5.
One Man Returns. By Harotp SPENDER.
316 pp. Mills and Boon. 6s.
Tur Tracy Tussses. By JESSIE Pops.
246 pp. Millsand Boon. 3s. 6d.
DistuRBERS. By W. H. Witt1aMson and “‘ CANADIENNE” |
7% x 5. 316 pp.
Tue Mayor’s NI&cE.
ANNE OF THE BARRICADES.
64 x 44. (Sevenpenny
Stoughton.
Evrerypopy’s Secret. By Dron Crayton CaLTHROP.
(Popular Edition.) 7$x 5. 344 pp. Alston Rivers. 1s. n,
Tur ADVENTURES OF SHERLOCK Hommes. By A. ConaN
Doyir. (Nelson’s Library.) 6} x 44. 379 pp.
Nelson. 7d. n.
By G. A. BirmincHam. 256 pp.
By 8S. R. Crocxert. 323 pp.
Library.) Hodder and
THE AUTHOR. 161
HISTORY.
CALENDAR OF STATE PaPerRs. Colonial Series —America
and West Indies, December 1, 1702-1703. Preserved
in the Public Record Office. Edited by Cec, Hreapiam.
10$ x 74. 998 pp. Wyman. 15s.
HISTORY AND GEOGRAPHY.
Tue Ancrent Roman EMPIRE AND THE BriTIsH EMPIRE
in Inpia. Tue Dirrusion oF RoMAN AND ENGLISH
_ Law THROUGHOUT THE WorRLD. Two Historical
Studies. By James Bryce. 84 x 532. 138 pp.
Milford. 6s. n.
THe Tracutnc oF Inpian History. An Inaugural
Lecture. (January 20, 1914.) By Witt1am HoLpEN
Hutton, B.D., Reader in Indian History in the Univer-
sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon
Press. London: Milford. ls. n.
LITERARY.
Men and Martrers. By WitrreD WARD.
451 pp. Longmans. 12s. 6d. n.
MEDICAL.
Exrectant MotHserHoop: Its SUPERVISION AND
Hyaerenr. By J. W. Batuantyne, M.D. 8} x 5}.
288 pp. Cassell. 6s. n.
AMBIDEXTERITY AND MentTaL Cuitture. By H.
MacnaucuTon-Jonges. 62 x 44. 102 pp. Heine-
mann. 2s. 6d. n.
MISCELLANEOUS.
A Morauist’s Birtupay Boox. Quotations Selected
and Edited by Marx Merepirn. 4} x 34. 256 pp.
67, Dale Street, Liverpool.
ORIENTAL.
Apu’. ALA, THe Syrran. By H. Banrvern.
99 pp. (Widsom of the East Series.) Murray.
PAMPHLETS.
Waar 1s ‘‘ Womanty’’?? By Laurence Housman. The
Women’s Freedom League. 4d.
POETRY.
More Ruopestan Ruymes. By CuLLeEN GouLpsBurRyY.
74 x 5. 136 pp. Bulawayo: Philpott and Collins.
9 x 52.
62 x 5.
2s. n.
Man, OruerR Poems, AND A Prerace. By Marie C.
Storrs, D.Sc., Ph.D., F.L.S., Fellow of University
College, London. 74 x 5. 76 pp. Heinemann.
3s. 6d. n.
Wittow’s Force anp OTHER Poems. By SHEA
Kayer-Smitu. 73? x 54. 52 pp. Erskine Macdonald.
A Batitap oF Men anp OrHer Verses. By WiLiiamM
BuaneE. 73 x 5. 78 pp. Constable. 3s. 6d. n.
Distrkes. Some Modern Satires. By C. MASEFIELD.
7k x 54. 48 pp. Fifield. 1s. n.
POLITICAL.
Tue GOVERNANCE OF ENGLAND. By Sipney Low. New
Edition, revised and reset, with Introductory Essay.
8 x 53. 320 pp. Fisher Unwin. 3s. 6d. n.
SPORT.
Tue TRAD OF THE SANDHILL Sta.
Naturalist to the Government of Manitoba.
93 pp. Hodder and Stoughton. 3s. 6d. n.
THEOLOGY.
Pastor Fururvs. <A Dramatic Idyll. By Joun
Huntiey Sxrine, D.D. 8 x 54. 295 pp. Longmans,
5s. n.
By E. T. Szton,
72 x 6.
Toe Tree or Knowieper. A Series of Lessons for
Children on the First Half of the Book of Genesis. By
Sys Smiru. 74 x 5. xiv + 250 pp. Milford. 3s. 6d. n
THe Meanrne or Curistianity. By F. A. M. Spencer.
(Second Edition, Revised.) 8} x 5}. 350 pp. Fisher
Unwin. 2s. 6d. n.
TOPOGRAPHY.
Iy Cunyne WALK anpD THEREABOUT. Containing Short
Accounts of Some Ingenious People and Famous Places
that were by the Riverside at Chelsea. By REGINALD
Buunt. 9 xX 534. 322 pp. Mills and Boon. 10s. 6d. n.
A CorNER OF THE CoTswoLps. Through the Nineteenth
Century. By M. Strurar GREeTTon. 9 x 53. 289 pp.
Methuen. 7s. 6d. n.
TRAVEL.
Royat Spain or To-pay. By :TrypHosa Bares
BaTcHELLER. 10 Xx 6%. xxiii +614 pp. Longmans.
25s. n.
—__+—~>—
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
N R. WILLIAM DE MORGAN’S new book
is entitled ‘* When Ghost meets Ghost,”’
and is published by Heinemann at 6s.,
and, in two volumes (library edition), 10s.
‘“‘ Initiation’ is the name of Monsignor
Benson’s novel published last month (Hutchin-
son).
Mr. Edwin Pugh’s volume of short stories,
‘“The Cockney at Home,” is published by
Chapman and Hall.
The same firm publishes Mr. Tighe Hopkins’s
** Romance of Fraud ”’ (7s. 6d. net); and “‘ The
Trial of John Jasper for the Murder of Edwin
Drood,” in which Mr. G. K. Chesterton was
judge and Mr. Bernard Shaw foreman of the
jury (2s. 6d. net).
Mr. G. K. Chesterton’s novel “‘ The Flying
Inn,” is published by Methuen & Co., while a
1s. net edition of his ‘“‘ Bernard Shaw’”’ is
announced by John Lane.
Mr. Francis Gribble’s ‘‘ Life of the Emperor
Francis Joseph” appeared on February 19
(Nash, 16s. net).
““ The Way of These Women ” is a novel by
Mr. E. Phillips Oppenheim (Methuen & Co.).
Mr. Frederick Arthur in “The Great
Attempt ” deals with the struggle that ended
at Culloden (John Murray).
“The Strength of a Chain,” by Hester
White, is published by Heath, Cranton and
Ousely. The same firm announces for April
Mrs. Mary F. Raphael’s “ Phoebe Maroon.”
J. E. Buckrose has just published, through
Mills and Boon, a _ novel entitled ‘“ Gay
Morning,” which is appearing simultaneously
160
Tue Memorrs or Marra STELLA (LADY NEwsBoRouGH).
By Hersetr. Translated from the original French by
M. Harrrer M. Capes. 9 x 53. 299 pp. Nash.
10s. 6d. n.
Paut VERLAINE. By Witrrip THORLEY. (Modern
Biographies.) 63 x 43. 107 pp. Constable. 1s. n.
REMINISCENCES OF MY Lire. By Henry Hovipay.
10} x 6}. 475 pp. Heinemann. 16s. n.
DRAMA.
THe Pray or THE Foturr. By Sypney Grunpy.
7} x 54. 41 pp. French. 6d.
ParsiraAL AND Tristan unD IsotpE. The Stories of
Richard Wagner’s Dramas told in English by R. FynEs
and Louis N. Parker. 7} xX 5. 88 pp. Smith,
Elder. Is. 6d. n.
Tue Murine Por. By Israrn Zanewityt. A Drama in
Four Acts. 8} x 54. 216 pp. Heinemann. 2s. n.
STORIES FROM THE OpprRAS. By Guiapys Davipson.
7s X 5}. 559 pp. Werner Laurie. 6s. n.
ECONOMICS.
Tue Nature AND First PrincipLe oF TaxaTION. By
R. Jones. Witha Preface by SipNeY Wess. 8} X 5$.
299 pp. P.S. King. 7s. n.
Marriage on Smatt Means. By Mrs. C. 8. PEEL.
7s x 5. 193 pp. Constable. 3s. 6d.
FICTION.
Jacop Exruorne. By Darren Ficais. 7} x 5.
435 pp. Dent. 6s.
THE WANDERER’S NeckLAce. By H. Riper Haaaarp.
7% x 5. 328 pp. Cassell. 6s.
Tue Maxine of AN Enciisuman. By W. L. Grorae.
74 x 5. 369 pp. Constable. 6s.
Cuppy Yarporoucn’s Davucuter. By Una _ L.
SmBERRAD. 7$ Xx 5. 350 pp. Constable. 6s.
Lonpon, 1913. By Marcaret DE VERE STACPOOLE.
74 x 5. 347 pp. Hutchinson. 6s.
THe MarriaGe or Crciuia. By Maupr LEEson.
400 pp. Fisher Unwin. _ 6s.
THe PurpPLe Mists. By F. E. Mitts Youne. 7} x 5.
360 pp. Lane. 6s.
THe Wonprer YEAR. By Mavupr Gouprine. 72 x 5.
319 pp. Erskine Macdonald. 6s.
Tue Cockney at Home. Stories and Studies of London
Life and Character. By Epwix Pucn. 72 x 5.
296 pp. Chapman and Hall. 6s.
BeninD THE Vem. True Stories of London Life. By
Guo. R. Sms. 7} x 5. 272 pp. Greening. 2s. n. ~
Tue Turee Trees. By Guy Rawuence. 7} x 5.
322 pp. Fisher Unwin. 6s.
Tun Icr. By ANNE WEAVER. 72 X 5. 320pp. John
Long. 6s.
Tue Lost Roap. By Ricuarp Harpine Davis. 72 x 5.
266 pp. Duckworth. 6s.
THrovcH OTHER Eyes. By Amy McLaren. 7? x 5.
322 pp. Murray. 6s.
A Maponna oF THE Poor AND OrHerR Srortrs. By
Crive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.”
Man and Woman. By L. G. Moperiy. 7} x 5.
307 pp. Methuen. 6s.
Monty orn Wire. By Errre AprLarpn Row anps.
7i < 5. 320 pp. Ward, Lock. 6s.
Wuen Guost ments Guost. By Wimxiam Dr Moraan.
72 x 5. 892 pp. Heinemann. 6s.
Initiation. By Rosert Hvucn Benson.
396 pp. Hutchinson. 6s.
A Lapy-or Lutsurz. By Erne. Smewicx.
420 pp. Sidgwick and Jackson. 6s.
7} x 6.
7k X 5.
THE AUTHOR.
SmaLL Sov.s.
By Lovis Covupsrrus.
ALEXANDER TEIXEIRA DE Marros.
Heinemann. 6s.
Translated by
7% x 5. 315 pp.
Ten-Minute Stories. By ALGERNON
74 x 5. 271 pp. Murray. 6s.
Tue Ransom For Lonpon, By J. 8. Frercuer.
296 pp. J. Long. 6s.
SEABORNE OF THE Bonnet SuHor. By R. K. Wrexzs.
7} x 5. 42 pp. Herbert Jenkins. 6s.
Biackwoop.
Tk x 6.
Tue Spirit Peas. By Heapon Hint. 7} x 4}. 288 pp.
Stanley Paul. 6s.
Tue Patuway. By GerTruDE Pace. 7} x 5. 320 pp.
Ward, Lock. 6s.
Tur Way or THESE Women. By E. Puitiips Opren-
HEM. 7} x 5. 316 pp. Methuen. 6s.
Una AnD THE Lions. By Constance SMEDLEY. 7} x 43.
305 pp. Chatto and Windus. 6s.
TurovuGH Foiiy’s Mint. By Axicr and CLaupE ASKEW,
72 x 5. 319 pp. Ward, Lock. 6s.
Tue Frying Inn. By G. K. Cnuestertron. 7} x 5,
301 pp. Methuen. 6s.
One Kinp anp ANOTHER. By Barry Parn. 7% x 5,
308 pp. Martin Secker. 6s.
Gay Morninc. By J. E. Buckrosr. 7} x 5.
Mills and Boon. 6s.
Tue Waters oF LETHE. By DororHea GERARD. 73 X 5.
320 pp. Stanley Paul. 6s.
THe Master or Merripir. By Epren Pxrmporrs.
72 x 5. 304pp. Ward, Lock. 6s.
Dust rrom THE Loom. By Epwarp Nose. 7} x 5,
842 pp. Constable. 6s.
Buryp Eyres. By Margaret PETERSON. 7? X 5. 303 pp.
Melrose. 6s.
Tue Decoy. By the CounrEss or CRomarTiE. 7} x 5},
176 pp. Erskine Macdonald. 3s. 6d. n.
TERMS OF SURRENDER. By Lovis Tracy. 72 x 4%.
346 pp. Cassell. 6s.
Tur Questine Beast. By Ivy Low. 7}? x 5. 301 pp.
Martin Secker. 6s.
THE GARDEN OF Dreams. By H. GRAHAME RICHARDS.
7% x 5. 356 pp. Hutchinson. 6s.
A Bespoken Bripe. By FrRep WuisHaw. 7? xX 5.
320 pp. J. Long. 6s.
Wry Sue tert Him. By Firorence Warpren. 7} x 5.
320 pp. John Long. 6s.
Otp Motn’s Nover. Revised and Expurgated by
GILBERT CANNAN. 64 x 4}. 63 pp. Martin Secker.
6d. n.
Secret. By A. E. Marcumont.
64 x 44. 247pp. Methuen. 7d.n.
Her Dercrine anp DEatTH.
By HucH WALPOLE.
Miser Hoapiey’s
(Cheap Reprint. )
Ture Ducuess or WREXE:
A Romantic Commentary.
74 x 5. 421 pp. Martin Secker. 6s.
Havuntep Hicuways anp Byways. By E. O’ DoNNELL.
72 x 54. 220 pp. Nash. 3s. 6d. n.
Srmpson. By Exinor Morpaunt. 7} x 5. 332 pp.
Methuen. 6s.
Ont Man Returns. By Harotp SrenpDER. 7} X 5.
316 pp. Mills and Boon. 6s.
THe Tracy Tussses. By JxEsste Popr. 7} X 43.
246 pp. Mills and Boon. 3s. 6d.
DistuRBERS. By W. H. Wititamson and ‘‘ CANADIENNE”
7% x 5. 316 pp.
Tue Mayor’s Niece. By G. A. BrrmincuaM. 256 pp.
ANNE OF THE Barricapes. By 8S. R. Crockett. 323 pp.
64 x 44. (Sevenpenny Library.) Hodder and
Stoughton.
Everypopy’s Secret. By Dron Cuayron CALTHROP,
(Popular Edition.) 7} 5. 344 pp. Alston Rivers. 1s. n.
THe ADVENTURES OF SHERLOCK HotmEs. By A. Conan
Doyur. (Nelson’s Library.) 6} x 4}. 379 pp.
Nelson. 7d. n.
316 pp. .
ALD
THE AUTHOR.
HISTORY.
CALENDAR OF STATE PaPerRs. Colonial Series.—America
and West Indies, December 1, 1702-1703. Preserved
in the Public Record Office. Edited by Cec, Hrapiam.
103 x 74. 998 pp. Wyman. 15s.
HISTORY AND GEOGRAPHY.
Tue ANCIENT RoMAN EMPIRE AND THE BritisH EMPIRE
mn Inpra. Tue Dirruston or Roman anv ENGLISH
Law THROUGHOUT THE WorRLD. Two Historical
. Studies. By Jamzs Bryce. 8} x 53. 138 pp.
Milford. 6s. n.
Tue Tracuinc oF Inpran History. An Inaugural
Lecture. (January 20, 1914.) By Witi1am HoLpEN
Hurron, B.D., Reader in Indian History in the Univer-
sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon
Press. London: Milford. ls. n.
LITERARY.
Men anp Matters. By WriirreD WARD.
451 pp. Longmans. 12s. 6d. n.
MEDICAL.
Expectant MornerHoop: ITs SUPERVISION AND
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288 pp. Cassell. 6s, n.
AMBIDEXTERITY AND Mentat Cutture. By UH.
Macnavucuton-Jones. 62 X 4}. 102 pp. Heine-
mann. 2s. 6d. n.
MISCELLANEOUS.
A Morauist’s Brrtapay Boox. Quotations Selected
and Edited by Mark Merepiru. 4} x 3}. 256 pp.
67, Dale Street, Liverpool.
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Asu’t ALA, THe Syrian. By H. Barrer.
99 pp. (Widsom of the East Series.) Murray.
PAMPHLETS.
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Women’s Freedom League. 4d.
POETRY.
More RuopesiaN Ruymes. By CuLLEN GOULDSBURY.
7k x 5. 136 pp. Bulawayo: Philpott and Collins.
5s. n.
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3s. 6d. n.
Wiuow’s Force sanp OrTnEeR Poems. By SHEILA
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POLITICAL.
Tur Governancn oF ENGLAND. By Sipney Low. New
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SPORT.
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THEOLOGY. .
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9 x 5B
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—
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
R. WILLIAM DE MORGAN’S new book
is entitled ‘‘ When Ghost meets Ghost,”’
and is published by Heinemann at 6s.,
and, in two volumes (library edition), 10s.
“Tnitiation’’ is the name of Monsignor
Benson’s novel published last month (Hutchin-
son).
Mr. Edwin Pugh’s volume of short stories,
‘*The Cockney at Home,” is published by
Chapman and Hall.
The same firm publishes Mr. Tighe Hopkins’s
“ Romance of Fraud ” (7s. 6d. net); and “ The
Trial of John Jasper for the Murder of Edwin
Drood,” in which Mr. G. K. Chesterton was
judge and Mr. Bernard Shaw foreman of the
jury (2s. 6d. net).
Mr. G. K. Chesterton’s novel ‘‘ The Flying
Inn,” is published by Methuen & Co., while a
1s. net edition of his ‘“‘ Bernard Shaw’”’ is
announced by John Lane.
Mr. Francis Gribble’s ‘‘ Life of the Emperor
Francis Joseph” appeared on February 19
(Nash, 16s. net).
“The Way of These Women ” is a novel by
Mr. E. Phillips Oppenheim (Methuen & Co.).
Mr. Frederick Arthur in “The Great
Attempt ” deals with the struggle that ended
at Culloden (John Murray).
““The Strength of a Chain,” by Hester
White, is published by Heath, Cranton and
Ousely. The same firm announces for April
Mrs. Mary F. Raphael’s “ Phoebe Maroon.”
J. E. Buckrose has just published, through
Mills and Boon, a novel entitled “ Gay
Morning,” which is appearing simultaneously
162
in the United States. This author’s “ Dewn
Our Strect ” and ‘‘ Love in a Little Town”
are being issued in a new shilling cloth-covered
edition, while a series of sketches called “* Billy
Finding Out” is about to appear in the Pall
Mall Magazine.
‘Frances of the Farm,” an Australian
story by an Australian writer, M. Lillian Paten,
is published by Murray and Evenden at 2s.
net.
Stanley Paul & Co. announce “ The Gates
of Doon,” a new story of England in Georgian
days, by Mr. Rafael Sabatini. The book is
to be included in Stanley Paul’s Empire
Library. :
The authors of “ Birturbiss,’ a novel
introducing the Iroquois Indians and Pontiac’s
rebellion, are W. H. Williamson and
“Canadienne ”’ (T. Wérner Laurie, 6s.).
Mr. Clive Holland collects some of his short
stories under the title of ‘‘ A Madonna of the
Poor ” (Lynwood & Co.).
“The Purple Mists,” by Miss Mills Young,
is published by John Lane.
Mrs. Agnes E. Jacomb Hood’s new novel,
“The Fruits of the Morrow,” will be brought
out this month by Methuen & Co.
The first book of the spring publishing
season of Herbert Jenkins, Ltd., was ‘“ Sea-
borne of the Bonnet Shop,” by R. K. Weekes.
Mrs. Stanley Wrench’s “ Potter and Clay ”
is to appear on March 5.
Miss Edith C. Kenyon’s Welsh novel,
“The Wooing of Mifanwy,” is to come out
in a sixpenny edition about Easter.
Only a few months ago the most famous of
English comic actresses in the past was dealt
with by Mr. P. W. Sergeant in his ‘“ Mrs.
Jordan, Child of Nature.’ Now a new
biography of the same lady is announced b
the firm of Nash, the title being “ The Story
of Dorothy Jordan,” and the author Clare
Jerrold. Mrs. Jerrold, we learn, has had
access to important letters and private papers,
which help to solve the numerous doubts and
difficulties connected with the actress’s life.
Mr. Walter Jerrold has recently completed
the biography of his grandfather Douglas
Jerrold, on which he has long been engaged,
and it will shortly be published by Hodder
and Stoughton.
“Love in a Thirsty Land,” by Mrs. A. C,
Inchbold, is a romance which begins in
France and is continued in Palestine, the hero
being a young American and the heroine a
French girl of aristocratic family (Chatto and
Windus).
Mr. John Law, author of “ Glimpses of
THE AUTHOR.
Midden India,” has had published through
Thacker Spink, of Calcutta and Simla, a
story entitled “* The Horoscope.’
“The Chow-chow ” is the name of a work
by Lady Dunbar of Mochrum, which deals
with that breed of dogs in which the author
is so deeply interested, and of which she is a
scientific breeder. The book is illustrated
with many photographs, and is published by
Sir Isaac Pitman & Sons, Ltd.
Mr. W. L. George’s book of essays upon the
drama will be published by Sidgwick and
Jackson this month, under the title ‘‘ Dramatic
Actualities.”’
“The Doges of Venice,” by Mrs. Aubrey
Richardson, is published, with 16 illustrations,
at 12s. 6d. net.
Mr. Adclphe Smith’s new work is ‘‘ Monaco
and Monte Carlo ” (Grant Richards, 15s. net).
Mr. Reginald Blunt’s “In Cheyne Walk and
Thereabouts ” contains, according to the sub-
title, short accounts of some ingenious people
and famous places that were by the riverside
at Chelsea (Mills and Boon, 10s. 6d. net).
The Rev. Ashley L. Barnes-Lawrence issues,
through the S.P.C.K., a little work entitled
“The Marriage Vow: a Call to Churchmen.”
The price is 8d.
Messrs. Methuen & Co. announce a new
work by the Rev. P. H. Ditchfield, F\S.A.,
entitled ‘‘ London Survivals,”’ illustrated by
over 100 drawings by Mr. Wratten. It will
be published in the spring. Mr. Ditchfield
has also finished another book for the same
firm, which will appear in the autumn. He is
writing a series of articles in the Badminton
Magazine on Famous Houses, and contributing
to the Field, the Treasury, the Quiver and
other magazines. He is editing with Mr. W.
Page the Victoria County History of Berk-
shire, in four large quarto volumes, and hopes
the last two will be issued shortly; the
“Memorials of Old Berkshire,” for the
Memorials of the Counties of England
Series, of which he is the general editor; and
has undertaken to write a new book for Messrs.
Dent & Co. His article in the Treasury last
month is on “‘ Belgian Pulpits.”
“Celtic Britain and the Pilgrim Movement,”’
by the Rev. G. Hartwell Jones, M.A., D.D.,
is published by the Hcnourable Society of
Cymmrodorion at the price of one guinea net,
Mr. James Baker, F.R.Hist.S., gave recently,
at Plymouth, a lecture upon “ R. D. Blackmore,
the man and his work,” in the course of which
special reference was made to the fact that
Blackmore strongly resented being called a
one-book man, The lecturer supported Black-
-
oh.
Jenkins, Ltd.
THE AUTHOR. 163
more’s position with quotations from many of
his novels.
Miss Beatrice Chase, in ‘‘ The Heart of the
Moor,” is enthusiastic about the spell of
Dartmoor, and says that to her the days spent
away from it are irrevocably lost (Herbert
Jenkins, Ltd.).
Mr. W. Barnes Steveni, formerly St. Peters-
burg correspondent of the Daily Chronicle, has
recently completed a book upon the Volga,
the largest river in Europe. The name is
“The History of the Volga and its Towns.”
Mr. Barnes Steveni has also completed two
books on ‘“‘ Sweden, the Land of the Goths
and Vikings,” one of which will be brought
out by Seely, Service & Co. in the autumn.
Mr. Charles Rann Kennedy has published in
book-form his new five-act play ‘“ The Idol
Breaker” (Harper and Brothers, New York,
$1.25 net).
“The Memoirs of Babur”’ is a new trans-
lation by Annable S. Beveridge of the “ Babur-
nama,” incorporating the 1826 translation by
Lagden and Erskine (Luzac & Co., 10s. 6d.
net). The same author has in the Journal of
the Royal Asiatic Society some ‘“* Notes on the
Babur-nama.”’
A book of stories, sketches, and verse, grave
and gay, dealing with life in Siam, by Mr.
Eric Reid, has been published by the Bangkok
Times Press, Ltd., under the title “‘ Chequered
Leaves from Siam.”
Mr. W. H. Harwood’s ‘“‘ The Modern Poet,
and other verses” is. published by Constable
& Co. at 3s. 6d. net.
“‘ The Wheel of Life and Some of its Spokes ”
is a small volume of essays by V. E. M.
Fetherstonehaugh-Frampton, published by
H. G. Commin, of Bournemouth.
Miss A. M. Everest’s anthology of German
poetry will be published by Erskine Macdonald
on March 2. The same firm will print, shortly,
a second impression of Miss E. Crosby Heath’s
* Little Poems.”
In the February Cornhill Mr. Gilbert
Coleridge had an article called ‘“‘ Rory of the
Glen,” a character-study and description of
the local surroundings of a Highland keeper
on a Scottish deer-forest—a type of man that
is fast dying out.
In the February Windsor Mrs. Dawson
Scott has some verses entitled the “ Moving
Finger.’
Mr. W. H. Dawson is the editor of ‘“‘ The
Year-Book of the Universities of the Empire,
1918—14,”” published for the Bureau of the
Universities of the Empire by Herbert
DRAMATIC.
After its performance by the Play Actors at
the Court Theatre on January 26, Mr. Israel
Zangwill’s four-act drama, “The Melting
Pot,” was put on at the Queen’s Theatre,
where it still occupies the nightly bill.
On January 28 ‘‘ The Music Cure,” a new
playlet by Mr. Bernard Shaw, was produced,
in front of Mr. G. K. Chesterton’s ‘‘ Magic”’
at the Little Theatre. In the same house on
February 3 ‘‘ The Ladies’ Comedy,” by Mr.
Maurice Hewlett, was seen at a matinée.
“The Eleventh Hour,” a short comedy by
Mr. Temple Thurston, was put on at the
Coliseum on February 2.
‘The Tyranny of Tears,” by Mr. C. Haddon
Chambers, was revived at the Comedy Theatre
on February 5.
‘“* A Midsummer Night’s Dream”’ was revived
by Mr. Granville Barker at the Savoy on
February 6.
Mr. Norreys Connell’s play, “ Thank Your
Ladyship,” was produced at the Playhouse
on February 12.
On February 16 ‘‘ Damaged Goods,” a
translation by Mr. John Pollock of Brieux’s
“Les Avariés,” was played at a matinée by
the Authors’ Producing Society at the Little
Theatre.
On February 17 ‘“ Helen with the High
Hand,” an adaptation by Mr. Richard Price
of Mr. Arnold Bennett’s novel, was produced
at the Vaudeville Theatre.
The run of Sir J. M. Barrie’s “ Quality
Street ? ended on February 21, and its place
at the Duke of York’s Theatre was taken on
February 26 by Mr. Somerset-Maugham’s
new play, ‘“‘ The Land of Promise.” :
On February 28 Mr. Joseph Keating’s
“‘Pegay and Her Husband” was staged at
the Royalty Theatre.
“ The Two Virtues,” Mr. Alfred Sutro’s new
comedy, is announced for production by Sir
George Alexander at the St. James’s Theatre
on the 5th instant.
There was a revival of Mr. Sydney Grundy’s
“A Pair of Spectacles” at the Marlborough
Theatre last month.
Mr. Norman V. Norman has a new one-act
play by Miss Cicely Hamilton. {
Among the plays to be expected are Mr.
Louis Parker’s version of “ David Copper-
field,” for Sir Herbert Tree ; and Mr. Bernard
Shaw’s ‘“‘ Pygmalion,” also at His Majesty’s
Theatre. :
Sara Jeanette Duncan has, in collaboration
with Mr. Forbes Dawson, dramatised her
164
Indian story which was published under the
title ‘‘ Sonny Sahib.” :
‘“Consarnin’ Sairey Uggins ” is a one-act
piece by Wilfrid Blair, produced under Miss
Horniman’s management at the Gaiety
Theatre, Manchester. The play deals with
rival claimants to a widow’s hand, and shows
how the attempt of two of the rivals to score
off a third when their own suits have failed
results in the success of the third claimant.
In the cast were Miss Muriel Pope and Mr.
Leonard Mudie.
MusiIcat.
At the Royal Philharmonic Society’s concert
at the Queen’s Hall, on February 19, Sir
Charles Stanford’s ‘‘ Fourth Irish Rhapsody ”
was given for the first time. 2
Mr. H. E. Hodson’s ‘“ Golden Legend,”
published in 1880, and performed in London
for the first time the following year, was
presented as an opera at the Academy of
Musie on January 29.
Mr. Cecil Sharp’s songs and incidental music
composed for the “‘ Midsummer Night’s Dream”
at the Savoy, have been published by Simpkin
and Marshall, at 1s. 6d. net.
Miss Agnes Mary Astle is the composer of
two new songs, “ Brenda” and ‘ Morning-
tide’ (Cary & Co., 2s. net each).
———_— 6 +
PARIS NOTES.
een EEE
HE literary prize in the form of an
annuity, offered by Prince Roland
Bonaparte, has just been awarded to
Jules Huret and to Pierre Mille. Both these
writers are great favourites with the French
public—Jules Huret for his excellent studies of
foreign countries, and Pierre Mille for his
colonial studies from life.
It seems incredible to English and American
readers that the great French philosopher,
M. Emile Bontroux, should only recently have
been elected a member of the French Academy.
It seems just as incredible, it is true, that one
or two members of the French Academy
should ever have been elected members.
To those who like to see themselves as others
see them, we would recommend a book entitled
““ Le Socialisme et l’Evolution de l’Angleterre
contemporaine.”
“Le Sermon sur la Montagne ” is a volume
illustrated by that incomparable artist,
M. Eugéne Burnand. M. Léonce Benedite,
Curator of the Luxembourg Museum, has
written the preface, and there are about forty-
five reproductions in the volume. ~
THE AUTHOR.
There have been several extrem ely interest-
ing theatrical representations during the past
month. A Turkish play by Miss May de Witt
Hopkins has been produced in Paris under the
title of ‘‘ Ménages Turcs.” It is an extremely
strong play of great dramatic interest repre-
senting life in modern Constantinople. The
leading réle was to have been played by
M. Burhaneddine Bey, but, most unfortunately,
this interesting Turkish actor was wrongfully
arrested under the charge of being implicated
in the attempted political murder last month
in Paris. He was proved to be innocent,
and is to give the play as soon as arrangements
can be made for it to be put on again.
The Théatré Idéaliste gave a performance
of “ Les Fétes Galantes,” a two-act play by
Paul Verlaine and Adrien Remacle, last month.
The music was by Adrien Remacle.
Mr. Philip Carr’s venture, ‘‘ The Little
English Theatre,” was inaugurated last month
with the most brilliant success. The ‘‘ Mer-
chant of Venice” was given three times to
crowded houses. The ensemble was admirable,
and the Shylock has probably never been
surpassed. The matinée was given to an
almost entirely French public, and the applause
was so genuine and so enthusiastic that
Mr. Carr has promised to return shortly to
Paris with one of Bernard Shaw’s plays, and
The Little English Theatre may now be
considered one of the institutions of literary
Paris.
The Paris branch of the Lyceum Club was
honoured this last month by the visit of
Madame Poincaré, wife of the President of the
French Republic. She was received by the
Dowager Duchess of Uzés, who is president
of the Club, and was entertained to tea and
presented with flowers. The entente cordiale
seems to reign supreme in Paris between the
French and English.
Atys HALLARD.
a
A GRAYE FLAW IN INTERNATIONAL
COPYRIGHT LAW. -:
+
S? serious is the significance of the judgment
pronounced by the Swiss courts in the
case of A. Samler-Brown v. J osef Kiinzli,
which was supported by the Soc'ety, that it
appears desirable to record the facts in the
simplest manner possible, so that any one,
without possessing technical legal knowledge,
may perceive the] meaning of what has
happened.
_ In 1903 Mr. A. Samler-Brown, a member
of the Society, published in London a work
with the title: “ Madeira, Canary Islands, and
Azores, Practical and Complete Guide for
Tourists, Invalids, and Residents, with Twenty
Coloured Maps and Plans, and many Dia-
grams.”’
In the summer of 1907 Josef Kiinzli, of
Aadorf, Thurgau, Switzerland, a representa-
tive of the firm of A. G. Kiinzli, of Zurich
{illustrated postal-card publishers), at the
instigation of Joseph Ratschiiler (at the time
manager of the Hotel Quisana, in Santa Cruz,
Tenerife), reproduced, without the author's
permission, 21,240 copies of maps in Mr.
Samler-Brown’s book, in the form of postal-
cards. Of these cards, Ratschiiler took 5,000.
Josef Kiinzli had to dispose of the others how
he could, and, on the occasion of a visit to
Tenerife, handed them over to an agent,
Richardson, for sale.
Supported by the Society of Authors, Mr.
Samler-Brown instituted proceedings against
Josef Kiinzli on September 15, 1910, in the
District Court of Zurich; and, as the verdict
of that court was given against him, proceeded
to the High Court of Appeal of the Canton.
This court, on November 12, 1913 confirmed
the sentence of the lower court, and acquitted
the defendant Kiinzli on the ground that—
No offence had been committed of which the
Swiss courts could take cognizance.
This was for the following reasons :—
(1) The cards were not produced in Switzer-
land, but by Emile Pinkau & Co., of Leipzig.
(2) The cards were not distributed from
Zurich, but were all delivered directly, through
Hamburg, to Tenerife. (The publishing firm
of A. G. Kiinzli had had nothing to do with the
transaction, of which there was no record in
their books.)
(3) The plea that, although the cards were
not of Swiss production, and had not been
delivered from Switzerland, the correspond-
ence respecting them issued from Zurich, was
declared to be beside the question. Even if
Kiinzli had written to Richardson from
Zurich to place the sale of the cards in Richard-
son’s hands, this would not have been an
actionable act performed in Swiss territory,
because it was not an act of distribution, but
4 mere preliminary thereto. Nor could any-
thing be gained by proving that a correspond-
ence had been carried on from Zurich as in
the case of offences committed by means of
correspondence the place where the letter is
received and read is regarded by Swiss law
as the place where the offence is committed.
THE AUTHOR.
165
The receipt of moneys in Zurich, and the corre-
sponding entries in commercial books kept
there, were mere consequences of what had
been done in Tenerife, but not in themselves
infractions of copyright.
The legal technicalities of the case (into
which we do not here enter) are somewhat
complicated ; but the result is very simple,
and is this :—
That Josef Kiinzli reproduced, without the
author’s consent, copyright matter, sold his
reproductions, and secured the profits of these
transactions, is not disputed. As, however, he
is domiciled in one country, has reproduced in
another, and sold in a third, he is acquitted of
infringement of copyright, notwithstanding
all the international laws and agreements
respecting copyright which are at present in
existence.
That this should be possible appears to
show that, up to the present, a grave flaw
exists in international copyright law; or is
the flaw in the domestic law of Switzerland ?
—$__ +e ______
DRAMATIC COPYRIGHT.
a
“Toe Beccar Grru’s WEDDING.”
Rees v. Robbins.
HE decision of Mr. Justice Warrington
in this action was a finding of fact, but
certain observations of the judge upon
the law of copyright and his application of it
to the evidence in the case before him cannot
be regarded as satisfactory from an author’s
point of view. The proposition that two per-
sons may arrive at the same results from
independent effort, and that, even if the work
of the one resembles the work of the other,
there may be no infringement of copyright, is
based upon cases under the old law relating to
the making of directories and other compila-
tions. But it is well to bear in mind that
copyright under the new Act does not mean
“* conscious copying ” ; for if a person produces
a play which is in any substantial part a
reproduction of another play, it may be an
infringement of copyright ; and it is no defence
to allege that the later play was written with-
out referring at the time to a copy of the
earlier play. The dramatist may have drawn
from his experience and powers of invention,
but if reading another author’s play is part of
that experience, this may suggest a presump-
tion that he took ideas from that play, even if,
166
in fact, he had no copy of the play before him,
and did not consciously copy from it. :
The plaintiff, Miss Rosemary Rees, claimed
damages against the defendant, who is pro-
fessionally known as Walter Melville, for
infringement of the copyright in her play
entitled “A Beggar Bride.” The plaintiff
wrote her play in 1906 and sent it to the defen-
dant, who asked Mr. Douglas Bruce to read
it. Mr. Bruce expressed a very favourable
opinion and considered that the play was worth
£150, and the defendant bought the play from
the plaintiff for £60. After the defendant
had read the play some type-written copies
were made, but these were put away for a time
as the play was not produced by the defendant.
The plaintiff, however, was anxious to have
her play performed and eventually bought it
back from the defendant for the sum of £60
which she had received from the defendant.
At the same time the defendant stipulated
that he reserved the right to use the title ““ The
Beggar Girl’s Wedding,’ and_ two_type-
written copies of the play were handed over
to the plaintiff, but one copy remained in
the defendant’s possession.
Subsequently in March, 1908, the plaintiff's
play was produced at Brighton under the title
of “‘ A Desperate Marriage,”’ and the defendant
was present at the performance. In June of
the same year the defendant wrote- his play
“The Beggar Girl’s Wedding,” which was
produced at the Lyceum Theatre and proved
a notable success. The plaintiff saw the
performance at the Lyceum Theatre and was
immediately struck with the similarities in
“The Beggar Girl’s Wedding ’”’ and her own
play.
; A number of witnesses, including Miss
Cicely Hamilton, Mr. Temple Thurston, and
Mr. Cecil Armstrong gave evidence as to the
similarity in the plot, divers scenes, dramatic
situations and incidents in the two plays, and
Mr. Herbert Lloyd, who had acted in both
plays, expressed the opinion that they were the
same.
On the other hand, it was contended that
the defendant had had great experience in
writing melodramas and that he drew from the
store of knowledge in his mind.. He dictated
his play, which was original work, and there
was no copying from the plaintiff's play.
The defendant in his evidence stated that his
play was written from his dictation within the
period of a week, and that it contained the
common stock incidents and purely conven-
tional characters. He had only read the
plaintiff's play once and did not refer to it
THE AUTHOR.
when writing his play. Other witnesses were
called, including Mr. Douglas Bruce, who
stated that it never occurred to him that there
was any similarity in the two plays.
Mr. Justice Warrington in his judgment
said that the position of the owner of copy-
right was different from that of an inventor
or owner of a patent. The patentee had the
sole right to use his invention and anyone
who used it, although he made the discovery
by independent investigations, was infringing
the patent. In the case of copyright it was
possible to arrive at the same result from
independent sources, and the fact that a
defendant produced something like the
plaintiff's work did not constitute an infringe-
ment of copyright.
After dealing with the characteristic features
of melodrama, his lordship said that he believed
the defendant’s statement that he did not have
the plaintiffs play in material form before him
when he wrote his play. The defendant may
have had some recollection mixed up with his
dramatic experiences of the subject-matter
of the plaintiff's play, but only as part of a
general dramatic experience ; and he did not
believe for a moment that the defendant
consciously copied from the plaintiff's play.
It was clear that the defendant had not per-
formed the plaintiff's play. The two plays,
except for one matter, were as different as two
plays of that class could be. The defendant
had drawn from his own experiences in his.
profession and from his powers of invention,
although it was a fact that the defendant had.
seen and read the plaintiff's play, and that was.
part of his experience. He came to the con-
clusion that the defendant had not infringed.
the plaintiff's copyright and therefore the
plaintiff's action failed.
Haroip Harpy.
—_———_+———____—_—__
AGREEMENT OF THE INTERNATIONAL,
COPYRIGHT BUREAU.
—+ <>
HE Committee of Management of the
Society has found it necessary from
time to time to print agreements in the
columns of The Author, and to make comment
upon them, in order to draw the members’
attention to points and difficulties that may
arise if such agreements are accepted without
alteration and without any suggestion on the
part of the author.
the following agreement is printed :—
With this object in view
MEMORANDUM OF AGREEMENT made this
, one thousand nine hundred and 2
BETWEEN (hereinafter called ‘‘ the
author’’) of the one part, and Tar INTERNATIONAL
Copyricnut Bureau, Lirrep, of Dewar House,
Haymarkct, London, S.W. (hereinafter called ‘‘ the
company ’’) of the other part, WHEREBY IT IS AGREED
as follows :—
1. The author hereby appoints the company his sole
agents for the placing of his play at present entitled
throughout the United Kingdom of Great Britain and
treland, the British Colonies and Dependencies, the United
States of America, and the Dominion of Canada.
2. The company agrees to act as agents for the author,
and shall do its utmost to get the said play accepted. The
company may make any arrangements it may consider
desirable for the assignment or lease of the performing
rights or any part thercof in the said play. It is under-
must
stood that the company Sor ae
approval to any such arrangement. The author hereby
gives the company full power to sign and execute on his
behalf any such agreement dealing with the said play in
the countries aforesaid, and to receive all payments for the
sale of such rights, or all fees payable in pursuance of any
such agreement, and to give good receipts therefor, and the
author also hereby agrees to sign, do and execute all such
further documents, acts, deeds and other things as may be
necessary or, in the opinion of the company, expedient to
effectuate any such agreement or arrangement.
3. The author shall not himself or by any other agent
negotiate or attempt to negotiate the placing of the said
play in any of the aforesaid countries without the distinct
approval in writing of the company.
4. The company shall retain or receive out of all monies
received by them in respect of the said play, or otherwise
payable in respect thereof, a commission of 10 per cent. in
tespect of the business done in the United Kingdom of
Great Britain and Ireland, and of 10 per cent. in respect
of business done in the British Colonies and Dependencies,
and of 15 per cent. in respect of business done for and in
the United States of America and Canada.
5. The company shall also have a free hand as to the
producing rights in the play in all foreign countries. The
company shall bear all costs of translation, adaptation,
printing, producing ; the author in fact to be exempt from
all costs in connection therewith. All gross proceeds from
any sale, or lease, or assignment of the performing rights
in all countries, except those mentioned in clauses ] and 4,
shall be divided as to 50 per cent. for the author and 50 per
cent. for the company.
6. The company shall be at liberty to employ sub-agents
in any of the aforesaid countries, such sub-agents to have
the rights of the company in respect of the several countries
for which they may be appointed.
7. In the event of the company not having succeeded in
placing any of the aforesaid rights in any of the aforesaid
countries by * , the author and the company
shall each have the option, by giving notice in writing, of
declaring this agreement at an end upon such date or any
date thereafter.
* Eprror’s Norz.—The date inserted is generally from
a year to two years from the date of the agreement.
8. The company shall deliver to the author all monies
dlue nereunder within one week from their receipt.
As witness the hands of the said parties.
In the first clause there is not very much to
Object to.
The second clause, however, is full of dangers
as it gives the agent much too great powers.
day of
obtain the author’s
THE AUTHOR.
167
An author must remember when dealing with
an agent that the agent should never have the
power to act as principal.
No agent can conduct business to the
advantage of an author, if there is a chance
that the author will have to compete with him
acting also as principal.
One line taken from clause 2 runs as follows :
“It is understood that the ip
need not
obtain the author’s approval to any such
arrangement.’ The mere fact that this clause
is placed in the alternative tends to lead the
author into great dangers. In no circum-
stances should the agent be allowed to act
without the author’s approval, indeed, every
contract which the agent makes, must be
approved and signed by the author. The
rest of the clause, therefore, is very dangerous.
In discussing agency agreements, and es-
pecially the dramatic agency agreement which
was settled by the sub-committee, attention has
been drawn to the danger of allowing an agent
to collect fees all through the time that the
contract is running. The agent, no doubt,
would be entitled to fees if his agreement with
the author allows them, but that he should be
allowed to collect in any circumstances is a
most dangerous licence. Should the author
at any time desire to resume the collection
himself, he should be entitied to do so, paying
the agent his fees in due course. As a matter
of fact, authors who employ agents are, as a
rule, quite willing that the agent should collect
subject to the author’s power of resumption if
he is dissatisfied. It has been shown on various
occasions how these dangers arise. An agent
may be in a bad way financially, and it is not
fair that the author should run the risk
of having his fees swept away in the agent’s
bankruptcy. An agent may fail to check
the accounts properly, and otherwise to safe-
guard the author’s interests. It is not fair to
the author that he should run the risk of such
carelessness after it has been detected. The
part of the clause that refers to giving
good receipts only makes the position more
dangerous.
During the continuance of the agreement, it
is fair to the agent that the author should not
be allowed to negotiate for the play in any of
the countries mentioned without the approval
of the agent, for otherwise the author might,
and probably would, hamper any good agent
who is conducting the business on the proper
lines.
With regard to the amount to be paid the
agent, this question has also been touched upon
168
in the agreement which was drafted by the sub-
committee. They consider that it is fair that
an agent should obtain his fee for placing and
negotiating a play by a fixed percentage up to
a certain figure. After that figure has been
reached the agent, if the author is willing to
leave the matter in his hands, should remain
merely as a collector of monies.
Clause 5 is at once impossible. Here the
agent endeavours to act straight away as
principal, the only condition being that the
author shall receive 50 per cent. of the returns.
This position must be combated at once.
The clause ought to be deleted. If any clause
is to be inserted it must be put on the usual
agency basis, namely, that if during the con-
tinuance of the agreement the agent is success-
ful in negotiating for the production of the
play in any foreign country, under an agree-
ment signed and approved by the author, then
he shall be entitled to 10 per cent. of the
amounts as and when received under the
contract. That he should be entitled to
50 per cent. is absurd. As the clause stands,
no doubt the agent’s answer would be: “ But I
have to pay all the costs of translation,
adaptation,” etc., but this is in reality no
answer, for the author has the right himself to
determine what costs shall be paid for trans-
lation, adaptation, etc., and it is not for the
agent to act as principal in the matter, or
employ any translator, or adaptor he may
think fit. From another point of view, the
answer is no answer; in some countries
the translation is undertaken by the theatre
that produces the work, and it is not fair in
that case that the agent should be paid
50 per cent. of the author’s royalties.
Clause 6, again, is a most dangerous clause,
especially when the former clauses are taken
into consideration, for if the agent has powers
to act as principal in the former clauses, he can
delegate these powers under clause 6, and it is
impossible to say what would be the result.
An agency contract is a very personal contract.
Though the author may fairly trust the person
with whom he is dealing, he should not be in
the position of holding no power whatever over
the sub-agents that may be appointed. The
old legal motto, therefore, ‘ delegatus non
potest delegare,”’ should be sternly adhered to.
The time limit of one year set out in
clause 7 would not be unreasonable if the
rest of the clause were not so adverse to the
author. Suppose, however, the agent suc-
ceeded, under a contract approved by the
author, in placing the play for a week’s run
in the provinces, then it would appear that
THE AUTHOR.
the author would have no power of terminating
this contract. It is possible to conceive the
position where the agent made a contract
which was approved by the author for a
reasonable run at a West End theatre; that
after the run, the agent took no trouble to
place the play in other countries in the Colonies
or in the provinces, and the author being unable
to determine the contract under clause 7, would
be left at the mercy of the agent. Some years
afterwards, perhaps, the author might succeed in
placing the play in America—many plays have
succeeded in America which have failed in
England, and vice versd—the agent might then
turn round and say: “I am entitled to my fees
on your contract,’’ although he had for many
years neglected the play and had not been
instrumental in any way in securing the con-
tract on which he demanded payment. Clause 7,
therefore, is perhaps the most serious in the
whole agreement. If the agent has not
succeeded within the time mentioned in
placing the play, then the author should have
the right of determining the contract in those
countries or limited districts where the agent
has failed. He should not be at the mercy of
the agent in a matter of this kind.
The main points, therefore, which should be
before an author’s mind when considering this
agreement are: (1) that the powers given to the
agent in the countries named in clause 1 are
far too large; (2) that the power given to the
agent in clause 5 to deal as principal should
never be granted; and (3) that the right of
termination set out in clause 7 should be very
strictly limited.
eo
MAGAZINE CONTENTS.
— +o
BRITISH REVIEW.
The Unworldliness of Journalists. By G@. K. Chesterton.
With Dumas in Derbyshire. By Mrs. Andrew Lang.
Dramatists of To-day: Bernard Shaw. By Edward
Storer.
The Music of the Novelists,
Harris.
“ Anna Karenina” at the Ambassador's Theatre. By
J. E. Harold Terry.
CONTEMPORARY.
By Clement Antrobus
The Recent Dramatic Movement in Germany. By The
Count de Soissons.
Literary Supplement: The Gentle Art of Teaching
English.
FORTNIGHTLY,
Lady Dorothy Nevill. By Edmund Gosse, C.B.
A Practical Repertory Theatre. By E. A. Baughan.
Feodor Dostoieffsky. By J. A. T. Lloyd.
Wordsworth at Rydal Mount. By John Eglinton.
HOW TO USE THE SOCIETY.
— oe —
1. VERY member has a right toask for and to receive
advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel's
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
8. Before signing any agreement whatever, send
the document to the Society for examination.
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
7. Many agents neglect to stamp agreements.
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
This
The
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
———__——— 6 —— 9
WARNINGS TO THE PRODUCERS
OF BOOKS.
ap
ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I, Selling it Outright.
This is sometimes satisfactory, if a proper price can be
THE AUTHOR.
169
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for “office expenses,"’
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author.
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
te
WARNINGS TO DRAMATIC AUTHORS.
—_+—>—+—
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
170
(b.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent, An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system, Should
obtain a sum in advance of percentages. A fixed
date on or before which the play should be
performed. :
(e.) Sale of performing right or of a licence to
perform on the basis of royalties (‘.c.., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (%.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
etter to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
‘be reserved,
5, Authors should remember that performing rights can
tbe limited, and are usually limited, by town, country, and
time, This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform, The legal distinction
is of great importance,
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘hey should never be included in English
agreements without the author obtaining a substantial
consideration.
9, Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
ds highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
‘the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
*is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
———+—>——-—_____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
—+— >
ie, REE typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
‘be carefully compared by the Secretary or a qualified assis-
~tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
-of the scenario thus filed may be obtained at any time by
‘the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
-tules, with the exception that a play will be ch
:at the price of 23, 6d. per act. a a
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
1
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
———
WARNINGS TO MUSICAL COMPOSERS.
eg
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
—
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
—+_
THE READING BRANCH.
ae
EMBERS will greatly assist the Society in this
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea.
—~>—
REMITTANCES.
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of. post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
—.— os
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than eovered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland . : A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs PoGson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays. :
Oe
GENERAL NOTES.
—— +—<— 4
UnireEp STATES COPYRIGHT.
In another column we print a short article,
taken from the Publishers’ Weekly of the United
States, dealing with the present position of
copyright in that country.
We are glad to see that there is “a dis-
position to consider modifications of the copy-
right code,’’ but it would appear that these
proposed modifications do not affect books
written in the English language. The deposit
copies at Washington are to be reduced to one
instead of two, but not in the case cf books
in the English language. It seems that the
second copy of English books is used so that
the American publishers should have a prompt
list of those books that have been filed. We
trust the day is not far distant when America
will see the justice of modifying its copyright
law for the benefit of those countries that
produce books in the English language, and
will see fit to rank themselves with other
civilised nations by joining the Berlin Conven-
tion.
It would be interesting to know, if it were
possible to find out, the amount of extra
printing which was acquired by the American
‘
THE AUTHOR.
17L
printers under the typesetting clause. It
cannot be more than a few thousands in any
event. The law, as often as not, prevents.
works being copyrighted in America which,jif
copyrighted, would in many cases be printed!
in the United States. In consequence the
great majority of books are sold to the United!
States in sheets, and the American typesetter
obtains no benefit whatever.
AMERICAN ROYALTIES.
F A MEMBER of the Society has called our
attention to the fact that American publishers
are cutting down the price at which novels.
are issued to the public. The usual price used
to be $1.50 and the royalty was paid on that
price. Now the price is $1.25 and sometimes.
even less. The member aptly.says, “It is
no joke to be asked to give up a proportion
of one’s royalty ostensibly to support a
system which has done nothing for me.”
The matter is certainly very serious, for in.
the English market authors have suffered
severely from the reduction in prices.
There is another point which may possibly
affect the royalties of authors in the American
market, namely, the case which has recently
been decided in the American courts that
publishers cannot by law maintain the prices
at which the books are sold to the trade.
They can sell to a certain person under a
certain contract, but they cannot bind others.
who have no direct contract with them to
maintain prices. It is possible that the result
of this may be a system of rate-cutting, and
should such a calamity arise, it is almost certain.
that the author’s profits will suffer.
CopyriGHT IN INDIA.
WE are informed that the new Indian Copy-
right Bill is still under the consideration of the
India Council, but that the Imperial Copy-
right Act of 1911 was brought into force in
India by proclamation on October 31, 1912, so
that in spite of the new Bill not having as yet
been passed by the Council, the 1911 Act is
in force through the Empire of India, with the
exception, of course, of certain native States.
AutTHors AND TRADES UNIONS.
WE have read with interest the report of a
discussion at the Lyceum Club on the question
of “The Betterment of Authorship as a.
170
(b.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system, Should
obtain a sum in advance of percentages. A fixed
date on or before which the play should be
performed. : :
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (%.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5, Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance,
7, Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘hey should never be included in English
agreements without the author obtaining a stbstantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
iis highly speculative : that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
‘the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
‘is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
aare referred to the Secretary of the Society.
—_——__ +e — —____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
—+-~<> + —_
Pe eae typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
‘be carefully compared by the Secretary or a qualified assis-
vtant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
-of the scenario thus filed may be obtained at any time by
‘the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
-tules, with the exception that a play will be cha. d
-at the price of 23. 6d. per act. an Lee
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
++
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author's fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author’s rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
se
WARNINGS TO MUSICAL COMPOSERS.
BES
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
—
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100._ The members’ stamps are kept in the Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
+ —___
THE READING BRANCH.
eg ees
EMBERS will greatly assist the Society in this
Mi branch of its work by informing young writes
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea.
9 —____—
REMITTANCES.
Se
The Secretary of the Society begs to give notict
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
> +
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1, Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland i : A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
—_—___—_e——_os____
GENERAL NOTES.
UnItrED STATES COPYRIGHT.
In another column we print a short article,
taken from the Publishers’ Weekly of the United
States, dealing with the present position of
copyright in that country.
We are glad to see that there is “a dis-
position to consider modifications of the copy-
right code,’’ but it would appear that these
proposed modifications do not affect books
written in the English language. The deposit
copies at Washington are to be reduced to one
instead of two, but not in the case cf books
in the English language. It seems that the
second copy of English books is used so that
the American publishers should have a prompt
list of those books that have been filed. We
trust the day is not far distant when America
will see the justice of modifying its copyright
law for the benefit of those countries that
produce books in the English language, and
will see fit to rank themselves with other
civilised nations by joining the Berlin Conven-
tion.
It would be interesting to know, if it were
possible to find out, the amount of extra
. printing which was acquired by the American
THE AUTHOR.
17E
printers under the typesetting clause. It
cannot be more than a few thousands in any
event. The law, as often as not, prevents.
works being copyrighted in America which,jif
copyrighted, would in many cases be printed!
in the United States. In consequence the
great majority of books are sold to the United!
States in sheets, and the American typesetter
obtains no benefit whatever.
AMERICAN ROYALTIES.
F A memper of the Society has called our
attention to the fact that American publishers
are cutting down the price at which novels.
are issued to the public. The usual price used
to be $1.50 and the royalty was paid on that
price. Now the price is $1.25 and sometimes.
even less. The member aptly.says, “It is
no joke to be asked to give up a proportion
of one’s royalty ostensibly to support a
system which has done nothing for me.”
The matter is certainly very serious, for in.
the English market authors have suffered
severely from the reduction in prices.
There is another point which may possibly
affect the royalties of authors in the American
market, namely, the case which has recently
been decided in the American courts that
publishers cannot by law maintain the prices
at which the books are sold to the trade.
They can sell to a certain person under a
certain contract, but they cannot bind others.
who have no direct contract with them to
maintain prices. It is possible that the result
of this may be a system of rate-cutting, and
should such a calamity arise, it is almost certain
that the author’s profits will suffer.
CopyriGHT IN INDIA.
WE are informed that the new Indian Copy-
right Bill is still under the consideration of the
India Council, but that the Imperial Copy-
right Act of 1911 was brought into force In
India by proclamation on October 31, 1912, so
that in spite of the new Bill not having as yet
been passed by the Council, the 1911 Act is
in force through the Empire of India, with the
exception, of course, of certain native States.
- Autuors AND TRADES UNIONS.
WE have read with interest the report of a
discussion at the Lyeeum Club on the question
of “The Betterment of Authorship as a.
172 THE AUTHOR.
Profession.”” The question was raised with
a view to forming a trades union. This is a
subject which has been from time to time
before the committee and sub-committees of
the Authors Society ; but at present, 1n spite
of endeavours and suggestions, 1t has_been
found impossible to form a union on a similar
basis to the trades unions which govern
mechanical labour. There is no doubt that
one side of authorship is a trade, but the other
side of authorship is an art. In consequence
it has so far been impossible to place a mass of
authors on a given level in the same way as
it is possible to place a mass of mechanics on a
given level. Bricklayers can place so many
bricks an hour, and can receive a certain wage
for that work ; printers can set up a certain
amount of type per hour and can receive so
much wage for that work. One author may
write in an hour something which can be sold
not only during the term of copyright, but
throughthe centuries, and will bring in hundreds
of pounds. Another author may write the
same number of words in an hour, but the
result may not be worth the same number of
pence as the work of the other is worth
hundreds of pounds.
The discussion at the Club seems to have
been carried on without reference to the work
the Society of Authors has done and is doing ;
indeed, no inquiry appears to have been made
as to whether such a proposition had ever come
before the committees of the Society for
discussion. From the report it appears that
a committee of the Club has been appointed
to consider what ought to be done. We shall
be very interested to know the result of that
committee’s reflections.
One important suggestion was made that
an Author’s Agency should be established, run
by authors for authors. This point has been
very frequently discussed by the committee
of the Society, but the committee, for various
reasons which it is difficult to put forward in a
short paragraph, came to the conclusion that
it was inadvisable for the Society to run such
an agency, yet no doubt such an agency would
be of considerable use to the profession. One
strong point which the Society gains by not
being bound to any agency liesin the fact that
it can criticise equally all agents, all publishers
and all trading concerns. If the Society had
started an agency, those authors who were dis-
contented with the work of that agency would be
inclined to resign from the Society, and those
authors who did not belong to the agency, or
whose work the agency could not take up, would
always taunt the Society with running the
agency for aclique of authors. If the Society
is to be of value to ALL authors, it is much
better that the committee should be entirely
independent in their work and the Society
should be entirely independent in its position.
Another suggestion that was made was that
an authors’ bank should be established. This
question has also been discussed by the
committees of the Society, and found, for
various reasons, to be unworkable from the
Society’s point of view. No doubt if such a
bank was established it might be of considerable
value to a number of authors, but it would not
be able to deal with all authors in the same
way in which the Society, under its present
constitution, can deal with all authors who
have copyright property to protect.
If it is possible to form a trades union on the
basis of the trades unions formed by ordinary
labour organisations, the committee of the
Society would very willingly consider again,
as they have considered in the past, any
suggestions that could be made, with a view
to bringing about a practical result. The
usual answer from those who come fresh to
the subject and have not given it careful
consideration over a number of years is that
the French dramatists have formed a close
ring. At one time it was hoped that the
English dramatists, containing a smaller
number of members than the profession of
novelists, might be able to bind themselves
into such a close ring, but so far the efforts
in that direction have proved unsuccessful.
We shall welcome any effort that may be
made in the right direction, and suggest
as the Authors Society already exists with a
membership of some 2,500, and with a certain
amount of capital, that if any organisation is
possible it should be made through the channels
of the Society and with the assistance of the
Society’s funds.
We await with interest the report of the
result of the meeting of the committee.
————
COMMITTEE ELECTION.
1
a the January number of The Author a full
statement was given with reference to
the election of members to the Committee
of Management for the current year.
The names of the committee’s nominees for
that election were :—
Sir Alfred Bateman.
W. W. Jacobs.
Stanley Leathes.
Aylmer Maude.
THE AUTHOR.
January 31 was the last day on which the
names of nominees could be received, and, as
no nominees were put forward by the members,
the nominees of the committee are elected
without opposition.
~_¢—<>—_ ¢ ——— -
NEW ZEALAND COPYRIGHT ACT, 1913.
HE provisions of the Copyright Act, 1911
are substantially adopted by the New
Zealand Legislature in the Copyright
Act, 1918, which will come into operation cn
April 1. But there are certain modifications
and additions relating to procedure and
remedies to which attention may be drawn,
as they are important to copyright owners.
In New Zealand registration of copyright is
optional, but it has substantial advantages,
particularly in the way of certain summary
remedies, which are not available to the copy-
right owner who is not registered. For instance,
in the ease of an unauthorised performance of
a musical or dramatic work, the person who
permits a theatre to be used for such a per-
formance is liable on summary conviction to
a fine of £10, and every person who takes part
in the performance, after receiving a written
warning not to do so, is liable to the same
penalty. But, in order to secure these
privileges, the copyright owner must be
registered, and on a conviction he is entitled
to the fines imposed, by way of compensation
for the injury sustained. Moreover, the regis-
tered owner is given special remedies in
respect of the seizure of infringing copies and
a right to search premises where infringing
copies are supposed to be. In England a
warrant to seize infringing copics or to search
premises may be obtained under the Musical
(Summary Proceedings) Copyright Act, 1902,
and the Musical Copyright Act, 1906, in
respect of musical works, while the New
Zealand Copyright Act confers these remedies
not only on musical composers, but on the
registered owner of the copyright in any
literary, dramatic, musical or artistic work.
A further advantage of registration is that
a certified copy of any entry in the register is
prima facie evidence as to the copyright
owner and other particulars contained in the
register ; so that in an action for infringement
the production of the document may be
sufficient without calling witnesses to establish
the plaintiff's title, and this applies also to
summary proceedings where the prosecutor
is registered owner of the copyright. There
173
is also a provision for the registration of
assignments of copyright and licences. The
mode of registration is by an application to
the registrar, andthe delivery of one copy in
the case of a book, and for works of art one
copy of the work or a representation of it.
There are provisions analogous to those in
section 15 of the Copyright Act, 1911, which
require a copy of each book to be sent by the
publisher to the British Museum, and, if
demanded, to certain other libraries. By
section 52 of the New Zealand Copyright Act
the publisher is required to deliver two copies
of every book to the librarian of the General
Assembly Library within a month from the
date of publication, and in case of default the
publisher is liable to a fine of £5 and the value
of the copies.
A curious distinction is noticeable in the
provisions of the Act giving power to the
Governor to make Orders in Council relating
to other parts of the British Dominions and to
foreign countries in the Copyright Union.
Under section 28 the Order relating to
British Dominions may provide that the rights
conferred by the Order shall be “ subject to
the accomplishment of such conditions and
formalities as are prescribed by the Order.”
In section 33, relating to foreign countries, the
words are, ‘subject to the accomplishment
of such conditions and formalities, if any, as
may be prescribed by the Order.” It remains
to be seen whether the Orders in Council will,
in either case, prescribe any conditions and
formalities, the abolition of which was expressly
agreed upon by the unionist countries under
article 4 of the Berlin Convention.
Haroitp Harpy.
— ee
THE PRESENT STATUS OF COPYRIGHT
IN THE US.A.
(From the “ Publishers’ Weekly” of U.S.A.)
cL is worthy of note that piracy of copy-
right material is lapsing into the limbo
of the past, like piracy on the high seas,
and modern instances are sporadic rather than
chronic. Jack London has just brought to
terms, by a_ successful compromise, the
“movies” proprietors who had ignored his
rights; and in a pending case in New York,
where a theatre manager had put a play on the
boards without authority and, too late,
pleaded his willingness to pay royalty, a pre-
liminary injunction was promptly granted, and
174
the United States district attorney, of his own
volition, started to put the criminal features
of the Copyright Act into practical application.
Happily we are establishing a standard as to
literary and like property which is likely to be
fully maintained.
There is a friendly disposition apparent to
consider modifications of our copyright code
in the interests of foreign authors where this
ean be done without detriment to American
interests, and a Bill is pending in Congress,
which is approved by the Copyright Office, to
reduce the number of deposit copies from two
to one in the case of books in foreign languages.
In the case of books in the English language,
the Library of Congress makes good use of two
copies by utilising one for copyright record and
the other for prompt card cataloguing, so that
American publishers have no reason to ask for
the reduction of the number of deposited copies.
But in the case of foreign books, and, indeed,
in the case of all other copyright material
except books, the Copyright Office needs only
one copy, and the second copy is rather a
burden than a help to it. It is therefore
probable that Congress will make the change
indicated, and it is not impossible that a like
change may be ultimately made as to other
objects of copyright.
The important question which must pre-
sently come to the front is our relation with
British authors. The ad interim period,
amounting to sixty days, has proved inadequate
for any test of the American market, and
though it has usefully met the objections to
the simultaneous publication requirement of
the old law, it is not otherwise of much benefit
to our English brethren. Some extension of
the period, therefore, will be welcomed by
English authors and should not be harmful to
American interests.
Copyright relations are making some progress
in South America, but so far the provisions of
the fourth Pan-American Convention have
been accepted only by half a dozen of the minor
States, as well as by the United States. Brazil
is showing some intent to come into wider
copyright relations, and it is to be hoped that
Argentina, which has already extended its
domestic copyright by reciprocal arrangements
to several European nations, will not long delay
entering into the excellent convention which
makes possible a Pan-American copyright
federation.
On the whole, the copyright cause is making
gcod progress, and the one uncertain factor
is the Dominicn of Canada. There nothing
seems to:have been done either as to accepting
THE AUTHOR.
the Imperial Act, as has been done by Australia,
New Zealand and Newfoundland, or making
progress towards a new code, as is being done
in South Africa. It is to be hoped that our
neighbours across the border will soon be taking
steps and following the precedent of Australia,
rather than of the United States.
>< —____
THE POPULAR FICTION MARKET.
Irs REQUIREMENTS AND REWARDS.
Sa
By FREE-LANCE.
I.
Le writing of the fiction market, let me say at
the outset that I refer only to the British
fiction market, and to the periodical
market at that. The money side of book-
writing has been dealt with pretty often of
late, in doleful or glowing articles, by writers
of varying temperaments and ideas as to what
is adequate pay for the labour involved. But
to the general reader, and to the young writer,
the question of what is wanted by the popular
press, and what is the usual remuneration,
is likely to be of greater interest.
Professional authors will agree with me,
I think, when I say that the first thing for
the aspiring writer of short stories and sevials
to do is to assure himself of the fact that his
is not an art, but a trade; a skilled trade
certainly, and one which will call for much
mental ingenuity, and very much patience
under rebuffs, but still a trade.
This may sound cynical, and there will not
be wanting those who will be ready to point
out that the present writer has a very poor
opinion of his profession. Well, I can say
with sincerity that of the art of authorship
I have a very high opinion indeed. To all
those authors who have been, and are, faithful
to their ideals in the produce of literature,
I accord my whole-hearted admiration and
respect. But I am not dealing here with
authorship as an art, but with authorship as
a business. It is at least as honest as most
other businesses ; the pay to the hard-working
and skilful craftsman is good, and it can be
practised in the comfort and quietness of one’s
own home. With the spread of education
during the past twenty or thirty years the
profession of letters has entirely changed.
Where there was one reader thirty years ago
there are a hundred to-day, and, naturally,
the number of writers has increased in
proportion.
The working classes; the mill and factory
hands of both sexes; the miners and their
wives; the shop-girls; the seamstresses ; all
these have to be catered for to-day—and
geniuses of a certain type have come forward
to do it. The result is that the newsagents’
counters and the railway bookstalls are laden
with a mass of cheap periodicals specially
designed to meet the requirements of this
class of reader—a class which is overwhelm-
ingly greater than any other in Britain.
This being so, the astute business-author
naturally enough decides that he must purvey
that style of fiction for which there is the
greatest demand.
Il.
A youth, fired with high ambitions and a
proper respect for the honour of literature,
may set out to win his spurs and financial
reward as a writer of what for want of a better
term may be styled “high-class fiction.”
Having been duly warned as to the thorny
nature of the path he has elected to tread,
he is prepared for disappointment at the start.
This of course is just as well, for the disap-
pointment will not be lacking.
Indeed, if he is—as I am presuming him
to be—dependent upon his fiction—writing
for a livelihood—I fancy that it will not be
long ere he is forced to a certain pessimism.
He will learn from the lips of those editors
whose duty it is to provide for popular taste
that fine writing is not wanted—and I go so
far as to say that this applies not only to those
weeklies which are either rather blood-thirsty
or distressingly sentimental, but to the average
monthly magazines. ‘‘ Give us action!” is
what they are perpetually crying, and action
they must have.
They have no patience with character-
drawing unless it is done very quickly and
very broadly; descriptions of scenic effects,
no matter how deftly and artistically written,
are blue-pencilled at once; subtlety is not
allowed—and, indeed, but frequently under-
stood—and cleverness is the last offence.
All this, of course, is ‘‘ generally speaking.”’
There are some magazines where the manner
is counted as important as the matter, where
artistic work is welcomed, and where cul-
sl and distinguished writers give of their
est.
But these magazines are few in number,
and are so well catered for by the members
.of the old school with the big names, and
THE AUTHOR.
175
by the American ‘“ topnotchers,” that they
are practically closed to the young and
unknown writer.
_Since I started my own career as a profes-
sional author I have written for practically
every one of the better known fiction-using
periodicals in Britain, and have had the
satisfaction of appearing at intervals in the
pages of such magazines as I have mentioned
above. But I came to realise after some time
and many hardships that, if I trusted to good
work and the better-class magazines, I would
very soon have to use some poor-house as
a postal address.
The young writer, then, will early discover
that he must either give up the idea of making
a good living by his pen or he must face the
degradation of writing down to the level of
a class, excellent and worthy in many ways,
but of a far lower mentality than his own.
I number among my friends a great many
fellow-writers, some of them men and women
of the highest culture and refinement, who
have made wise use of all the advantages of
good education, and, judging from them, I
should say that free-lance authors lacking
private means are an army of pessimists and
grumblers.
It may be said that they have themselves
to blame; that they should have discovered
what was in store for them before burning
their boats and pinning their faith to fiction-
writing. That, no doubt, is perfectly true,
but what ambitious boy or girl with literary
talents and a store of courage will believe
that disillusionment lies ahead ?
In this, as in so much else, experience is
the only practical teacher, and her lessons are
often bitter.
I am purposely leaving out of count those
who imagine that they are going to make a
good income by writing novels of the usual
six-shilling order. Warnings have been given
to them in plenty.
Of course one may point to A. and B. and C.,
and so on—all brilliant writers who have
built up fortunes by their works ; but it would
be interesting to learn just how many years
A. and B. and C. took to achieve their present
position, and whether they were not at first
free from the toils of money-making—or at
least spared the necessity of making money
by their pens.
The trouble with the average reader of
periodicals is that he will not think; all the
thinking must be done for him by the author.
The reader is usually in a hurry; he must
be swept into the heart of the action or the
176 THE AUTHOR.
mystery at once, for he refuses to get there by
leisurely methods. :
Broad sensationalism, broader humour, still
broader sentimentalism—that is what 1s
wanted by the biggest reading class to-day,
and it is for that that editors and publishers
are willing to pay.
IIT.
Bathos is at a premium among those
long-headed merchants who attend to the
wants of the half-educated, and the man or
woman who can supply enough of it is sure of
a steady and a large income.
There are, after all, very few monthly
magazines in Britain for the average writer,
and it is hopeless to depend upon them to
provide sufficient money to pay for rent, and.
food, and so on. But the man or woman
who casts aside literary scruples, who is
frankly “‘ out for cash,” and who learns the
tricks of the trade, may be very comfortable
indeed.
To the beginner of this nature one might say:
“ Write a magazine story or a literary article
now and then to ease your conscience, but for
your living attend to the framing of what pro-
fessionals pleasantly term ‘ muck.’ Go to your
newsagent ; spend a shilling on buying twelve
of those weekly papers—appealing for the
most part to girls and women—and soak in the
stuff that you will find there.
“Tt is to serial stories that you must look
for the bigger part of your income, so read the
serials. If you have a sense of humour at
all and any appreciation for good writing,
these serials will, frankly speaking, disgust
you, though they may raise a smile now and
then by their sheer banality. But remember,
while you read, that if you are to be financially
successful as an author from the start, you
must school yourself to write exactly the type
of matter which you are reading. ‘
“You will be expected to increase the
circulation of the paper you work for by the
description of ‘The girl who looked down
on her mother,’ or something of that sort,
and it will be very painful for you. But after
all, few people are able to make money to-day
by doing work which they like and of which
they may reasonably be proud.”
From personal experience I know that there
are two classes of serial writers. (I am not
dealing with serials in magazines nor in daily
papers, but with those which appear in what
may be styled the ‘‘ Home Weekly”’ class.)
One class is composed of highly intelligent
persons, possibly of good social position, who”
write with their tongues in their cheeks and
self-shame in their hearts; the other class,
and be it noted by far the more successful,
comprise those writers who are proud of their
work and of themselves for being able to do
it! They believe—and I have had the felicity
of meeting some editors and editresses who
also believe—that the twaddle which they
produce is not only wholesome and “ human ”
—a favourite word with them—but is the
outcome of high literary abilities.
IV.
Here, then, is the field for the writer with
an eye to the rewards, who cannot wait to
make a public by novel writing, and who
wants more than the pickings which he can
get from the magazines.
He will find, as I found, that the writers
of charm whose names he knows and respects
are but poorly-paid workers as compared to
the army of hacks whose names are not always
divulged to the public, and who disport them-
selves week by week in the pages of those many
papers which set out to capture the attention
of the humbler readers.
For the sake of these readers I hope that the
editors who provide for them under-estimate
their brain power, but I doubt it. Not long
ago an editor said to me, ‘‘ The more common
and vulgar I can make my paper, the better
it will sell.”’ I suppose he was right, though
I would fain think otherwise.
Publishers of periodicals, remember, are not
philanthropists who are wishful to raise the
standard of the people’s literary tastes ; they are
in business in order to make money, and they
are ready to pay well the editors and writers
who can help them.
Although I have written here disparagingly
of these serials upon which the servant-girl
and the factory-hand feeds, it must not be
thought that the writing of them is necessarily
easy. Far fromit. <A great deal of cleverness
and dexterity—more by the cultured writer
than by his brother, who takes the thing
very seriously—and, above all, an unfaltering
patience, is needed. The young writer will
fancy at first that every single idea has been
used before, and editors will probably badger
him nearly to despair in an effort to please
their several and peculiar wants.
But if he makes a fair start and keeps
going, he will do well.
The pay is not large—even the well-known
serialist of this order is seldom paid more than
a guinea or thirty shillings a thousand words.
‘But if a writer can turn out such stuffas is
ft
TIE AUTHOR.
wanted, and works hard, he may reasonably
expect to make anything from five hundred
pounds per annum upwards. I know men
and several women—who are making, without
apparently undue exertion, fifteen hundred and
two thousand pounds a _year—but they are
~of course the masters of their trade, and most
distressingly active.
Probably a novice would be lucky to get
_ fifteen shillings a thousand words, but he could
lee oo << PAE
climb to the guinea ere long, and after that
yt would be merely a matter Of time and grow-
ing reputation before being in receipt of an
income bigger by far than any which he could
have reasonably looked for in the pleasanter
realms of magazine work.
THE BRITISH INTERNATIONAL ASSO-
CIATION OF JOURNALISTS’ ANNUAL
MEETING AND DINNER.
— <> +
HIS Association had not a Cabinet
Minister for their chief guest at the
annual dinner this year, as in the past
two years, but they invited one whose influ-
ence upon journalism has been great. The
Professor of Poetry of Oxford University, and
President of Magdalen, Dr. Herbert Warren,
at some inconvenience, for the date was fixed
during the first days of term, accepted the
invitation, and gave a speech that has been
quoted on every hand. There was a goodly
gathering including such well-known past
officers of the Association as Mr. Arthur
Spurgeon, Mr. S. S. Campion and Mr. J. H.
Warden. Sir James Yoxall, M.P., Editor of
the Schoolmaster, presided.
The toasts, after the loyal toasts, were but
two. In proposing the guests, Sir James
Yoxall made an interesting speech, dealing
with the journalism of to-day. Journalism
to-day was very near to literature, and was a
constant source of education, and was educat-
ing the coming generation. This in spite of
the fact that journalists could not spend time
in polishing their sentences, and their work
could not attain the perfection of Gibbon. In
referring to the guest of the evening, the
President of Magdalen, he spoke of the impor-
tant positions Dr. Warren had filled and the
important work he had done. He was one of
the most distinguished university men of
England. He was a poet, reviewer, editor of a
famous edition of Plato, a journalist, and a
ATT
contributor to the Quarterly and Edinburgh
Reviews. As journalist and littérateur they
honoured him.
op-~<de
ENCYCLOPADIA OF COPYRIGHT.*
—+ <4
HOUGH the name of Professor Réthlis-
berger is of itself sufficient to recom-
mend to immediate attention any work
that issues from his pen, it is only just
that very strong insistance should be laid upon
the value of this his latest book, both on
account of the skill with which it has been
constructed and on account of its encyclopedic
character. The single volume contains a com-
plete representation of the whole of the law of
copyright as it stands at the present day. If
any evidence of the reality of this complete-
ness is required that is furnished by the
volume itself; for a supplement of the laws
and agreements which have come into force
whilst the volume was in the press does not
fill a single page; all else being embodied in
the various sections of the work.
The arrangement of the first part, which
comprises the copyright laws of the various
States, is alphabetical, under the names of the
several countries. Here it will be found that
nothing in the shape of actual legal enactments
or of regulations respecting their administra-
tion has been omitted. The second part of the
work contains the various treaties ; first of all
those of the Unions which include several
States (the Berne Union, the Union of Monte-
video, the Central-American Union, the
Bolivian Union, the Panama Union); and
after these the numerous particular treaties
which have been made by various countries—
all being alike set out at full length. (In this
part of the work we are struck by the very
different extent in which various countries
have availed themselves of this method of
protection of copyright. Belgium has eight
such particular treaties, Germany six, France
twenty-four, Great Britain only two.) After
less than a page of Addenda (already men-
tioned), the volume concludes with (1) a
Register in the order of the contents, present-
ing a conspectus of all that has been already
* Dr. Ernst Réthlisberger. Urheberrechts—Gesetze und
—Vertrage in allen Laindern nebst den Bestimmungen
iiber das Verlagsrecht. Dritte, gainzlich umgearbeitete
Auflage. Leipzig. G. Hedeler. 1914.
Copyright Laws and Treaties of all countries together
with the terms of agreement with publishers. Third,
completely revised, edition.
178
set forth, but here growping all the legislation of
each country under the three headings of
Laws, Unions, Treaties ; and (2) an Index of
Matters, in which the subject-matters of the
laws, treaties, ete., of all countries will be
found grouped under their respective headings ;
for example, under “ Duration of Copyright ”
will be found references to all the enactments
respecting duration of copyright whether
enunciated in laws or set forth in various
treaties. On the immense value of this
Subject Index it is unnecessary to dwell, as the
amount of labour which will be saved by
reference to it must be evident to all. The
toil which it must have cost seems appalling ;
and Professor Réthlisberger has every reason
to express in his Preface a hope that in every
case of excerpts or quotations from his book a
reference to it may be made out of considera-
tion of the labour which has been bestowed
upon it ; labour, he justly remarks, of transla-
tion as well as of arrangement—for there are
to be found here in a single language legal
documents whose originals must have appeared
in some score of tongues.
The work appears in German, and may be
regarded as one more of those works which
demonstrate that in the present day no
educated man ought to be ignorant of that
language : for what pursuits can a man now
take up without finding that the investigations
which his work necessitates will be seriously
hampered if he cannot avail himself of the
labours of the Germans ? At the same time it
is a notorious fact that among Englishmen
such a knowledge of German as is practically
useful is not common; and we shall soon be
hearing said of this book, ‘‘ I wish it was in
English!” Only where shall we look for the
English legist who would have compiled it, or
the English publisher who would consent to
produce it ?
Leaving, however, those questions to be
answered by any one who ean answer them,
we shall content ourselves with repeating that
Professor Réthlisberger has produced a work
absolutely indispensable for the copyright
legist and specialist, and one of the very
greatest value. Its nature of a pure compila-
tion excludes the possibility of its exhibiting
any of that wide-reaching clear-sightedness
and deep penetration of copyright questions by
which Professor Réthlisberger has distin-
guished himself; but its completeness, and
the lucidity of its arrangement, and, above all
else, the great judgment shown on the treat-
ment of the Subject Index, cannot but add to
the laurels of the compiler.
THE AUTHOR.
ENGLISH HISTORICAL LITERATURE IN
THE FIFTEENTH CENTURY.*
—1—~>—»+ —_
WN R. KINGSFORD’S “ English Historica}
Literature in the Fifteenth Century ”
is a critical survey of the sources of
English history beginning with Thomas Walsh-
ingham, and concluding with a chapter on the
Sixteenth Century Historians and Fifteenth
Century History. The subject of the work
will, therefore, appear to many to be a tolerably
arid one. As every one will also agree with
the author’s opening statement, that “ the
history of the fifteenth century in England
leaves on a first acquaintance the impression
that it is somewhat barren of interest and
deficient in variety and concentration of
purpose,”’ so there will be few who will not be
most agreeably surprised alike by the manner
in which the author collects a unity out of the
scattered records, and brings into relief, one
after another, innumerable particulars of
striking interest. The latter feature of the
work will render it attractive not to those alone
who are in quest of stern historical evidence,
but also to all educated explorers of the origins
of English literature and the course of its
developments, and to all who can with pleasure
turn over out of the way records of the past.
Nor would we omit a mention of the suggestive-
ness of the author’s careful appreciations of
values, appreciations which are one of the
fundamental aims of his book, but respect-
ing which, be it confessed, it may seem pre-
sumption for us to express any opinion,
though we liked them, and were particularly
grateful for a kind word said for our old friend
Polydore Vergil. Be that as it may this is a
book which can be thoroughly enjoyed, and it
is difficult to say whether the chapters dealing
with subjects so well-known as the “ Gesta
Henrici Quinti’’ and ‘The Brute,’ or the
pages devoted to private correspondence and
the chapter on “ Poetry and Ballads ” are the
more attractive. The author has succeeded in
compiling upon what at first appears to be a
tedious subject an eminently readable as well
as a valuable volume. Everywhere the foot-
notes are excellent ; and a portion of the work
on no account to be neglected is the appendix
of hitherto unpublished documents: among
which is a ballad that has not previously
appeared in print. Incidentally it may be
* “English Historical Literature \fin the Fifteenth
Century,” by Charles Lethbridge Kingsford. Oxford,
Clarendon Press, 1913, 15s, nett.
Boe
a4
THE AUTHOR.
mentioned that the historical novelist, who is
not seldom at a loss where to discover a basis,
not yet hackneyed, for a new tale, might in
more than one instance find what was wanted in
Mr. Kingsford’s pages. Has any one ever
attempted a novel on the fate of Eleanor
Cobham, Duchess of Gloucester? More is
known about her than in some cases sufficed
Sir Walter Scott for the foundation for a tale ;
and the historical facts present also just those
elements of diversity of contemporary opinions
which are so dear to the novelist.
Notable features of the work are a full
bibliography and a most excellent index ; the
more valuable and helpful as the evidence
there gathered together is often scattered
in many different documents.
CORRESPONDENCE.
PHOTOGRAPHS AND REPRODUCTION.
Srtr,—I do not know whether the following
matter is worthy of your attention, nor even
whether Zhe Author concerns itself with
photographic work, but I venture to bring
it to your notice on the chance that it may
affect some of your readers as it affects me.
I am a photographer and also a writer on
natural history subjects, and contribute work
of both kinds to several of the illustrated
sixpenny wecklies. I find that, although the
editors of most of these papers consider my
photographic work worthy of a page in their
journals, they do not apparently think that
my name is good enough to appear below my
work. It is true that in some cases the name
of the photographer is inserted at the foot of
the page, but it is in such minute type that
a casual reader will probably overlook it
altogether. Others have a still more objection-
able practice. No name is published with
the photographs, but at the end of the paper,
among a maze of “‘ special pages ” and adver-
tisements, is a small paragraph: ‘ Our
pictures are from photographs as follows,”
and there the photographer may find his name
buried with those of the rest of the unfortunate
illustrators. I am not speaking of small
pictures, nor of illustrations in the text, but of a
photograph or series of photographs, that
occupy a whole page of the magazine.
If, on the other hand, I contribute an
article or story to the same number of the
said paper, my name is published thereunder
iva
in large type. Does the editor consider that
the photographer is on a lower level than the
author ? Yet his work occupies a place as
important, and is paid for at rates as good.
Why then may he not receive the same recogni-
tion? I am not, of course, speaking of the
leaders in either case, but of the rank and file.
I remain, Sir,
Yours faithfully,
** ONE OF THE RANK AND FILE.”
———1<———_
Dear Str,—Would you be so kind as to grant
me a little space for this letter in your paper ?
Mrs. Archibald Mackirdy’s house has been
burnt completely down, and she has absolutely
nothing to wear but the clothes she escaped
in—all her clothes, papers and other things
are destroyed.
We do not know the dates, addresses or
times of Mrs. Mackirdy’s public engagements.
She is advertised to speak at large meetings all
over the kingdom. She will be glad to keep
her engagements after she gets some clothes,
and has found a furnished house, provided
dates, addresses and times are sent, so that
they can be re-booked. Until then, it is quite
impossible for her to go anywhere.
It would be a very great help, if you would
kindly let people know through this paper.
With thanks, I am, sir, yours faithfully,
CHARLOTTE COTTRILL,
Private Secretary.
i ——
S1r,—I send two questions, which, perhaps,
some of your readers may be kind enough to
answer.
First.—Is there any book in existence
which explains the principles and mysteries of
what is known as ‘stagecraft’? I have
several books which tell how to write plays,
but none of them gives information on the
subject I mention.
Second.—Is there any “ authority ”’ for the
prohibition of splitting infinitives ? Or is it
only a superstition? We split every other
mood and tense.; why not the infinitive also ?
Yours very truly,
Wiiiram Parrick KELty.
—-—>— 4 —
Tur FREELANCE.
Sir.—In connection with what appears in
your February issue on the subject of “ Free-
lance” work, I think you are very wise to
180
emphasise the desirability of having some other
means of support before embarking on such
work. In my own case, though I could make
quite a long list of the publications to which I
have contributed, ranging from the defunct
Speaker to the Daily Herald, and including such
magazines as Nash’s, Red, ete., and weeklies
such as Madame and London Opinion, pro-
vincial newspapers such as the Manchester
Guardian and the Glasgow Herald, I have no
hesitation in saying that had I been under the
necessity of living out of the proceeds I
should have starved long ago. Nine out of
ten of the Freelance’s MSS. are returned to
him: some are published and paid for twelve
months after they are sent out: some he is
not paid for at all, or only after threats of legal
proceedings. I advise any young man or
woman who desires to become a writer for the
press to have some other employment as well,
be it ever so poorly paid. To make an income
worth having at so-called Freelance work
means a drudgery at hack work that surpasses
the drudgery of an office by far. The Free-
lanee who has to live on it has no time, and
soon no spirit, for that great book that is to
bring him fame.
In conclusion, let me give a little anecdote
by way of dispelling the delusion that out-
siders’ work stands an equal chance with that
of others. A very charming lady of my
acquaintance who moves in literary circles
said to me one day, “I like young Mr. So-and-
so, and I’m doing my best to help him.” ‘“ In
what manner?” I asked. ‘‘ Oh, I’ve asked
him to dinner once or twice to meet the right
people—editors and so on.”
The moral is, get asked to dinner to meet the
right people. It helps wonderfully, in any
calling, and in none more than in—writing. I
was going to say literature, but I won’t.
Yours faithfully,
PAvLus.
—+o
AUTHOR’S CORRECTIONS.
Dear Mr. Epvrror,—I have read with much
interest the article on ‘‘ Author’s Corrections ”
and may I, with due humility, state my method
with regard to the tiresome things ?
When the first proofs come, I correct
printer’s errors in black ink, and make my
author’s corrections in red. Those proofs go
back in due course, are corrected at press,
and return to me again, with clean second
proofs as well. Second proofs go back,
passed. Thus first proofs with ‘ author’s
corrections ”’ remain in my possession, and
THE AUTHOR.
these I duly present to my publishers, together
with the original MS. which, in accordance
with the ordinary routine of proof correcting,
inevitably ends its days in the author’s posses-
sion also.
My self-invented little system appears to
ameliorate the hard lot of my long suffering
publishers, and is no extra trouble whatever to
me, while it prevents any possibility of mistake
on any side.
Yours respectfully,
OLIvE Katuarine Parr.
+e
On SomME EpiToriAL EccENTRICITIES.
S1r,—The letter of ‘‘ Senex ” in the February
Author is such a candid confession of injury to
authors that I trust it will not be allowed to
pass unnoticed. “Senex” is apparently an
author; he admits that he is ‘“ perhaps
approaching his dotage” ; and he admits that
he is in the habit of sending letters to the Press
which “as a rule are inserted.” Is he aware
that by habitually supplying editors with copy
gratis, he is “ blacklegging ’’ authors? How
long will it be before authors form themselves,
like all other workers, into a trade union, and
take steps to prevent this and the hundred and
one other evils which afflict them ?
By writing this letter I am following the
bad example of “Senex.” But I only send
a letter to a journal when it appears that the
expression of an opinion is badly needed, and
is either clearly to the public advantage or
to my advantage. I cannot complain like
““Senex’”’ that editors have ever seriously
tampered with my letters. The few which I
have sent have always been promptly and
conspicuously inserted, and without any altera-
tion. Sometimes a passage has been struck
out, but only when it might have been offensive
to some readers.
Yours truly,
TraDE UNIONIST.
Music PuBLISHERS AND MECHANICAL
REPRODUCTION.
Srr,—I notice that some of the music pub-
l'she:s are entering the mechanical instrument
trade as reproducers of gramophone and
kindred reproductions of their compositions.
This should be good news to composers, who
may now, surely, expect to see the end of the
exorbitant claim of the music publisher to
50 per cent. of the mechanical fees.
Yours, ete.
A Victim,
Dublin Core
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The Author, Vol. 24 Issue 06 (March 1914)
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<em>The Author</em>, Vol. 24 Issue 06 (March 1914)
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<a href="https://historysoa.com/The-Author-Issues/1914-03-02-The-Author-24-6">Supplement to The Author, Vol. 24 Issue 05</a>
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1914-03-02-Supplement-24-2-New-Zealand-Copyright-Act
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copyright
international
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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Che HMutbor.
(The Organ of the Incorporated Society of Authors.
FOUNDED BY SIR
Monthly. )
WALTER BESANT.
Vor. XXIV.—No. 7.
APRIL 1, 1914.
_ [PRICE SIXPENCE.
TELEPHONE NUMBER:
874 VICTORIA.
TELEGRAPHIC ADDRESS :
AUTORIDAD, LONDON.
a ee
NOTICES.
i
4 OR the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tur Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou. XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
o>
THE SOCIETY’S FUNDS.
a
4 ROM time to time members of the Society
desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
/
182 THE AUTHOR.
matter closely connected with the work of the
Society.
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
—____—_+—>—+___—_.
THE PENSION FUND.
—+——+ —
N January, 1914, the secretary of the
I Society laid before the trustees of the
Pension Fund the accounts for the year
1913, as settled by the accountants. After
giving the matter full consideration, the
trustees instructed the secretary to invest a
sum of £350 in the purchase of Great Eastern
Railway Ordinary Stock. The amount pur-
chased has been added to the investments set
out below.
The trustees desire to thank the members of
the Society for the continued support which
they have given to the Pension Fund. They
have given notice to the Pension Fund Com-
mittee that there is sufficient money at their
disposal to enable them to give another
pension.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £5,419 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
£ 4s. @.
RGCAl Loans 6c 0is occ sc hecccs sconces 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ............ 291 19 11
London and North Western 3%
Debenture Stock .................. 250 0 O
Egyptian Government Irrigation
Trust 4% Certificates............. 200 0 0
Cape of Good Hope 34% Inscribed
Block 6. ak - 200 0 0
Glasgow and South-Western Rail-
way 4% Preference Stock ...... 228 0 0
New Zealand 34% Stock .......... 247 9 6
Irish Land 22% Guaranteed Stock 258 0 0
Corporation of London 24%
Stock, 1927-57 ...............:-. . 4388 2 4
Jamaica 34% Stock, 1919—49 ... 1382 18 6
Mauritius 4% 1987 Stock ......... - 120 12 1
Dominion of Canada, C.P.R. 84%
Land Grant Stock, 1988 ......... 198 3 8
Antofagasta and Bolivian Railway
5% Preferred Stock ............... 237 0 O
Central Argentine Railway Or-
dinary Stock 21.00.65. 0igsecsss0ccses 232 0 0
Nominal Value.
SS, a.
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ........+.++++-. 400 0 O
250 Edward Lloyd, Ltd., £1 5%
Preference Shares ...............- 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ................. 550 0 0
3 Central Argentine Railway £10
Preference Shares, New Issue... 30 0 0O
Great Eastern Railway Ordinary
Stock cess cecpesuesd esse 655 0 0
Total 2 £5,419 6 O
—_——_———__+—>—_+—____—_-
PENSION FUND.
—.—~ +
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 19138.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearee, J. . : Z
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry :
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, EK. A. . :
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John j
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert
Dec. 4, Lunn, Arnold . <
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana .
Dec. 4, Vallois, Miss Grace . ‘
Dec. 17, Beresford, J. D.
Dec. 29, Inge, Charles .
Dec. 29, Cross, Miss May
Dec. 29, Hardy, Thomas, O.M.
_
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THE AUTHOR.
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I. :
Jan. 16, Cooke, Arthur O.
Jan. 28, Exley, Miss M. :
Jan. 26, Sarawak, The Ranee of
Mar. 11, Dowson, Osear F.
19138. Donations.
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold . 2
Oct. 30, Rosman, Miss Alice Grant
Nov. 3, Holland, Theodore
Nov. 3, Steane, Bruce .
Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elrington, Miss Helen
Nov. 10, Waterbury, Mrs. .
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dec. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
Dec. 20, Edwards, Percy J. .
Dec. 21, Keating, J. Lloyd
1914.
Jan. 8, Church, Sir Arthur
Jan. 5, Anon :
Jan. 5, Joseph, L.
Jan. 5, Swan, Miss Myra
Jan. 5, Vernede, R. E. :
Jan. 6, De Crespigny, Mrs. Champion
Jan. 6, Rankin, Miss F. M. . .
Jan. 7, Sneyd-Kynnesley, E. M.
Jan. 7, Lathbury, Miss Eva .
Jan. 7, Toplis, Miss Grace
Jan. 8, Palmer, G. Molyneaux
Jan. 9, Mackenzie, Miss J. .
Jan. 10, Daniell, Mrs. E. H. .
Jan. 12, Avery, Harold :
Jan. 12, Douglas, Mrs. F. A.
Jan. 15, Pullein, Miss Catherine
Jan. 15, Thomas, Mrs. Fanny
Jan. 16, James, Mrs. Romane
Jan. 19, P. H. and M. K.
Jan. 19, Greenstreet, W. J. .
Jan. 19, Gibbs, F. Leonard A.
Jan. 23, Campbell, Mrs. L. A. R. .
Jan. 23, Cameron, Mrs. Charlotte,
F.R.GS. . :
Jan. 23, Blunt, Reginald
Jan. 24, Raphael, Mrs. Mary.
Jan. 25, Plouman, Miss Mary
Jan. 80, Gibson, Miss L. S. .
Feb. 5, Brooker, Lt.-Col. E. P.
Feb. 6, Buchrose, J. E. :
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Feb. 7, Smith, Herbert W.
Feb. 20, Eden Guy : :
Feb. 21, Mayne, Miss Ethel
bourn :
Feb. 21, K. ; : :
Feb. 25, Aspinall, Algernon E.
Mar. 2, Dalziell, J. ‘
Mar. 2,8. F.G. . ;
Mar. 5, Saies, Mrs. F. H.
Mar. 5, Thorne, Mrs. Isabel . :
Mar. 5, Haviland, Miss M. D. :
Mar. 5, Todd, Miss Margaret, M.D.
Mar. 13, Cabourn, John 5 :
Mar. 20, French, Mrs. G. F. .
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COMMITTEE OF MANAGEMENT.
—-—— + —_
HE Committee held their March meeting
on the second of that month at three
o’clock, at the offices of the Society.
After the minutes of the previous meeting had
been signed the committee dealt with the elec-
tions and resignations. The number of elections
—twenty-six—is chronicled in another column
of this issue. This brings the total number for
the current year up to ninety-five, slightly in
excess of the number for the corresponding
period of last year. The committee accepted,
with regret, eighteen resignations. The large
number of resignations during the month may
b> accounted for by the fact that at this period
of the year the first application is issued for
unpaid subscriptions. A certain number of
resignations is bound to follow.
The next question before the committee was
the legal cases and the disputes of members.
The solicitor attended and made his report.
In the first claim against the proprietor of a
magazine—the debt and costs had been paid.
In a ease for the collection of dramatic fees,
the solicitor reported that he had, at length,
succeeded in obtaining the debt and costs.
The costs had been increased as it had proved
necessary, not only to issue a summons for an
examination of the debtor, but also to proceed
against him for an attachment.
The solicitor then reported on the case of
infringement of title by a cinematograph
company which had been taken up at the last
meeting. The judge considered it a case for a:
speedy trial and the trial was fixed for the
10th of the month. In a case where money
was claimed on a disputed account, the com-
mittee decided to take action with the approval
184
of the member concerned. The secretary then
reported that in a case where an award had
been given, one of the members, party to the
award, desired certain letters to be read to the
committee. These were read in due course,
and the secretary was instructed to write a
letter in reply, placing before the member that
the award must be adhered to, and that the
committee were unable to discuss the matter
further. ‘The letter was to be submitted to
the chairman of the committee for his approval.
Difficult issues had arisen owing to the fact
that a publisher had shown unreasonable delay
in publishing the book which he had agreed
by contract to produce. The committee decided
to issue a writ for damages for delay or for
immediate publication.
In a case of infringement of dramatic rights
of amember in Australia, the secretary reported
that he had, in order to catch the Australian
mail, obtained the chairman’s sanction to place
the matter in the hands of the Society's
lawyers in Sydney. The committee confirmed
the chairman’s action.
In a dispute between a member and an
agent which the committee, for various
reasons, at the last meeting had refused to take
up. the secretary read_ to the committee a
further communication he had received from
the member, and, after again reviewing the
case, the committee regretted they were unable
to depart from their previous decision, and
instructed the secretary so to inform the
member.
A question concerning the conduct of a case
in the United States on behalf of a member
was considered by the committee in the light
of fresh facts which had just come to hand
from the Society’s American lawyer.
It was decided to take up an action against
a paper in Vancouver, and the secretary was
instructed to communicate with the Society’s
lawyers on the subject. :
The judgment in the highest court in
Switzerland, on a question taken up by the
Society some years ago, was laid before the
committee. The committee regretted it was
against the claim put forward on behalf of the
member. As no further appeal was possible,
the secretary. was instructed to inform the
member of the result.
In a dispute between a member of the Society
and the editor of an illustrated paper the
correspondence was read, and the chairman
undertook to write to the editor.
The next matter referred to a case of
infringement of dramatic rights. The com-
mittee, after consideration, regretted they
THE AUTHOR.
were unable to take up the case. In a dispute
arising from the publication of a book, the
committee gave instructions to the secretary
as to the settlement.
There was a question, also, of infringement
of the rights in a title by a cinematograph
production. The committee decided to take
no action in this case, but to await the'result
of the case already pending.
The next matter was a dispute, stretching
over a period of years, under a publisher’s
account. The committee decided to take up
the case on behalf of the member.
The secretary then reported the position of
an important case in Toronto of infringement
of copyright, taken up by the Society, and
read a letter received from the member con-
cerned dealing with the proposed terms of
settlement as received from Canada. The
committee approved the terms of settlement
put forward by the member, and decided to
instruct the lawyers in Toronto accordingly.
As the chairman of the committee was going
abroad for a short time, a vice-chairman was
appointed in his absence.
Authority was given for the payment of the
cost of a cable sent to the Authors’ League of
America, congratulating the League on its
first annual dinner and on the success of the
League.
The question of the Society’s advertise-
ments was next considered, and it was decided
to settle the account of the previous agents
in accordance with an arrangement made
between them and the Society’s accountants.
It was also decided to have an exchange
advertisement with the Music Student.
The list of non-payers for two years was laid
before the committee, and the secretary was
instructed to send a special letter to the
members in arrears.
Correspondence with a member on the
subject of the libraries censorship was read,
and the secretary was instructed to write to
the member giving him the committee’s
opinion and asking for possible suggestions.
The seeretary then laid before the committee
a short article dealing with a dispute between
a member and a publisher which, on the
suggestion of the Composers’ Sub-Committee,
it was proposed to publish in The Author. He
was instructed to lay the matter before the
Society’s solicitors and, with their approval,
to publish the article in the April issue.
The matter of the change of the name of the
Society from the Incorporated Society of
Authors, to the Incorporated Society of
Authors, Playwrights and Composers, was
THE AUTHOR.
next considered. The secretary reported that
the solicitors of the Society had obtained the
approval of the Board of Trade, and it was
decided to have a special meeting of the
council and the shareholders of the Society
on April 17 to approve the change, and a
confirmatory meeting later, according to the
provisions of the Companies Acts.
The committee authorised the investment of
£260 from the Life Membership account in the
purchase of Buenos Aires Great Southern
Railway 4% Extension Shares, and authority
was given to affix the seal of the Society if
necessary.
A difficult question, arising under a certain
section in the Copyright Act, 1911, was
referred to the Committee of Managment by
the Composers’ Sub-Committee. It dealt with
mechanical rights. 'The Committee of Manage-
ment decided to take counsel’s opinion on the
matter.
It was decided to purchase a new type-
writer for the Society’s office.
A proposal was submitted to the committee
by the Independent Music Club, and the
secretary was instructed to state that the com-
mittee regretted they were unable to accept it.
Letters were read from the Foreign Office on
the question of copyright in India, and from
the Society’s lawyer in New York on the ques-
tion of copyright in the United States.
Votes of thanks were passed to the following
members for donations to the Capital Fund of
the Society: Mr. Arnold Bennett, £10;
Edward Carpenter, £3; Philip Hubbard,
10s. 6d.
4
Dramatic SuBp-CoMMITTEE.
Tuer Dramatic Sub-Committee met at the
Society’s offices on Friday, March 20.
After reading the minutes the secretary
reported that he had heard from Mr. Fladgate,
the solicitor of the Society of West End
Managers, in regard to the settlement of the
Managerial Treaty, and that the question had
been referred to Mr. Gatti and himself for dis-
cussion. The secretary further reported that
he had seen Mr. Gatti, and it was probable
that the report would be laid before the next
meeting of the sub-committee.
The question of the conference to be held at
the Society’s offices to discuss matters con-
nected with the use of titles by film manu-
facturers was mentioned to the sub-committee.
Various bodies interested had consented to
send delegates to the conference, and it was
185
decided to invite the Society of West End
Managers to attend, as well as a representative
of the Committee of Management of the
Society. The secretary was instructed also
to communicate further with the Film Renters’
Association. The agenda for the conference
was settled in the following terms :—
1. To consider what joint action could be
taken to safeguard
(a) Titles.
(b) Subject matter.
2. The appointment of a joint board to pro-
tect the common interests of authors, manu-
facturers, and the film trade generally.
The secretary was instructed to send the
agenda round to all the bodies which had
signified their intention to be present.
A cable from the Society’s American agent
dealing with film rights was read to the sub-
committee, and Mr. Cecil Raleigh reported on
transactions which the agent had already
carried through on his behalf. It was decided,
as soon as Mr. Jordan arrived in England, to
call a special meeting of the Dramatic Sub-
Committee with a view to a discussion on the
sale of cinema rights, as Mr. Jordan had
stated that he had some important information
to lay before the sub-committee.
Mr. Raleigh then reported the action of the
Society in regard to ‘Sealed Orders,’”’ and
stated that the Society had obtained an
injunction on his behalf, and, at the same time,
a payment from the defendants towards the
costs. Mr. Raleigh expressed his thanks to
the Society for its assistance.
A proposal to raise a fighting fund for sup-
port of dramatic cases was carefully considered.
It seemed clear that there were so many issues
to be considered that it would be necessary to
appoint a sub-committee for the purpose.
Mr. Shaw, Mr. Raleigh and Mr. Chambers
consented to serve. It was decided to have a
meeting as early in May as possible.
As the matters before the sub-committee
had taken a considerable time to discuss it was
decided to adjourn the general discussion on
agents to another meeting.
The Society’s representative who was to
attend the Cinematograph Conference in Paris
regretted he had been unable to do so.
Two cases were then considered.
The first was in relation to a contract
carried through by the Society’s agent in
Holland. The sub-committee instructed the
secretary to write to the member concerned to
the effect that it was important that action
should betaken, andtothechairmanofthe Com-
mittee of Management to get their sanction,
186
subject to the member’s consent to action
being taken. o
Another question arising out of a dispute
on accounts was discussed. On_ the facts
before them, the sub-committee did not con-
sider that, at the present time, it was necessary
to appoint an accountant to investigate the
accounts.
—
Composers’ SuB-COMMITTEE.
Tur Composers’ Sub-Committee met at the
offices of the Society on Saturday, March 14,
at eleven o’clock. After the minutes of the
previous mecting had been signed, the secre-
tary read counsel’s opinion that had been
obtained, with the sanction of the Committee
of Management, on a question arising under
section 19 (7) (c) of the Copyright Act, 1911.
The question related to rights assigned to
publishers before the passing of the Act of
1911. The opinion, which was obtained from
Mr. E. J. MacGillivray, was a very interesting
one.
The next question dealt with the matter of
publishers’ contracts. The secretary reported
that he had received no answer to two letters
he had written to the Music Publishers’
Association. He was instructed to write again
and to press for a reply.
The secretary then drew the attention of the
sub-committee to the fact that Messrs.
Chappell & Co. were now manufacturing
mechanical instrument contrivances, and put
forward the suggestion that, as they were
making a profit as manufacturers of these
contrivances, they might not now think it
necessary to share in the composers’ fees.
The sub-committee then discussed the
question of publishers’ accounts. The secre-
tary explained the difficulties, both financial
and other, of putting in a chartered accountant
to check the accounts regularly. The sub-
committee were agreed that if any concrete
case came before them where the accounts
appeared to be inaccurate, they would advise
the Committee of Management to place in an
accountant. The matter was adjourned to
the next meeting for further consideration.
—_+——
Tue Pension FunNpD COMMITTEE.
The Pension Fund Committee met at the
offices of the Society on Tuesday, March 3.
After reading the minutes of the last
meeting the secretary made a full report of
THE AUTHOR.
the position of the fund. He stated that the
trustees had invested the sum of £350 in the
purchase of Great Eastern Railway Ordinary
Shares, and that, after consideration of the
income of the fund, had declared to the
committee that a further sum of £40 could be
used for pensions.
The committee formally approved the in-
vestments of the trustees for 1913 and 1914.
The secretary then reported that Mrs.
Francis Marshall, who is at present receiving
a pension from the Society, had applied for
an increase. After due consideration, and
subject to certain conditions, the committee
decided to increase the pension by an amount
of £15 per annum, bringing the total pension
up to £40 per annum.
— a
Cases.
DurineG the last month the secretary has
been very busy with cases coming into the
office and, in addition to matters which it has
been necessary to place in the hands of the
solicitors of the Society when immediate legal
action was imperative, has dealt with twenty-
two cases. They may be catalogued as
follows :—
8 claims for the return of MSS. ;
6 claims for money ;
3 claims for accounts and money ;
2 disputes on agreements ;
1 claim for infringement of copyright ;
1 claim for literary libel ;
1 claim for account.
Of the six claims for money, one has been
placed into the hands of the Canadian lawyers
and one has been placed in the hands of the
London lawyers. One will be placed in the
hands of the London lawyers in the course of
a few days, as no response whatever has been
made to the secretary’s letters. One case has
been completed and the money has been paid.
Of the two remaining cases, one has only
recently come to the office, and one lies in the
United States.
The claims for MSS. have been heavy. They
are always difficult to deal with. In only one
case has the MS. been collected. In one no
answer has been given to the secretary’s letter,
and it will most probably have to be placed in
the hands of the Society’s solicitors. In two
other cases the persons communicated with
have promised to make a diligent search and
write again. In two of the remaining no
answer has been given, and it is very probable
THE AUTHOR.
from the facts before the secretary that the
address of the delinquents being incorrect, it
will be impossible to obtain any satisfactory
reply. The last two have only recently come
to the office.
There have been three claims for accounts
and money. Two of these are against one
publisher. The cases against the firm are
adding up so rapidly that it may be necessary
to place them into the hands of the Society’s
solicitors after conferring with the committee.
A letter in reply is still wanting in the third
case, but the letter of demand has only just
been written.
In two eases of disputes on agreements, one
has been settled and one is still in the course of
negotiation.
One claim on infringement of copyright has
been settled.
One case of literary libel has been placed in
the hands of the Society’s solicitors. In a
demand for an account, the publisher has
written and promised to render it as soon as he
can get it out.
The settlement of these cases has so far not
been very satisfactory, but it is hoped that in
the May number it will be possible to report
that they have been terminated.
The disputes still outstanding from former
months have practically all been settled,
except those that are in foreign countries,
or those which necessarily need lengthy
negotiations.
March Elections.
Comtesse Irma Adel- Villa Riviera, Wies-
mann. baden.
Miss E. M. Evors
Harold J. Flowers
Hugo William Koch,
(“ Hugo W.’’).
F. Beverley Lanyon,
(of. B.L.”’).
George Morrow .
Miss Emily Newling
Eille Norwood
Ivor Novello
Mary O’Conor-Eccles
Miss Muriel O’Conor
Miss Nancy Margaret
Paul.
Marshall O. Roberts
F. J. St. Aubyn .
Hugh Stokes
Isabel Thorne . -
187
Lyceum Club,
Piccadilly, W.
Seagrave Rectory,
Loughborough.
44, Doughty Street.
London, W.C.
Evelyns, Hillingdon,
Uxbridge.
15, Penrith Road,
Keswick.
Little Marlow.
Hotel Russell, Dub-
lin.
30, Chester Street,
Grosvenor Place,
S.W.
Hazel Rough, Hart-
field, Sussex.
Easton, Grantham.
Lamb Building,
Middle Temple,
E.C.
77, Welbeck Street,
Cavendish Square,
W.
Burleigh, Tudor
Road, Upper Nor-
wood, S.E.
ee ee
BOOKS PUBLISHED BY MEMBERS.
A F, Britten Austin
1, Northgate End,
i Basil Dean
Bishops Stortford,
Herts.
c/o. Cox & Co., 16,
Charing Cross,
S.W.
19, Albany
Ealing.
Penrith New School,
Long Lane, Finch-
ley, N.
Lt. ©.
low.
A. L. Brown-
The Rev.
chanan.
Miss Frances N. Creaton
E. S. Bu- Road,
“* Custos” .
10, Abbey Court,
Abbey Road, N.W.
The Cobbles, Wal-
ton - on - the - Hill,
Surrey.
6, Portsdown Road,
W.
5, Fetter Lane, E.C.
Oscar F. Dowson
Jack Edwards .
David Delta Evans,
(‘‘ Dewi Hiraddug ’’).
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members, In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
ARCHAOLOGY.
DESCRIPTION OF THE TEST SPECIMEN OF THE RostRo-
Cartnate INDUSTRY FOUND BrneatH THE NorwicH
Crac. By Sir Ray Lanxester, K.C.B. (Occasional
Papers, No. 4.) 11 x 74. 18 pp. Three Plates. The
Royal Anthropological Institute of Great Britain and
Treland.
ARCHITECTURE.
A Snort Account of GREAT MALVERNE PRioRY CHURCH.
A History of the Monastery and Description of the
Fabric. By the Rev. AnTrHony CHARLES Drannz,
Vicar of Hampstead, sometime Vicar of Malvern. 74 x
5. 100 pp. (Bell’s Cathedral Series.) Bell. 1s. 6d. n.
188
GREEK SCULPTURE AN
delivered to the Stu
London. By Sir CHARLES
5}.
Press.
Our Lapy
208 pp. Arrowsmith. 1s. n.
BIOGRAPHY.
REMARKABLE WoMEN oF F
~.-CoL. ANDREW
353 pp. Stanley Paul.
Lir—E AND WRITINGS.
Constable, Is. n.
A Personal Study of James
By Liev
9 x 5}.
ToLsToy,
GaRNETT.
On THE LEFT oF A THRONE.
Duke of Monmouth. By Mrs. Evan NEPEAN.
Tilustrations.
CHILDREN oF THE DEap Enp.
By Patrick MAcGILL.
Tue SECRET OF CHARLOTTE BRONTE.
Reminiscences of the Real Monsieur and Madame Heger.
By Frepertka Macpona.p, D.Litt. 73 x 5}. 263 pp.
Jack.
Lives AND LeGEenps or EneuisH Sarsts. By L. M.
Methuen. 6s. n. 5
By Henry James. 9} 7k x 5. 404 pp. Putnam. 6s.
Navvy.
SHORTT.
Nores or A SON AND BROTHER.
x 53%. 479 pp. Macmillan.
A Gure to HistoricaL FICTION.
D.Litt.
Five Puays.
Grant Richards.
p MoprERN ABT. ;
poole gory 4 aoe ay 304 pp. Ward, Lock. 6s.
Conbud e University REBECCA OF THE Fetts. By Heten H. Warson.
i 8 8 x 5}. 388 pp. Religious Tract Society.
RANCE FROM 1431 To 1749.
Haaa@arp, D.§.0.
16s. ‘n.
By Lorp Dunsany.
THE AUTHOR.
A Girt rrom Mexico. By R. B. TownsHenp. 7} x 5.
; 314 pp. Methuen. 6s.
Two lectures tyre Cason HONEYMOON. By Heapon Hitt. 7} x 5.
THe Motor Maip. By C. N. and A. M. Witxramson.
4 r Forniss. 7 X 43. : :
By Haray Fuenis 2 309 pp. Tur Man rrom Curpin’s River, on WHERE
MEN aRE Mapr. By D. Mactan. (Cheap Reprints.)
7i x 4}. 280 pp. Hodderand Stoughton. 1s. n. each.
Tur Para to Honour. By Sypney C. Grier. (Cheap
Reprint.) 74 x 5. 329 pp. Blackwood. 1s. n,
Tur Lapy Next Door. By Haroxtp Becsiz. 74 x 5.
160 pp. Popular Edition. Hodderand Stoughton. 1s. n.
THE QUEEN’S QuarR. 384pp. OpENCounTRY. 256 pp.
RicHaRD YEA-AND-Nay. 256 pp. Lirrte Nove.s oF
By Epwarp
36 Ivary. 256 pp. THe Hatr-Way House. 256 pp.
Lane. 10s. 6d. n. All by Mauricz Hewett. (New Sevenpenny Series.)
The Autobiography of a 64 x 44. Macmillan.
7% x 5. Jenkins. 6s. THE ULSTERMAN. _AStory of To-day. By F. FRankrort
Followed by Some Moorr. 7? x 5. 323 pp. Hutchinson. 6s.
Time anp Tuomas Waring. By Moruey Roserts.
7k x 5. 365 pp. Nash. 6s.
Tue PripE oF THE Fancy. By G. Epear. 74 x 5}.
386 pp. Mills and Boon. 6s.
CarMEN AND Mr. Dryaspust. By Humrrey JoRDAN.
Tue Frourrs or tHe Morrow. By AGNES JACOMB.
72 x 5. 319 pp. Methuen. 6s.
BOOKS OF REFERENCE. Two Women. By Max Pempertron. 72 x 5. 314 pp.
By E. A. Baker. Methuen. 6s.
Routledge. 2ls.n, A Heater Mixture. By Morice Gurarp. 7} X 5.
319 pp. Hodder and Stoughton. 6s.
Pua@se Maroon. By Mary F. Rapuarr. 7} X 5.
7% x 5. 111 pp. 317 pp. Heath, Cranton, and Ouseley. 6s.
SunsHine. The Story of a Pure Heart. By Mary
OprensHaw. 7} X 5. 318 pp. Heath, Cranton and
EDUCATIONAL. : :
Tur Scnootmaster. A Commentary upon the Aimsand ,, Ouseley. 6s. . g
Methods of an Assistant-Master in a Public School, GtBERT Ray. By Mrs. E, Hucues-Gins. 7} x 95.
By A. ©. Benson. Third Edition. 7} x 5. 173 pp. 331 pp. Heath, Cranton and Ouseley. 65. _
Murray. Gorxe Some. A Romance of Strenuous Affection. By
, Rex Beacu. 256 pp. THe Aurar Stairs. By G. B.
Tae Brasts, Brrps AND BreEs or Vinci: A NATURALIST’S
HANDBOOK TO THE GEORGICS.
Royps, M.A., B.D.
Fowuer, Oxford.
JEHHANE OF THE ForEST.
315 pp. Melrose.
Ir Witt se Att Rieu.
336 pp. Hutchinson.
Tue Sea Caprain.
Methuen.
SHREWSBURY.
Tar Granp Basyton Horst.
Running WATER.
320 pp. THe WHEELS OF CHANCE.
Brug Lagoon.
287 pp.
297
PoTTEeR AND CLAY.
Biackiaw. By Sr Georce MAxKGILy.
‘THE BRIDGE.
Fisher Unwin.
By Tuomas FLETCHER
With a Preface by W. WarDE
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Mrs. ALFRED SIDGWICK.
Library.)
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'
i
i
THE AUTHOR. 189
LITERARY.
An ENGLISHMAN Looks aT THE WoRLD. By H. G. WELLS.
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THALL. § x 54. 216 pp. Dent. 5s. n.
MUSIC.
BuLuEBEARD. A Musical Fantasy. By Kate Dovcias
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June, 1913. By D. Marcorrouts, D.Litt., Laudian
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Hibbert Lectures, Second Series.) 83 x 5}. 265 pp.
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People. By Esmé WINGFIELD-StRaTFoRD. 7} x 4}.
120 pp. Bell. 1s. n.
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SCIENCE.
Wrretess TeLtecrapHy. A Handbook for the Use of
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Lup Makers AND CLUB Members. By T. H.S. Escort.
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Waite Suaves or Tom. By W. N. Wiis. 7} x 5.
208 pp. Pearson. Is. n.
Lire-THEORY AND SocraLism. Essays by O. C. Ironsipe.
7 x 43. 96 pp. Milner. 6d.
THEOLOGY.
Some Counssts or S. Vincent De Pau, to which is
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Superior of the Sisters of Charity). Translated and
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Methuen. 12s. 6d. n.
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Se ee
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
+
= ‘OTES of a Son and Brother” is the
title of Mr. Henry James’s sequel to
““A Small Boy and Others”; a
continuation of his early reminiscences, with
special reference to his father and to William
James, but containing many portraits of other
members of the family and the circle. The
book is published by Macmillan & Co. at 12s.
Volumes XIII. and XIV. of the Bombay
edition of Mr. Rudyard Kipling’s works are to
be published this month by Macmillan. They
will contain “ The Day’s Work ”’ and “ Stalky
& Co.”
From the same firm of publishers there is to
be expected, in May, Mr. H. G. Wells’s work,
which is running scrially in the English Review
—‘‘ The World Set Free, a Story of Mankind.”
The title of Mr. Frankfort Moore’s new book
—‘* The Ulsterman ’’—indicates its relation to
the question of the hour. Though in the guise
of fiction, it presents a serious portrait of the
men who have now the eyes of the world upon
them (Hutchinson & Co.).
Mr. Douglas Sladen’s ‘“‘ Twenty Years of
My Life ’’ is announced by Constable & Co.
The subject of Mrs. Evan Nepean’s ‘* On the
Left of the Throne”’ is the unhappy James,
Duke of Monmouth, whom the author tries to
see “through the eyes of the two people who
knew and loved him better than anyone else
in the world, Charles II. and Henrietta Lady
Wentworth,” though without idealising him.
A feature of the book is the very large number
of Monmouth portraits which illustrate it,
Mrs. Nepean frankly confessing her pleasure
in his good looks (John Lane, 10s. 6d. net).
“Children of the Dead End, the Auto-
biography of a Navvy” is by Mr. Patrick
MacGill, who in a foreword says that most of
his story is autobiographical, but asks a little
allowance for the pen of the novelist. Ireland
190
and Scotland provide the scene of the greater
part of the book, there is a short interlude in
Fleet Street, and the story ends tragically in
Glasgow (Herbert Jenkins). : (
“Ravenna” is a geographical, historical,
and critical study of the great Italian city
which the author, Mr. Edward Hutton, calls
the only remaining monument of the Dark
Age—the period between Antiquity and the
Middle Age (Dent, 10s. 6d. net). :
Mr. Ernest A. Baker’s ‘‘ Guide to Historical
Fiction” (Routledge, 21s. net) follows the lines
of his ‘‘ Guide to the Best Fiction in English,”
and is much more than an enlargement of his
earlier ‘‘ History in Fiction,” we are told.
The second section of Dr. Edwin A. Abbott’s
work, ‘‘ The Fourfold Gospel,”’ has been issued
by the Cambridge University Press at 12s. 6d.
net. It is part of the close and voluminous
examination of the text of the Christian
Gospels and its interpretation, on which Dr.
Abbott has long been engaged.
Dr. Charles Sarolea is the editor of the
Collection Gallia” (Dent & Sons), the object
of which is to spread the best French literature
at a low price throughout the world. The first
volumes include works by Balzac, Flaubert,
Pascal, de Musset, etc.
To the volume ‘‘ With Hunter, Trapper and
Scout in Camp and Field”’ a story entitled
“War Scouts at Tripoli” is contributed by
Miss Ena Fitzgerald (Holden and Hardingham,
5s. net).
‘Simplified Spelling,” described as an
appeal to common sense, is the third edition
of a paper-covered booklet issued by the
Simplified Spelling Society—as it spells itself
on cover and title-page. Professor Gilbert
Murray is the President—or Prezident—of the
reformers.
Four reprints of Miss Belham-Edwards’
works have appeared within the last few
months, notably that of her first novel, ‘‘ The
White House by the Sea” (1857), lately
republished by Baron Tauchnitz and Collins,
Glasgow, and ‘“‘ The Lord of the Harvest ”
(1889), added to the Oxford Press ‘‘ World’s
Classics,” 1918, with a preface by Mr.
Frederic Harrison.
The same writer’s ‘ Pearla ’’—published
simultaneously in London, Leipzig and New
York (Harper) in 1881—was lately re-issued in
Arrowsmith’s tasteful 1s. novel series, and
the seventh and popular edition of her “* Home
Life in France’ has just appeared from the
house of Methuen.
A new edition (among others forthcoming) of
a very early novel will also be published shortly
THE AUTHOR.
This is ‘‘ Doctor Jacob,”
the proofs of which were corrected by the
author on the wedding day of Edward VII.
and Queen Alexandra, March 10, 1868, and
which was published the following year. The
book went out of print with the “ yellow-
backs ’’ in 1894 or thereabouts, but has since
by a famous house.
been often reprinted by Baron Tauchnitz. It
will be seen, therefore, that this early Victorian
has no reason to complain of neglect by
Georgian publishers and readers.
“* Acute General Miliary Tuberculosis ”’ is
the name of a work by Professor G. Cornet, of
Berlin and Reichenhall, translated by Mr.
F. S. Tinker, late Senior Resident and Oph-
thalmic Assistant to the Royal Infirmary,
Liverpool (Bale, Sons, and Danielsson, 6s.
net).
A sevenpenny edition of Mr. Charles.
Garvice’s ‘‘ Better than Life ’’ was published
last month by Hodder and Stoughton.
K. L. Montgomery’s forthcoming romance,
‘“* Kars of Leather,’ will be published by John.
Long, Ltd. ‘‘ Ears of Leather” deals with
the witch persecutions of Massachusetts in
1692, which the historian Lecky has styled
“one of the tragedies of humanity.” K. L..
Montgomery has been recently engaged on a
series of articles on North Italian cities, for:
The Car Illustrated.
Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe
Maroon,”’ a story dealing with the life of an
artist’s model, was published last month by
Heath, Cranton, and Ouseley.
Mrs: F. R. M. Fursdon’s novel, ‘‘ The Story
of Amanda,’ will be published in May by
Simpkin, Marshall, Hamilton, Kent & Co.
The prologue gives Amanda’s peculiar parent--
age; and the book, her transitions from
childhood in the slums of a provincial city to
life in a big country house during a General
Election.
Mr. G. B. Lancaster’s earlier stories of the
South Seas, ‘‘ Sons 0’ Men” and ‘“‘ The Altar
Stairs,” have been published in a shilling
edition by Hodder and Stoughton, who are
bringing out a third, “‘ The Spur,” later in the
year.
The new number of Poeiry and Drama,.
edited by Mr. Harold Monro, includes poems
by Messrs. Maurice Hewlett, Ezra Pound, etc.
The Poetry Bookshop, which publishes this
quarterly, has issued a shilling anthology of
the Italian Futurist poets, compiled by Mr..
Monro.
The spring announcements of Constable &.
Co. include “‘ Cuddy Yarborough’s Daughter,”
by Miss Ura L. Silberrad; ‘‘ Dust from the-
THE AUTHOR.
Loom,” by Mr. James Noble; and a second
impression of ‘‘ The Making of an Englishman,”’
by Mr. W. L. George.
Miss Beatrice Chase’s Devonshire novel,
**The Heart of the Moor,” has appeared with
a prefatory note by the publisher, Mr. Herbert
Jenkins, who explains how not only his four
expert readers, but he himself, were compelled
to defer their opinions to the author’s with
regard to the book.
Miss Jean Middlemass’s new serial, ‘‘ His
Lordship’s Will,” is to appear in the news-
papers connected with the National Press
Agency next year.
K. M. Edge (Mrs. Caulfield) has published
her novel “Through the Cloudy Porch”
through John Murray.
Mrs. Helen H. Watson’s ‘‘ Rebecca of the
Fells,’’ published by the Religious Tract
Society, opens on the Lancashire Fells, whence
the reader is taken to British Columbia. The
same author’s “* When the King Came South,”’
is being added to the Leisure Hour Monthly
Library (6d.).
Mr. Edward Wilmore, author of ‘“ East
London Visions,’’ has a new book, ‘‘ Scril, a
Story of the Stone Age ” (Longmans, Green &
Co., 1s.).
‘** Miss Rossiter’s Reputation,”’ being an ex-
posure of the narrowness and bigotry of
English provincial life, by Mr. E. Newton
Bungay, is to be published next month by
Lynwood & Co.
Mr. John Haslette, who has a serial running
in the Daily News, has written a novel, which
will be published this spring by Messrs. Smith,
Elder & Co. The title is ‘‘ Johnnie Maddison,”’
and the story deals with a man’s struggle
against the convention which holds that a
man should not “ tell on ”’ a friend.
Mrs. R. E. Salwey’s new novel is the story
of a youngster, well placed in life, and en-
dowed with great physical strength, who
puts his instructors to flight by intimidation.
Eventually the right man takes him the right
way. The education lasts one day; after
that it is self-education, and the real goodness
of the hero’s nature comes out (Digby, Long &
Co., 6s.).
A new novel, entitled ‘“‘ Megan of the Dark
Isle,” by Mrs. J. O. Arnold, author of ‘‘ The
Fiddler,” ete., will shortly be published by
Alston Rivers. The scene is laid in the Island
of Anglesey.
Early this month is to be published a
monthly magazine, The Photo-Play Writer,
aiming to give practical information to both
beginners and experts in the rapidly increasing
191
body of British authors writing plays for the
picture theatres. The editor is Mr. Ernest A.
Dench, and the magazine may be obtained
from 17, Frederick Crescent, Brixton, by
subscription only.
A new (acting) version of I. Hearne’s play
“Queen Herzeleid,’’ is being published this
month under the title of “The Mother of
Parsifal ”’ (David Nutt).
There will be a long Elizabethan poem by
Dorothy Margaret Stuart in the May Pall
Mall Magazine, entitled “Spring in the South
Seas, 1572.”
Messrs. Methuen are publishing early in
April a sezies of letters written by Miss Grace
Ellison, and entitled ‘‘Life in a Turkish
Harem.”
DRAMATIC.
** The Quod Wrangle,”’ a farcical comedy by
Mr. Oliphant Down, was presented at the
Apollo Theatre on March 38.
Mr. Seymour Hicks’s one-act musical play,
‘*The Model and the Man” was put on as
curtain-raiser at the Prince of Wales’s Theatre
on March 4.
The first performance of Mr. Alfred Sutro’s
new comedy, “‘ The Two Virtues,” took place
at the St. James’s Theatre on March 5.
On March 10 Mr. Edward Knoblauch’s
** ¥ismet ”’ was revived at the Globe Theatre.
‘* After Twenty Years,’’ a short sketch by
Miss Cicely Hamilton, was seen at the Coronet
Theatre on March 12, the author herself taking
the part of the mother.
Two afternoon performances took place at
the Court Theatre on March 27 and 80 of a
play founded by Mr. H. J. Twyford on Mrs.
Charlotte Mansfield’s ‘“* The Girl ana the Gods.”
‘* Helen with the High Hand,” Mr. Richard
Price’s adaptation of Mr. Arnold Bennett’s
novel, was visited last month by the celebrated
‘* deportes ’’ from South Africa.
Mr. Bernard Shaw’s ‘‘ Pygmalion” is in
rehearsal at His Majesty’s Theatre, and the
first night is fixed for the 11th instant.
Mrs. Percy Dearmer’s “‘ Brer Rabbit: a
Musical Frolic ”’ is to be seen at five matinées
at the Little Theatre, commencing on Easter
Monday.
Sir Edward Elgar will this summer lay the
foundation stone of the Glastonbury Festival
Playhouse, which is to be built primarily for
British music-drama, including the Arthurian
eycle, composed and written by Messrs.
Reginald R. Buckley and Rutland Boughton.
‘** Caprice ’’ by Mrs. V. C. Greenaway is the
title of a one-act play which was produced by
190
and Scotland provide the scene of the greater
part of the book, there is a short interlude in
Fleet Street, and the story ends tragically in
Glasgow (Herbert Jenkins). :
“Ravenna” is a geographical, historical,
and critical study of the great Italian city
which the author, Mr. Edward Hutton, calls
the only remaining monument of the Dark
Age—the period between Antiquity and the
Middle Age (Dent, 10s. 6d. net).
Mr. Ernest A. Baker’s ‘‘ Guide to Historical
Fiction ” (Routledge, 21s. net) follows the lines
of his ‘‘ Guide to the Best Fiction in English,”
and is much more than an enlargement of his
earlier ‘‘ History in Fiction,”’ we are told.
The second section of Dr. Edwin A. Abbott’s
work, ‘‘ The Fourfold Gospel,” has been issued
by the Cambridge University Press at 12s. 6d.
net. It is part of the close and voluminous
examination of the text of the Christian
Gospels and its interpretation, on which Dr.
Abbott has long been engaged.
Dr. Charles Sarolea is the editor of the
«Collection Gallia’? (Dent & Sons), the object
of which is to spread the best French literature
at a low price throughout the world. The first
volumes include works by Balzac, Flaubert,
Pascal, de Musset, etc.
To the volume ‘‘ With Hunter, Trapper and
Scout in Camp and Field”’ a story entitled
‘‘War Scouts at Tripoli” is contributed by
Miss Ena Fitzgerald (Holden and Hardingham,
5s. net).
‘Simplified Spelling,” described as an
appeal to common sense, is the third edition
of a paper-covered booklet issued by the
Simplified Spelling Society—as it spells itself
on cover and title-page. Professor Gilbert
Murray is the President—or Prezident—of the
reformers.
Four reprints of Miss Belham-Edwards’
works have appeared within the last few
months, notably that of her first novel, “* The
White House by the Sea” (1857), lately
republished by Baron Tauchnitz and Collins,
Glasgow, and ‘‘ The Lord of the Harvest ”’
(1889), added to the Oxford Press ‘* World’s
Classics,” 1918, with a preface by Mr.
Frederic Harrison.
The same writer’s ‘* Pearla ’—published
simultaneously in London, Leipzig and New
York (Harper) in 1881—was lately re-issued in
Arrowsmith’s tasteful 1s. novel series, and
the seventh and popular edition of her “‘ Home
Life in France”’ has just appeared from the
house of Methuen.
A new edition (among others forthcoming) of
a very early novel will also be published shortly
THE AUTHOR.
by a famous house. This is “‘ Doctor Jacob,”
the proofs of which were corrected by the
author on the wedding day of Edward VII.
and Queen Alexandra, March 10, 1863, and
which was published the following year. The
book went out of print with the “ yellow-
backs ”’ in 1894 or thereabouts, but has since
been often reprinted by Baron Tauchnitz. It
will be seen, therefore, that this early Victorian
has no reason to complain of neglect by
Georgian publishers and readers.
** Acute General Miliary Tuberculosis ”’ is
the name of a work by Professor G. Cornet, of
Berlin and Reichenhall, translated by Mr.
F. S. Tinker, late Senior Resident and Oph-
thalmic Assistant to the Royal Infirmary,
Liverpool (Bale, Sons, and Danielsson, 6s.
net).
A sevenpenny edition of Mr. Charles.
Garvice’s ‘‘ Better than Life’ was published.
last month by Hodder and Stoughton.
K. L. Montgomery’s forthcoming romance,
‘‘ Ears of Leather,” will be published by John.
Long, Ltd. ‘‘ Ears of Leather” deals with.
the witch persecutions of Massachusetts in
1692, which the historian Lecky has styled
‘‘one of the tragedies of humanity.” K. L..
Montgomery has been recently engaged on a
series of articles on North Italian cities, for
The Car Illustrated.
Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe
Maroon,”’ a story dealing with the life of an
artist’s model, was published last month by
Heath, Cranton, and Ouseley.
Mrs: F. R. M. Fursdon’s novel, “* The Story"
of Amanda,” will be published in May by
Simpkin, Marshall, Hamilton, Kent & Co.
The prologue gives Amanda’s peculiar parent--
age; and the book, her transitions from
childhood in the slums of a provincial city to
life in a big country house during a General
Election.
Mr. G. B. Lancaster’s earlier stories of the
South Seas, ‘‘Sons 0’ Men” and “ The Altar
Stairs,” have been published in a shilling:
edition by Hodder and Stoughton, who are
bringing out a third, “‘ The Spur,”’ later in the
year.
The new number of Poetry and Drama,.
edited by Mr. Harold Monro, includes poems
by Messrs. Maurice Hewlett, Ezra Pound, etc.
The Poetry Bookshop, which publishes this
quarterly, has issued a shilling anthology of”
the Italian Futurist poets, compiled by Mr..
Monro.
The spring announcements of Constable &:
Co. include *“* Cuddy Yarborough’s Daughter,”
by Miss Ura L. Silberrad; ‘‘ Dust from the-
THE AUTHOR.
Loom,”’ by Mr. James Noble; and a second
impression of ‘‘ The Making of an Englishman,”’
by Mr. W. L. George.
Miss Beatrice Chase’s Devonshire novel,
“The Heart of the Moor,” has appeared with
a prefatory note by the publisher, Mr. Herbert
Jenkins, who explains how not only his four
expert readers, but he himself, were compelled
to defer their opinions to the author’s with
regard to the book.
Miss Jean Middlemass’s new serial, ‘‘ His
Lordship’s Will,” is to appear in the news-
papers connected with the National Press
Agency next year.
K. M. Edge (Mrs. Caulfield) has published
her novel “Through the Cloudy Porch”
through John Murray.
Mrs. Helen H. Watson’s ‘‘ Rebecca of the
Fells,’ published by the Religious Tract
Society, opens on the Lancashire Fells, whence
the reader is taken to British Columbia. The
same author’s ‘‘ When the King Came South,”
is being added to the Leisure Hour Monthly
Library (6d.).
Mr. Edward Wilmore, author of ‘* Kast
London Visions,’’ has a new book, “ Scril, a
Story of the Stone Age ’’ (Longmans, Green &
Co., ls.).
‘* Miss Rossiter’s Reputation,”’ being an ex-
posure of the narrowness and bigotry of
English provincial life, by Mr. E. Newton
Bungay, is to be published next month by
Lynwood & Co.
Mr. John Haslette, who has a serial running
in the Daily News, has written a novel, which
will be published this spring by Messrs. Smith,
Elder & Co. The title is ‘‘ Johnnie Maddison,”’
and the story deals with a man’s struggle
against the convention which holds that a
man should not “ tell on ”’ a friend.
Mrs. R. E. Salwey’s new novel is the story
of a youngster, well placed in life, and en-
dowed with great physical strength, who
puts his instructors to flight by intimidation.
Eventually the right man takes him the right
way. The education lasts one day; after
that it is self-education, and the real goodness
of the hero’s nature comes out (Digby, Long &
Co., 6s.).
A new novel, entitled ‘“‘ Megan of the Dark
Isle,” by Mrs. J. O. Arnold, author of ‘‘ The
Fiddler,’ etc., will shortly be published by
Alston Rivers. The scene is laid in the Island
of Anglesey.
Early this month is to be published a
monthly magazine, The Photo-Play Writer,
aiming to give practical information to both
beginners and experts in the rapidly increasing
191
body of British authors writing plays for the
picture theatres. The editor is Mr. Ernest A.
Dench, and the magazine may be obtained
from 17, Frederick Crescent, Brixton, by
subscription only.
A new (acting) version of I. Hearne’s play
*“ Queen Herzeleid,”’ is being published this
month under the title of ‘‘ The Mother of
Parsifal ’’ (David Nutt).
There will be a long Elizabethan poem by
Dorothy Margaret Stuart in the May Pail
Mall Magazine, entitled “Spring in the South
Seas, 1572.”
Messrs. Methuen are publishing early in
April a sezies of letters written by Miss Grace
Ellison, and entitled ‘‘Life in a Turkish
Harem.”
DraMatTIc.
‘** The Quod Wrangle,”’ a farcical comedy by
Mr. Oliphant Down, was presented at the
Apollo Theatre on March 3.
Mr. Seymour Hicks’s one-act musical play,
‘The Model and the Man” was put on as
curtain-raiser at the Prince of Wales’s Theatre
on March 4.
The first performance of Mr. Alfred Sutro’s
new comedy, “ The Two Virtues,” took place
at the St. James’s Theatre on March 5.
On March 10 Mr. Edward Knoblauch’s
‘** }fismet ”’ was revived at the Globe Theatre.
** After Twenty Years,’’ a short sketch by
Miss Cicely Hamilton, was seen at the Coronet
Theatre on March 12, the author herself taking
the part of the mother.
Two afternoon performances took place at
the Court Theatre on March 27 and 30 of a
play founded by Mr. H. J. Twyford on Mrs.
Charlotte Mansfield’s ‘“* The Girl ana the Gods.”’
‘** Helen with the High Hand,” Mr. Richard
Price’s adaptation of Mr. Arnold Bennett’s
novel, was visited last month by the celebrated
‘* deportes ’’ from South Africa.
Mr. Bernard Shaw’s ‘“ Pygmalion” is in
rehearsal at His Majesty’s Theatre, and the
first night is fixed for the 11th instant.
Mrs. Percy Dearmer’s ‘‘ Brer Rabbit: a
Musical Frolic ’’ is to be seen at five matinées
at the Little Theatre, commencing on Easter
Monday.
Sir Edward Elgar will this summer lay the
foundation stone of the Glastonbury Festival
Playhouse, which is to be built primarily for
British music-drama, including the Arthurian
cycle, composed and written by Messrs.
Reginald R. Buckley and Rutland Boughton.
‘** Caprice” by Mrs. V. C. Greenaway is the
title of a one-act play which was produced by
192
West End Productions, Limited, on March 11,
at the London Pavilion. The play deals with
the action of a young wife who leaves her cold-
hearted husband for a warm-hearted lover,
‘only to discover that she loves her husband
better than she had imagined, and eventually
returns to him.
Musica.
Messrs. Curwen & Sons have published
“A Federal Song ” for unaccompanied chorus,
written by Mr. Reginald R. Buckley and
composed by Mr. Edgar L. Bainton.
‘Men of Ulster ” is the name of a new song,
of which both the words and the music are by
Mr. Rowland R. Gibson.
—————01— > o__—_
PARIS NOTES.
ras
a A REVOLTE des Anges ”’ is the title
of the book just published by
Anatole France.
its thirty-third edition.
“‘Chyistianisme et Culture Féminine,” by
Lucie Félix-Faure Goyau, is a volume pub-
lished since the death of this author. It contains
a series of chapters on various subjects and,
as we are told in the preface by her husband,
had Madame Goyau been spared, we should
probably have had another chapter forming a
general study of the subjects treated in this
volume. The first five chapters are devoted
to the history of Radegonde, the romantic
story of the young girl who was married against
her wish to Clotaire, and who, after the murder
of her brother by her husband, took refuge in
a convent. Madame Goyau shows us, in
these chapters, the culture of convent women
in the sixth century, and we see in Radegonde
the earliest of the women poets of France.
‘The next ten chapters treat of the culture of
women of the Middle Ages. The first French
authoress was Dhuoda, Duchess of Aquitaine,
who wrote a book for her sons, inspired as she
was by great grief, after having her second son
taken away from her by her husband and not
being allowed to know by what name the child
was to be called. Dhuoda died in 1843.
Madame Goyau gives us many examples,
showing the remarkable culture of women in
the Middle Ages and during the Renaissance.
The second part of this volume is devoted to
the mysticism of women and, in the last
chapters, we have a remarkable study of
Juliane of Norwich, an English recluse of the
It is already in
THE AUTHOR.
fourteenth century. The whole volume is
written with that scholarly precision and
conscientiousness which were always such
marked features of this author’s works.
Thanks to her knowledge of foreign languages,
Madame Goyau was able to draw her examples
from many sources. She was a great optimist
and a gifted psychologist. On closing the
book, one can only regret the ‘“ unwritten
chapter,” which was to have united all these
separate studies. a
After ‘‘ Napoléonette,”’ Gyp gives us another
of her historical novels: ‘‘ La Dame de Saint-
Leu.” Her documentation is as fictitious as
her fiction, but Gyp’s dialogue is always
amusing. English readers will recognise in
the Baronne de Feuchéres, the famous Sophie
Dawes, that English adventuress about whom
so much has been written. Napoléonette
reappears in this novel, but she is now the
mother of four boys. Gyp’s story begins in
1824, and her chief personage is the last of
the Condés, the Duc Louis-Henri-Joseph de
Bourbon, who is found dead in his room at
Saint-Leu a few weeks after the July revolu-
tion of 1830. It will be as well for foreign
readers to remember that the book is fiction
and not history.
‘““ Nous, les méres,”’ the new novel by Paul
Margueritte, is a story very true to life. It is
the eternal history of a devoted mother who
sacrifices her whole existence to her husband
and children. When, as a widow, she might
expect some return from her children for her
devotion to them, her daughter is with her
husband in Russia, and her son and daughter -
in-law expect from her the last sacrifice
possible. ‘To save their honour, she sells her
home and retires to a little house in the country
to live out the rest of her lonely life. With all
the delicacy of a clever psychologist, Paul
Margueritte tells this story simply and shows
us all the pathos and reality of it.
“Le Monde des Aveugles,” par Pierre
Villey, is a valuable addition to the Bibliotheque
de Philosophie Scientifique. It is written by
a man who is blind and who, in spite of this
terrible affliction, pursues his studies, is
extremely intellectual, and has given to the
world the result of his valuable historical
researches. M. Villey writes on the subject of
the intelligence and the psychology of the
blind man. He shows us how the other senses
should be educated and rendered capable to
compensate, in a certain measure, for the lack
of the visual sense. The author shows us how
it is possible for blind men to be interested in
travel, in nature, and in all the arts except :
THE AUTHOR.
painting, so that it is quite possible for them
to earn their living and to take their place in
“the world. The book is extremely interesting
and should be widely read.
“‘Le Bourgeois aux champs,” by M. Bricux,
is being played at the Odéon. A retired
barrister, who is a Socialist, buys an estate
and endeavours to introduce new ideas in the
country. The villagers have very little faith
in his innovations. Disappointed on every
side, the would-be Socialist decides to enter
Parliament. M. Brieux expresses, by his
various personages, his opinions on the political
and social problems of our times.
The ‘‘ Little English Theatre ’’ is mecting
with great appreciation here, and Mr. Philip
Carr may be congratulated on his venture.
Two of Synge’s plays and one_ of Bernard
Shaw’s drew a large public. M. Poincaré
requested that a box might be reserved for
him, the American Ambassador and his family
occupied another one, and the Dowager
Duchess d’Uzés a third. Among those present
were Monsicur and Madame Boutroux, the
Marquise de Ségur and many notabilities of
the French literary world.
Axrys HAaiarp.
“La Révolte des Anges”? (Calmann-Levy).
“ Christianisme et Culture Féminine” (Perrin).
“ Napoléonette” (Calmann-Levy).
“ Nous, les méres” (Plon).
“Le Monde des Aveugles” (Flammarion).
—__—_+—_>_+____—__-
PUBLISHERS’ METHODS.
DEFERRED ROYALTIES.
N the early days of the Society it was by no
means an uncommon practice for publishers
to purchase authors’ works outright for a lump
sum. Indeed, the practice, though less prevalent
than it once was, still obtains, especially in con-
nection with a certain class of book—notably
children’s. It is not a method of publication to
which any author should assent, first, because it
is almost impossible for him to estimate the value
of his work beforehand; and, secondly, because
under it he loses practically all control over his
work, which the purchaser may hold up or publish
according to his own convenience, and in many cases
to the great: inconvenience of the author. Old books,
with the copyright of which their authors have
parted, have, before now, been known to re-appear
on the market in time to damage the sale of the
writer’s more mature work.
But it is rather with financial considerations
193
that we would deal in this article. Given a°
royalty agreement, the author is able, if he seeks
the advice of the Society, to insure getting a share
in the success of his work, if such success, in the
form of large sales, awaits it. Unfortunately there
are both good and bad royalty agreements, and
those latter royalty agreements are often deferred
royalty agreements.
Under a deferred royalty |
agreement the author may—in practice, very
often does—get nothing. ‘This method of pub-
lishing is not uncommon. ‘Though a suit-
able arrangement can be come to on the deferred
royalty basis, still,,in nine cases out of ten, the
contract is to the disadvantage of the author.
The publisher, eloquent on the subject cf the risk
incidental to the publication, persuades the author
to let him have the first 500, 750, or even
1,000 copies of his book “free of royalty.” To
make the agreement fair, after these sales the
author ought to have a proportionately higher
royalty and the publisher less profit, because he
has recovered his outlay, and there is no further risk
to be run.
After that number has been sold, the author
receives 10 per cent., 124 per cent., or even
15 per cent. Somehow or other the book seldom
sells beyond the number on which no royalty
is payable, and the larger the number free of
royalty the less likelihood is there of an increasing
sale; indeed, one publisher who had the free
sale of 1,000 copies, printed that number and
then broke up the type. But even if he had printed
more than the number free of royalty, it does not
then follow that the author will receive anything.
For example, assuming 750 is the number on whicn
the publisher pays no royalty, he will print an
edition of 1,000 copies. After the 750 copies have
been sold, he will discover that the sale is beginning
to drop. Deducting the review copies (say 100)
the publisher is left with 150 copies on hand. If
he is to sell these at the full published price, he
may have to incur additional advertisement expendi-
ture from his point of view quite incommensurate
with the returns from the sales. Rather than do
this, he sells the book as a “ remainder,” interpreting
the term ‘ remainder sale” to cover any sale at less
than what he calls “the usual trade terms,” and
by a clause he has been careful to insert in the
agreement, pays the author 5 per cent. on the
nett proceeds. It may often pay the publisher to
sell the book thus cheaply, rather than to sell it at
“the usual trade terms,” with the obligation to
pay the author the royalty mentioned in the agree-
ment. But if the publisher has put the author's
royalty after the free sales as high as 20 per cent.
or 25 per cent., the temptation to remainder the
book is obvious. In short, what the publisher
loses by selling the book as a “remainder” he
194
may easily recover at the expense of the author's
royalty.
This does not necessarily happen; much must
depend upon the publisher, and the aphorism
<* business is business,’ undergoes different inter-
pretation at different hands.
However, an agreement has been brought to the
Society providing for a royalty even more deferred
than has been indicated by the figures above. The
clause runs :—
‘All copies sold of the said work within twelve months
of the date of publication shall carry no royalty to the
author, but on all copies sold after the expiration of the
first twelve months after publication the publisher agrees
to pay to the author and the author agrees to accept a
royalty of . . . of the nominal published price on sales of
the 6s. edition. and a royalty of 7% per cent. of the nominal
published price on the sales of any cheaper edition or
editions.”
Now all publishers assert that the largest sales
of a novel occur either on subscription before
publication, or within the first four months after
publication. Most publishers will inform an
author that a book is dead at the end of six
months, and all publishers will inform an author
that the ordinary novel is dead at the end of
twelve months, unless for some special reason
the vitality of a book carries it forward for
two or three years, or, perhaps, even longer.
Therefore, when a publisher puts a clause of
this kind into an author’s agreement, he must
know that to all intents and purposes he is asking
the author to give him the book for nothing, and
most publishers, if they were asked to answer on
oath in the witness-box, would corroborate this
statement. It is quite true that if the author
desires to give the publisher his work for nothing,
there is nothing to prevent him from doing so,
but it is a question as to how far, when a pub-
lisher inserts such a clause in his agreement, he
is bound to explain the effect of it to the author
—to the author who is most probably ignorant of
the fact that the ordinary novel is dead in six
months.
But there is this further difficulty, that the
authors’ and the publishers’ interests are not in
common ; that there is no stimulus whatever for
the publisher to push the book beyond the first
twelve months if it has had anything like an
ordinary sale. In fact there is every reason why
he should not do so. A publisher’s object is
naturally to turn over his capital, and to make a
percentage on it; when this object has been
obtained, it may often be good tactics to take the
book off the market, to make way for new books
that are constantly coming forward. It is often
more remunerative for the publisher to act thus
than to expend labour in pushing the author's work
into another edition of 1,000 or 2,000 copies.
THE AUTHOR.
THE U.S.A. AND CUSTOM DUTIES.
Boarp oF APPRAISERS HOLDS THAT THE
Royatty ON Booxs ImportTeD IN SHEETS
1s Not Part oF THE ForEIGN MARKET
VALUE.
Tr an important test case standing in the
name of E. B. Dutton & Co., the Board
of United States General Appraisers
rendered a decision favourable to the Dutton
Company. The precise question before the
Board was whether a royalty of 10 per cent.
of the retail price of a bound book was to be
included as a part of the foreign market value
of the printed unbound sheets of such book.
It appeared from the testimony that Dutton
& Co. ordered the unbound sheets with the
intention of binding the books in the States.
The firm also agreed to pay Methuen & Co.,
the owners of the English copyright, a
royalty of 10 per cent. on each book sold, the
American selling price of which was fixed at
$1.35 per volume. The appraising officers at
New York included the 10 per cent. royalty in
the foreign market price, and exacted duty
accordingly. Dutton & Co. appealed to the
reappraisement division of the Board of
General Appraisers, where arguments in sup~
port of the importers were made by James F.
Curtis, until recently Assistant Secretary of
the Treasury Department, in charge of cus-
toms, William L. Wemple, Assistant Attorney-
General of the Department of Justice appearing
for the Government.
It was contended by the importers that the
royalty being fixed upon the retail price of the
finished book, which is more than eight times
the price paid for the unbound sheets, is not a
part of the foreign market value. Three
reasons were adduced in support of the con-
tention. The first was that the royalty was
not properly payable on the value of the
sheets, but upon the value of the retail price
of the finished book. The second point was
that the royalty did not attach to the sheets
and would never become due and payable if
the sheets remained unbound after importa-
tion; and, thirdly, that the royalty attached
only to the finished book, and even then
became due and payable only upon the actual
sale of the volume by the importers.
The decision continues :
Appellants further contend, and it is not
here disputed, that such sheets are not sold in
wholesale quantities in the British Empire,
and that therefore there is no wholesale foreign
market value in the country from whence
Bey
THE AUTHOR.
imported. They also contend, and neither is
this disputed, that such sheets are not sold in
wholesale quantities in the United States, and
that therefore there is no basis for determining
their foreign market value under the last pro-
vision in sub-section 11 of section 28 of the
Tariff Act of 1909.
It is unquestioned that both of these con-
tentions are well-founded, and such being the
case, there remains only as the basis upon
which foreign market value may be deter-
mined, the cost of production as provided in
the first part of sub-section 11, supra, but then
the query presents itself whether there must
be added to the cost of production thus ascer-
tained the royalty to be paid as hereinbefore
set forth. In thus determining the cost of
production there is to be included the cost of
material, cost of fabrication, all general ex-
penses, and expense of preparing and putting
up the merchandise ready for shipment, and
an addition of not less than eight nor more
than fifty per centum of the total cost as thus
ascertained.
Assuming the cost of the completed sheets
to be correctly stated at 34d., it is at once
apparent that the entered value was more than
sufficient to include all the elements of cost of
production as contemplated by the first pro-
vision of sub-section 11, swpra, and more than
ample to make foreign market value as thus
ascertained, unless the royalty to be paid
upon the actual sale by the publisher of the
bound book is to be included as a part thereof.
Our attention is brought to certain cases
wherein it has been held by the Board and
the Courts that royalties paid by purchasers
were properly included in the dutiable value of
the merchandise for the reason that the
amounts paid as such royalties were parts of
the cost. In the case at bar it may hardly be
said, we think, that royalty agreed to be paid
upon the sale in the United States of the
bound book was a part of the purchase price
of the unbound sheets; but even though it
were we think it does not exactly follow in
determining the foreign market value of the
sheets that the full amount or even part of
such royalty must be included. It is not at
all unusual for appraising officers to find the
foreign market value of merchandise to be less
than the invoice and entered value, and even
less than the price actually paid for the
merchandise. Such, in fact, may be necessary
to a compliance with the law under certain
circumstances. Sub-section 10 of the Act of
1909, swpra, imposes upon all appraisers of the
United States, and every person who shall act
195
as such, the duty of appraising (any invoice or
affidavit thereto or statement of cost, or of cost
of production to the contrary notwithstanding)
the actual market value and wholesale price
of merchandise at the time of exportation to
the United States. As has already been stated,
unbound sheets similar to those here involved
are not sold in wholesale quantities in the
country of production and from whence
imported, hence resort in determining foreign
market value thereof must be had in the pro-
cedure laid down in sub-section 10, supra.
Although it does not appear in the stenographic
report of the proceedings before the Board,
it was announced on the hearing that the
appraiser in fixing the foreign market value of
these sheets was guided and controlled by the
directions promulgated by Assistant Secretary
of the Treasury Curtis, contained in a depart-
ment Circular dated June 7, 1918, which, so
far as applicable were as follows :
‘“©(2) That when such books, which are
only sold at retail abroad, are imported in
sheets, the actual price paid by the pur-
chaser, not including the royalty charge, if
any, should be taken as the market value
for appraisal purposes, provided that in no.
instance shall the appraised value be less than
124 per cent. of the foreign published price.”
The rule of guidance thus promulgated, and
followed, was an arbitrary one, and was of
course wholly without warrant in law. It
was repugnant to the very plain provisions
of the statute, and a foreign value fixed there-
under might only by the merest chance be a
lawful one.
We do not overlook the fact that in some
instances the Board has heretofore held that
royalties were properly included in the foreign
market value, and it may be readily appre-
ciated that conditions attending sales in whole-
sale quantities of merchandise for consumption
in the country of production might be such as
to make the royalty part of the selling price,
in which ease it should, of course, be included
in the appraised value of like merchandise
imported into the United States; and it is
therefore not our purpose here to overrule any
decision of the Board which may be in apparent
conflict with the views here imposed. In the
case at bar, however, we are satisfied from the
detailed facts of the purchase that the royalty
to be paid on the bound book after sale in the
United States is no part of the foreign value
of the sheets, and that the invoice values
represent the full foreign value thereof; and
for these reasons we sustain the entered value
of each of the items.
196
HOW TO USE THE SOCIETY.
— 9
1. 7\ VERY member has a right toask for and to receive
HK advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel’s
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinarysolicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, sen
the document to the Society for examination. ’
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
The
7. Many agents neglect to stamp agreements,
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
ee gg
WARNINGS TO THE PRODUCERS
OF BOOKS.
—t——+ —
ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I. Selling it Outright.
This is sometimes satisfactory, ¢f a proper price can be
THER AUTHOR.
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements,
(3.) Not to allow a special charge for “office expenses,”
unless the same allowance is made to the author. :
(4.) Not to give up American, Colonial, or Continental
tights.
(5.) Not to give up serial or translation rights,
(6.) Not to bind yourself for future work to any publisher,
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides, It isnow
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author,
IY. A Commission Agreement.
The main points are :-—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the-advertisements.
(3.) Keep control of the sale price of the book,
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :— :
C1.) That both sides shall know what an agreement
means,
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
eg =e
WARNINGS TO DRAMATIC AUTHORS.
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date .
and for proper publication of his name on the
play-bills,
,
id
|. play are distinct from literary copyright.
Bis «
(b.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum inadvance of percentages. A fixed
date on or before which the play should be
performed.
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (‘.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
-| better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in anyevent. It is extremely
important that the amateur rights of one-act plays should
sd be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance,
7, Authors should remember that performing rights in a
A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. They should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
is highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
—— oe
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
1+
CENARIOS, typewritten in duplicate on foolscap paper
S forwarded to the offices of the Society, together with
: a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2s. 6d. per act.
THE AUTHOR.
197
DRAMATIC AUTHORS AND AGENTS.
—_-—<—+ —_
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
—_——\!_+-—>—_-—__
WARNINGS TO MUSICAL COMPOSERS.
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
———__—~—_______
STAMPING MUSIC.
—— +
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
——-— ____
THE READING BRANCH.
—— + :
EMBERS will greatly assist the Society in this
M branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience, The
fee is one guinea,
—_-—>—_-
REMITTANCES.
ed
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
a
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland . . ; A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany . Mrs PoGson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
———_—_+- > ___—___
GENERAL NOTES.
—
Tur ANNUAL GENERAL MEETING.
Tyr Annual General Meeting of the Incor-
porated Society of Authors will be held on
Friday, April 17, at 1, Central Buildings, at
4.30. Notice of the meeting will be sent to all
the members in the course of a few days.
Music PuBLISHERS AND PERFORMING RicHTs.
WE are pleased to see from the Publishers’
Weekly of the U.S.A. that there has been a
meeting of the American authors, composers
and publishers in New York City, in order to
start a society to control the performing rights
in music. This is a very important advance
and we think the composers of our Society
ought to make every effort to meet the pub-
lishers with a view to establishing the same
control over the performing rights. The real
question, however, is, will the publishers meet
the composers? The last time the composers
wrote to the Music Publishers’ Association the
secretary had to write three times before he
received the courtesy of a reply. The associa-
tion then regretted they were unable to
THE AUTHOR.
discuss the matter the composers put before
them.
We do not wish to criticise the non-possumus
attitude of the music publishers, but merely
would remark that this kind of attitude has
been adopted in years gone by both by pub-
lishers and theatrical managers ; but these have
after mature consideration thought better of
the matter. We hope, therefore, that the
Music Publishers’ Association will give the
matter their mature consideration, and that
such mature consideration will place them in
a better frame of mind to consider, not only
what are the composers’, but what are also
their own interests.
With regard to performing rights, un-
fortunately the music publishers have so long
thrown these away that it may be difficult to
come to any satisfactory arrangement, but this
is no reason why a matter of such vital
importance should not be discussed between
the parties interested.
——__—. <> —____
AUSTRALIAN COPYRIGHT REGISTRATION.
N the January number of The Author there
appeared a General Note emphasising
the importance of registration by authors,
especially dramatic authors, of their copyright
under the new Australian Act. In accordance
with that note, the secretary of the Society
was instructed to write to the Registrar of
Copyrights in Australia on the subject, in order
that. the members of the Society might have
the fullest information. As a supplement to
this month’s Author, the regulations, together
with the forms which should be filled up, are
printed. A number of these forms are lying
at the offices of the Society and can be handed
to those members who, because they have
plays running in Australia, or because they
have plays likely to run in Australia, desire to
avail themselves of this opportunity for regis-
tration. It was pointed out in The Author
that the great advantage of registration lies in
the fact that if a book or play is registered,
then, in case of infringement, the author can
avail himself of the summary proceedings
granted by the Act. The Registrar of Copy-
rights, in his courteous and detailed letter,
points out that although no actual case has
yet been carried through the courts, most
robably no author will be entitled to the
enefits under the Summary Proceedings
clauses against any infringer if the infringe-
‘ment occurred before registration. In other
Wwords, that he will only be entitled to take
advantage of the clauses referred to in the
em case of those infringements which occur after
registration. It will be safer, therefore, for
fi those who are likely to have or have already
dramatic or literary property in Australia to
«@register at the earliest opportunity. He sug-
-% gests in his letter the following :—
7 “I think it would be advisable for authors who contem-
,|ia plate registering under the Australian law to register the
_,9@ copyright paper of their respective works so that they
"* #@ would be in a position, at any time, to assign any of the
rights comprised in the copyright. My reason for making
om the suggestion is this: representatives of dramatic com-
panies who have consulted me from time to time complain
@ of the difficulty they experience in reaching and punishing
pirates under the ordinary remedies provided by the
Statute. The agreements entered into between these
companies and authors abroad usually provide for the
payment of a royalty covering a specified period, but do
not vest ownership, or partial ownership, of the copyright
or performing rights in the companies; the result being
“that an unauthorised reproduction of a dramatic or
musical work is given, and before the licensees of the copy-
right or performing right have had time to obtain the
# necessary authority to put the machinery of the law in
motion, the pirate, like a will o’ the wisp, has vanished.
If the course suggested by me were followed, agreements
made between British authors and Australian citizens
eould be swiftly enforced. In this connection it would
also be advisable for the author or his representative to
give the licensee, during the currency of the licence,
authority to take proceedings as attorney for the owner of
@ the copyright.”
It is doubtful however, whether the members
of the Society would care to adopt the course.
Indeed, many dramatic authors have refused
to grant such power of attorney. However,
if it is possible to carry out the arrangement
which the Society is at present organising for
lacing powers of attorney in the hands of the
Society’s lawyers in Australia, there will be no
necessity for making the assignment referred
to. If members, therefore, desire to register,
they had better apply to the Society’s office
for the forms, and, after having filled them up
properly, return them with the fees referred
toin the regulations. The Society will see that
the matter is duly carried through in accord-
ance with the members’ instructions. It is
tated that there may be one or two little
ifficulties with the first few registrations, but
after a little time the matter will run perfectly
“smoothly and members will gain great ad-
#@ vantage from the Society’s organisation and
from the Society’s knowledge of the details.
It is necessary to point out that under the
New Zealand law similar provisions to those
under the Australian law have been provided.
The secretary has also written to the Registrar
of Copyrights in New Zealand for the forms
THE AUTHOR.
199
and regulations. When these come to hand,
the Society will be able to carry out for its
members the necessary details and the author
will be able to obtain the benefits under the
New Zealand Act.
A COMPOSER’S TROUBLES WITH MESSRS.
BOOSEY & CO.
—_—+——+
a December, 1911, a composer forwarded
(through a well-known vocalist) a song
to Messrs. Boosey & Co. for publication,
and obtained in reply a letter offering to publish
the song subject to the payment of a certain
royalty. These terms were accepted by letter.
In April, 1912, the same composer forwarded
another song, specially composed for another
artist, to the same publisher, and, after a
friendly interview with Mr. Boosey and a
request that the firm would make a formal
offer, received a letter offering similar terms
to the letter he had received in December,
and he accepted the terms. Immediately
after the acceptance, Messrs. Boosey & Co.
forwarded him a document, which they sub-
sequently stated was in use by all their com-
posers, being an assignment of all the com-
poser’s rights and interest, present, future and
contingent, in consideration of the agreed
royalty on copies sold and 50 per cent. of all
mechanical instrument fees received by the
publisher. Nothing had been said in_ his
correspondence as to assignment of copyright
or mechanical rights.
The composer, in reply, pointed out that
the letters which had been exchanged consti-
tuted a binding contract and that, therefore,
there seemed no necessity for his signature to
such a document. Messrs. Boosey replied that
this was the form of contract invariably used.
The composer then pointed out that, if an
agreement was actually necessary, he pre-
ferred that it should be drawn up upon a
business-like basis, and contain adequate pro-
vision both for his own rights and those of
the publishers. Messrs. Boosey & Co. there-
upon refused to discuss the matter in any
respect whatever, returned the various MSS.
and declared the business was atanend. The
dispute was then brought to the Society, and
the committee decided to take the case up.
Accordingly the matter was placed in the
hands of the Society’s solicitors. Proceedings
were instituted and the publishers, through
200
their solicitors, then agreed to publish the
songs on the terms set out in their original
letters and to pay the costs, these terms, for the
satisfaction of both parties, to be embodied in
a formal legal document. This document was
signed in due course, but through all the nego-
tiations, not only the Society, but the solicitors
of the Society, had to complain of the offhand
way in which the business was treated and
the delay which took place. In the settlement
‘twas understood—the sclicitors of the Society
making special mention of the fact to the solici-
tors of Messrs. Boosey & Co.—that Messrs.
Boosey & Co. would frankly accept the posi-
tion and use their best endeavours to push
the work to the same extent as they would
have done if no question had arisen. The
solicitors of the publishers at once gave their
assurance to this effect; but what has been the
result? In January, 1913, a year after one of
the songs had been accepted under the original
letter, the Society was asked to stamp, on the
composer's behalf, 153 copies of one song and
155 of the other. The composer then wrote to
inquire whether this was the extent of the
editions which it was proposed to publish, and
in reply received intimation that the number
of copies mentioned represented the full print
of the first edition. The publishers added:
““We shall, of course, reprint as required
according to the demand for the songs,” and,
on February 16, 1913, in answer to that letter,
the composer wiote as follows :—
February 16, 1913.
Dear Strs,—!I thank you for your letter of February 14,
with reference to the two songs of mine which you have
recently published. I have not the time at present to go
carefully into the matter, but, on the face of it, there is
obviously something wrong in respect to the number of
copies printed.
Under the contract there are to be 200 copies of each
song “free for novelty purposes.” In other words, no
royalty is payable to me (at least so I read it) from any of
the copies which you have already printed. Dealing more
particularly with the Irish song, we may take fifty copies
as the very lowest number you require for professional
copies and for review purposes. This leaves no more than
100 copies as a preliminary supply to the trade throughout
the country, eliminating the U.S.A. altogether, also the
Colonies. Incidentally I may add that I know for a fact
that inquiries have been made for the song in various parts
of the country already, but that the music dealers have
been unable to trace it.
It appears to me a waste of time for me to seek the good
offices of my musical and professional acquaintances in
singing the song under such conditions. Apart from the
business aspect of the case, I would venture to remind you
of the very definite assurance given by your legal repre-
sentative to my solicitors that “it was clearly under-
stood that you frankly accepted the position and would
use your best endeavours to push the work in just the
same way as you would have done had no question arisen.’’
It is, indeed, most distasteful to me to have to reopen
THE AUTHOR.
the question, but there appears to me some little evidence
that the work is not being pushed forward as it should be,
If you can give me your assurance to the contrary, I shall
be only too pleased to accept it. ge
As regards professional copies, I infer from your letter
under reply that you propose to forward copies only to
those artists whom I may specify to you. I will forward —
you a short list in a day or two, but, while I shall be happy
to do anything I can within reason to help forward
sales, I would point out that the real work of propagation
must necessarily devolve upon you, and that I can hardly
be expected to act as “ traveller in my own goods, even
had I the time and inclination.
Very faithfully yours, |
He received a reply stating that the 200 (>;
copies mentioned are not deducted until the °°"
song has gone out as a novelty to the trade,
that it would be useless to send either of the
songs out at present as they were ** not suffi-
ciently known”? (sie), but that they had sent
out presentation copies to singers. It remains
to add that although Messrs. Boosey issued a
catalogue in March, 1913, these two songs
were not included in it (they were stamped in
the preceding January); and that inquiry has
been made for the songs at six of the largest #1
FeO T
jaw
Hae We
peg
pe wt %
retail houses in London, and at over a dozen —
of the largest provincial centres, without
sucecss; at none of these places had the songs
been heard of, nor so far as could be ascer-
tained offered by the travellers, nor could they
be found in any lists.
The whole case is very interesting from every AF
point of view. It is impossible to think, after ti
the assurance given by Messrs. Boosey’s solici-
tors, and after consideration of the standing of
Messrs. Boosey & Co. and the position they
hold in the trade, that they would not do
everything that could be done by way of
putting the songs before the public ; indeed
under the rather peculiar circumstances of the
case, it might have been thought that a firm
of Messrs. Boosey’s standing would have put
themselves out of the way to do more with
this composer’s songs than they do in the
ordinary course of business, in order that they
might show clearly that after the little dispute
they meant to deal fairly with the composer.
We assume they have done so. It would
then appear that Messrs. Boosey & Co. consider
they have done everything they. can and
should do in the course of their business, to
push two songs which they intend to put on
the market by printing 158 copies of one song
and 155 copies of another, and sending out
presentation copies to singers. It would also
seem to follow that this is the course adopted
upon the publication of othcr similar songs
published by the firm. It would be very
THE AUTHOR. 201
woi/interesting to know the opinions of other com-
seoposers on the present position and of other
amusic publishers on the correspondence that
has passed between the parties.
—_———__+—_>—__e—____—__-
FICTION.
a
T came about in this way. I had been
busy in the garden cleaning up, hurrying
to get some new trees in before the frost
isceame. But the frost caught me and I had
oto give up. SoI retired to my desk.
‘But the ideas I had felt materialising,
-or nebulous and vague, in the back of my mind,
,oy would not develop. Yet I felt in the humour
‘0 for writing.
- ‘** Then why not write ? ’’ something seemed
_9 to inquire in my ear, with a faintly sarcastic
‘a inflection. ‘Surely it is not necessary to
st have any concrete idea! An author can
generally manage to turn out some drivel—
7 even about nothing in particular.”
Z I admit I felt a little hurt, and I tried not
9 to listen. But the insidious voice went on:
‘7* “Tf you can’t think of anything else you
might write about writing—anyway. You
i authors can generally manage to find some-
4) thing nasty to say about one another, about
“dj the public and its detestable taste, about the
sweet reasonableness of editors, and, above
all, about the incredible and unmentionable
wickedness of—the publisher!”
“© Yes,’ I thought. “I can do all that.
I'll take you at your word.”
It is quite true that one can generally be
nasty if one gives one’s mind to it.
“Let us start with fiction,’ I thought.
“Yet, what is there to be said about 1t—
beyond the barefaced abomination of its too
evident existence ? ”
It must seem, one would think, not only to
the critic, but even to the indefectible and
omnivorous gorger of fiction, in this day,
that some great and not altogether whole-
some change has gradually overtaken the
work of the writer.
The day of leisure is gone and the age of
scurry is upon us; we have, it is true, nowa-
days, no time for the languid perusal of long
discursive prefaces, of long talky essays all
about nothing of any earthly importance ;
of pleasant, harmless, long-winded intro-
ductions and descriptions.
' One is tempted to wonder what would
happen to Scott and to Thackeray to-day ?
Would “ Waverley ” finda publisher ? Would
anyone be found with the necessary patience
and time to wade through——but there!
There are doubts as to whether that is a
subject one should pursue !
None the less, it must be borne home to the
most undiscerning reader that though we
have gained much, we have lost not a little.
This is not the age of literature, but of fiction
(at so much per thousand words). The great
mass of second and third rate stuff, the
‘* flimsy *’ of the bookstalls, that caters for
the mob, has its own particular style and
format in fiction, its mould through which every
story must, apparently, be pressed in order
that it may come out with every trace of
originality, of style, of art it might contain
ruthlessly eliminated. Every hero has to be
cut to pattern; every incident, it would seem,
must be laid in accordance with certain canons.
One wonders if the readers who, according
to an editor of these journals, ** will have that
style,” ever get tired of wading through the
same weary thing again and again, knowing,
as they must know, exactly the course of every
item, how it will all go and how it will end,
beforehand.
One of these magazines used to create
some amusement in literary circles by giving
in an editorial preface, every month, the most
touching and fatherly advice to would-be
contributors. There was, I remember, one
delightful talk with hints on * style’ and
its formation, with examples of the great
classics one should study. ‘‘ or romance,
study So-and-so;_ for action, study So-and-
so’’-—along list. Yet it would seem that should
anyone approach the greatness of any of these
models, that very fact would surely be the
first fatal step towards certain rejection in
such a magazine, which appeared to disannex
all those attributes that the student of litera-
ture has learnt to venerate.
““The public will only have so-and-so,”
wearetold. Yetitis a curious fact that when,
once in a blue moon, a bold editor or publisher
ventures out of the rut with a clever and
original story, it is often hailed with joy and
becomes a success. The fact is, the publisher
can make anything go if he chooses; it 1s
simply a matter of brain and boom, ability
to spend his advertisement money to the right
advantage. : :
But what of the publisher’s reader ? One
wonders what sort of a person he 1s—or Is
ita she? The traditional publicational history
would seem to stamp him as, of all men, the
one who least knows his business, for if ever
202
a great and striking novel has come to the
front there has, almost invariably, been the
same history of everlasting weary rejection
until some lucky accident has brought that
work before the world. And yet— observe
what is poured out of the publishing houses
every week! Take any work, fiction or other,
that has eventually made a commotion, and
what has been its early history? We are
told the publisher’s reader is often a distin-
guished novelist. We can quite believe it.
The fact is, it is not the question of what the
‘public will have,” but what the editor or
publisher thinks they will or ought to have.
And the result
Well, one result is that a work that in any
way pertains to literature has too often no
earthly chance of publication.
A man may write literature (some men do)
as an amusement, to please himself, and,
indeed, he may publish it, but that’s
another subject that need not be pursued.
And so authors go on making fortunes for
publishers—whose groans over their heavy
losses ought to dissolve a brutal and unfeeling
world in tears.
But of fiction. What is one to write?
Must one never leave the hard-beaten, dusty
track ? One must, according to the modern
magazine, not write of this; one must not
touch upon that; yet we want originality
and some little freshness, even in our reading,
now and then. One can’t subsist for ever
on sugar-pap.
Of course, when an author has made his
name he can write pretty well whatsoever he
likes, and it is eagerly published. Is that,
perhaps, the reason why so many ‘“ made”
authors continue to turn out such ghastly
stuff—or, are they merely using up the
pabulum of their prentice days ?
: As for verisimilitude, realism, truth, there
is little enough of it, in spite of report ; little
enough that is at the same time artistic.
The realism, indeed, is rather too apt to become
sheer dirtiness.
There is at the present time a fashion in
the fiction magazines for the medical story.
When this is written by the half-dozen medical
writers of the day all well and good, but
otherwise the results are invariably absurd
to a scientific reader. For it is an unfortunate
thing that people will scribble about things
of which they have no earthly knowledge.
Writers cannot all be expected to be scientists,
but if they have no scientific knowledge they
should leave science alone.
In no less than four stories in the magazines
THE AUTHOR.
published in one month were there instances of
glaring and ridiculous mistakes that are most fix
irritating. In one instance a writer excels > i:i®
himself in the marvellous description of a new f
and utterly impossible orchid, and in the other}
a zoological monstrosity is perpetrated out f»
of all conformity with organic nature; and fii,
these two examples are as nothing compared}
with the others. One does not often come
across such glaring blunders as the classie
example of Boucicault in the old play “ The
Octoroon’’; indeed, in these days of snapshot
photography and kodaks it would be almost F ..,
impossible. Often it is mere thoughtlessness 3)...
and even some of the greatest masters of
literature have made incredible mistakes.
Then one gets a little tired of that everlasting
so-called ‘‘ love-story.”” Must fiction always
be a variation upon the everlasting human
triangle and its tireless equations ?
Here we have it: x +y=2> &.
We have (A* ++ AY : B*) which develops into }*
(A*: AY + B*). -
One gets so wearied of Mr. A.’s matrimonial 7"
troubles and disputes with Mrs. A. and the i
inevitable intriguing of the latter with her p>"
tardily discovered soul affinity, Mr. B. Still,
it is yet possible for an author of original turn
to treat the subject in a moderately novel way.
Authors, we are told, are a hardly-treated
body, shamefully served by the publisher,
Publishers, we are told, are a hardly-treated >?"
body, abominably served by the public. The §#
public are shamefully treated both by authors }
and publishers (so they beg, borrow, or steal }
books, but refrain from buying them). [
Certainly authors have much to suffer, 7%
Is it any wonder that one becomes depressed >
over the picture of the poor, struggling author } if
labouring incessantly to pile up a huge fortune )%
for the wicked publisher! (Oh, those motors »
and yachts !)
And, seriously, there are times when authors
have other reasons for weeping. There are P
editors who keep manuscripts for weeks and
months knowing full well they never intend pt
to use them, when there is not the least #
excuse for keeping them more than a week
or two. And there are editors who score
marks and numbers upon the unfortunate
manuscripts, so that they have to be retyped
before they can, for very shame, go out on #
their travels again. And there are editors
who appear to use the unwanted manuscripts ®
for the altogether improper purpose of cleaning
the office floor. Indeed but that is also
a subject we need not pursue any further.
No doubt publishers and editors are a very
THE AUTHOR.
bag bad lot—who but a jackanapes could doubt it ?
Yet who can feel angry with the kind and
courteous gentlemen who send their regrets
so nicely worded on such very superior paper
(sometimes), and who thank one so effusively
for allowing them to see the composition ?
If I had my will I would sweep away all
editors, publishers, and authors—and perhaps
the public too—then one might have time to
finish the garden; but for the life of me I
ean’t get on because, forsooth! I have to
turn out so many thousand words of explicit
drivel every day in order that I may not put
§ extra work on the county court.
Authors, we are told, are mean, liars and
thieves, who will resort to any trick to get an
extra 5 per cent. on their scrubby royalty.
Publishers and editors are either hardened
brutes or contemptible skunks—as yet I cannot
quite decide which—who will do anything
to trick the starving writer. And as for the
public, that sucks the brains of the author—
and often enough smacks his indelicate lips
G over the process, in spite of his grumbles—well,
7) ‘twill always be much the same, I suppose,
so why should one pursue that subject any
further ?
No doubt the editor is a good enough fellow,
sometimes, even if his sense of humour is
defective. But editors are not and cannot
be angels, even if there were wings enough
to go round, and you can no more make wings
sprout than you can grow hair with any of
the advertised ‘‘ restorers.”
One editor of particularly angelic nature,
in his monthly talk, used to give samples
of the letters he received. The note of fulsome
flattery was the main motif.
‘“‘T cannot say how grateful I am for your
help. Since you took my last story and gave
me advice I have sold nearly fifty stories to
leading magazines at about twenty pounds
(£20) each. I shall always remember you
gave me a helping hand and you cannot think
how I love you for it.” ‘ That,’’ was the
editor’s beaming comment, “‘is the kind of
letter that does a poor, hard-worked, worried
editor’s heart good to read.” He did not
say from which asylum his contributor wrote.
“Probably you don’t just remember,” I
thought ; “But, Sir, I can tell you something
about the climate you will be enjoying one of
these fine days, if you don’t try to live a good
and truthful life, and find a more legitimate way
of pushing your dolorous rag. All the inhabi-
tants of this world (even such as read your
magazine) are not stark and jibbering idiots !
There are some editors who use a reject form
203
carefully spaced out into reasons, and a mark
is put against the division under which heading
the rejection comes.
A young friend of mine some time ago hit
upon a startlingly original idea for a story
and sent it to one of these magazines. The
story was good, well written, terse and with
style, and dealt with an idea that had never
been used before. To our amazement it
came back marked, if I remember rightly,
*“ Not sufficiently novel!” which caused us
no little amusement when we came to study
the dead and dreary level of monotony that
appeared to be the sine qua non of this
particular magazine.
I sometimes think the time is coming when,
if literature is still to be written, some arrange-
ment might surely be made whereby an author,
who shows promise and produces a clever
but not very marketable piece of literature,
might have help in giving it to the
world. And here the Society of Authors
might see its way, one of these days, to do a
valuable act of service both to authors and to
the public, in setting up a special committee
or commission to adjudicate upon real work
of genius and arranging for its publication.
Then I might devote myself to the creation
of a work of incredible genius—and find time
to finish the garden.
FREDERICK GRAVES.
———————_-——_+—___——_
«THE PUBLISHER.’’*
ee
By AN AMERICAN CRITIC.
YNAMITING butterflies is notoriously
a futile sort of pastime; yet, con-
ceivably, a butterfly may so_persis-
tently obtrude its insignificant self as to become
a bit of a pest, distracting the attention and
obstructing clear comprehension of certain
ponderable facts. In which event a charge
of dynamite may be thought well wasted.
Mr. Yard frankly holds a brief for the
publisher and against the author and all his
works ; and, like a loyal advocate, he doesn’t
hesitate about ignoring facts that do not assort
well with his argument or about modifying
other facts to suit his requirements. By way
of example (to select one of the multitude
afforded by this little book), we may consider
the figures he quotes in support of his conten-
* “The Publisher,” by Robert Sterling Yard. Houghton
Mifflin Co., 1913. $1 net.
204
tion that “best sellers” are hardly to be
yearned after by long-headed publishers. On
page 23 he endeavours to demonstrate that a
book selling 100,000 copies in its first form
would earn its publisher a net profit of only
some $10,300. To arrive at this figure he
estimates cost of manufacture at $0.221 per
copy. This is a very reasonable figure to apply
to an edition of 5,000 copies, including the cost
of making plates and the purchase price of
drawings for illustrations ; but for subsequent
printings it is absurd. Mr. Yard further
reckons the royalty at a flat rate of 20 per cent. ;
this is not fair, although possible, for it may
be questioned whether many books, especially
an author’s first book to sell 100,000 copies,
draws a flat royalty of 20 per cent. Again,
Mr. Yard would have us believe that a pub-
lisher allows ‘‘ 28 per cent. of income ”’ (what-
ever that means) for the cost of doing business,
and reckons this to indicate $0.224 as the cost
of selling each copy of an edition of 100,000.
We may take the liberty of doubting this
figure, if we may not successfully dispute it
without access to the publisher’s books. But
leaving out the author’s royalty, and taking
the other figures without question, we find that
100,000 copies cost to manufacture, at $0.221
per copy, $22,100, and to sell, at $0.224 per
copy, $22,400; making the total of the
investment $44,500, on which the publisher
makes a net profit of $10,300, or something
more than 23 per cent. Most men of business
would consider this a handsome profit, but
Mr. Yard would have us believe it beggarly.
But in figuring the net profit, he allows for the
profit of a cheap edition of only 50,000 copies ;
whereas Mr. Yard knows, and every publisher
knows, and every author who knows his
business knows, that the cheap edition following
a first publication of 100,000 copies or even
fewer is far more apt to be double the first sale
than half. Then, too, Mr. Yard has chosen to
deduct from the gross profit on this alleged
cheap edition of 50,000 copies ‘‘ 28 per cent.
(again !) for cost of doing business— $1,800.”’
I fancy few publishers will have the effrontery
to claim that it costs them anything at all,
much less $1,800, to sit tight and permit the
popular-price publishers to bid against one
another for the privilege of the cheap-edition
rights. Finally, Mr. Yard allows for a plate-
rental of only 10 cents a copy to be paid by the
popular-price man to the first publisher, and
by this last divided with the author ; whereas
12 cents per copy is the ruling rate for plate-
rental on books whose sales have totalled far
fewer than 100,000 copies.
THE AUTHOR.
Mr. Yard’s figures may, therefore, be revised
as follows, without bothering to dispute his
estimate of profits on the first edition :—
$
8,500. *
Net profit on 100,000 at average
net profit of $0.085 per copy
Cheap edition, 200,000 at 6 cents
profits per copy, without deduc-
tion for cost of doing business 12,000 °°":
Total net profit (assuming that the
publisher hasn’t grabbed by con-
tracts and has no share in the
author’s second serial, dramatic,
moving-picture, English, and
translation rights) 20,500 | )
Or, say, 46 per cent. on the original investment.
No, not half-bad ; considering that Mr. Yard
would have us believe publishing “‘ the worst |
business in the world.”’’
But it is true that his efforts to prove this) —
last contention are so unconvincing even to:
himself that, as early in his argument as page 8,7 _
he is forced to the admission that ‘‘ the worst !-~.
business in the world” becomes one of the ):*
best in the world when (to paraphrase) it has ):”
solid financial backing and is administered
with a normal amount of common sense and a) **
little human luck. In other words, it is)
amazingly like any other business you can’ ™~
name: good when it’s good, and bad when it’s) "|
bad. But Mr. Yard is so alarmed at the}: '
possible effect of this admission that, through |<!
the remaining twenty-seven pages of his?
chapter on ‘‘ the worst business ” he fogs his #7:
own and the reader’s understanding in a dense )-!"
cloud of words, anecdotes, illustrations, figures, )>%
and gossip, which in the end enables him to)!
close to his own satisfaction with the assertion ot!
that, as for a “‘ publisher who got right out of
general book-publishing alone . . . “thar ain’t } ©)
no sech critter.” i
Nor is this all; but space lacks in which to)
explode all of Mr. Yard’s fallacious arguments. ©"
For all that, on page 29, Mr. Yard gravely ¥
informs us: ‘ Royalties exceeding 10 per cent. ©
are immoral,’’ Henry Holt is reported to have hh
said. And sure we must concede that it was 3»
worth while to make onesself known as the }
author of an idle, if undoubtedly mischievous
book in order that one might have the honour fi
of embalming imperishably that deathless ”:
epigram ! :
cod FO
Li J. Ve 8
-or--—de
MR. ARNOLD BENNETT AND THE
MOYEN DE PARVENIR.*
Bo fourteen years ago Mr. Arnold
Bennett, acting on the suggestion of
Mr. Lewis Hind, then editor of the
Academy, published in the columns of that
paper his literary autobiography. He did not
put his name to it, “‘ partly from discretion,
and partly in the hope that the London world
of letters would indulge in conjectures as to its
authorship.”? In 1908 he secured—not with-
out difficulty—a publisher for the work in
volume form, still keeping up anonymity ;
though it was an anonymity which only existed
for the general public, literary London having
soon penetrated the secret. Now in 1914
Mr. Bennett brings out a new edition, through
a different publishing firm, and this time puts
his name to the book.
As a ‘“‘remaindered’’ work, Mr. Bennett
tells us in his Preface, the first edition had
quite a vogue; but only as a remainder,
price 6d. Otherwise it sold ill. The reason
is obvious. The general public cares remark-
ably little, perhaps in most cases much less
than 6d., for the truth about an author. Yet
it was a good idea to republish the book in
cheap form now. As a household word in
vast districts of Britain and a best-seller in
the United States, Mr. Bennett is scarcely
any longer a mere author. A super-author
may fairly ask a shilling for the truth about
himself.
For other authors, if they have not already
read it, the book is decidedly one to be read.
They will be able to appreciate, as the general
reader probably will not, the ‘‘ ingenuous self-
complacency ”’ (Mr. Bennett’s own words) of
the record. And to them the experiences, the
views, the advice will have a meaning which is
not for the general reader. Quotation alone
can show the value of Mr. Bennett’s instruc-
tions to his fellow-writers. The space at our
command is limited, but we must touch upon
three points. First, with regard to ‘“ free-
lancing,”’ a subject which has been discussed
of late in the columns of The Author. Mr.
Bennett is healthily vigorous in his denuncia-
tion of this ‘‘ humiliating ’’ employment. “A
false aureole of romance,”’ he says, “‘ encircles
the head of that miserable opportunist, the
free-lance. ... The free-lance is a tramp
touting for odd jobs; a pedlar crying stuff
which is bought usually in default of better ;
* “The Truth about an Author,” by Arnold Bennett
London: Methuen & Co.
THE AUTHOR.
“work.
205
a producer endeavouring to supply a market
of whose conditions he is in ignorance, more or
less complete; a commercial traveller liable
constantly to the insolence of an elegant West
End draper’s ‘buyer.’ His attitude is in
essence a fawning attitude; it must be so;
he is the poor relation, the doff-hat, the ready-
for-anything. He picks up the crumbs that
fall from the table of the ‘staff.’ ... He
never goes to bed; he dares not; if he did a
crumb would fall.”
And now with regard to the reviewing of
books: ‘‘ The sense of justice of the man in
the street is revolted. ‘You do not read
through all the books that you pretend to
criticize ?’ he hints. I have never known a
reviewer to answer this insinuation straight-
forwardly in print, but I will answer it: No,
I do not. And the man in the street says,
shocked: * You are unjust.’ And I reply:
“Not at all. 1 am merely an expert. ~ =.
The title-page—that conjunction of the title,
the name of the author, and the name of the
publisher—speaks to me, telling me all sorts
of things. The very chapter-headings deliver
a message of style. . . . The whole book, open
it where I will, is murmurous with indications
forme. In the case of nine books [out] of ten,
to read them through would not be a work of
supererogation—-it would be a sinful waste of
time on the part of a professional reviewer. .. .
There remains the work of the true artist, the
work that the reviewer himself admires and
enjoys: say one book in fifty, or one in a
hundred. The reviewer reads that through.”
Working out the number of words which a
reviewer would have to read to satisfy the man
in the street before writing a column of reviews
worth at the most three guineas, and reckoning
the time taken over the whole job, Mr. Bennett
asks: ‘‘Do you imagine that the reviewer 1s
going to hire out his immortal soul, his ex-
perience, his mere skill, at the rate of 31s. 6d.
per day on irregular jobs ?__ Scarcely. He will
earn his three guineas inside three hours, and
it will be well and truly earned.”
Mr. Bennett himself early established a rule
—lucky man to be able to observe it !—never |
to work for less than 10s, an hour upon. plece-
“Tf an editor commissioned an article,
he received from me as much fundamental
brain-power and as much time as the article
demanded—up to the limit of his pay in terms
of hours at 10s. apiece. But each year I raise
my price per hour.” This was written In 1900.
We fancy the ordinary poor author would like
a footnote to say what height has now been
reached.
i
206
Our last quotation is not made for the pur-
ose of the moral edification of our readers.
Mr. Bennett is speaking of the first serial story
written by himself. ‘I had entered into a
compact with myself,” he says, ‘that I would
never ‘write down’ to the public in a long
fiction. I was almost bound to pander to the
vulgar taste, or at any rate, to a taste not
refined, in my editing, in my articles, and in
my short stories, but I had sworn solemnly
that I would keep the novel-form unsullied for
the pure exercise of the artist in me. What
became of this high compact? I merely
ignored it. I tore it up and it was forgotten.
—_—__—_—<—_+—___ ——_
CORRESPONDENCE.
_—
“ Reat EDITIONS.”
Dear Sir,—In view of the recent announce
ment by a prominent publisher that his editions
are “real editions ’—the inference being that
too many such are nothing of the sort—it
really seems high time for authors to make
some attempt at asserting themselves on a
subject that concerns them quite as nearly as
it concerns the publishers, who are rapidly
reducing the whole vexed question of “ edi-
tions ” to a preposterous farce.
Between “real editions ’—so-called—and
bogus editions—not so-called !—we are fast
approaching the American method of merely
_ shouting a book into popularity. Over there
it would seem that the book itself matters
little, the author less. Success depends mainly
on how much money the publisher is prepared
to spend on shouting—there is no other word
for the process ; and over here it is unhappily
an open secret that, of late, certain question-
able novels have, by means of inflated announce-
ments and ‘‘ huge editions ”’ been practically
forced down the throat of a public that would
otherwise probably have let them alone.
But, shouting apart, there remains the
puzzle, “What is an edition?” To that
plain, straightforward question—constantly
asked by the Bewildered Uninitiated—it would
take a clever man to give a plain, straight-
forward answer. Roughly, he might hazard
the comprehensive reply: “Oh, anything
between a thousand and fifteen thousand
copies.” But even so he would still have
underrated the elasticity of that conveniently
elastic word. I have it on good authority
that a third “‘ edition”? of a book has been
THE AUTHOR.
announced when little more than a hundred
copies have been sold.
This sort of thing suggests a new version of
the old riddle: ‘“‘ When is an edition not an
edition?” It would take a really “ up-to-
date ” publisher to supply the answer to that !
Whether or no some authors derive benefit
from these tactics is a question well worth
separate consideration.
My present concern is simply to get at the
rights of this obvious juggling with figures ;
and the Shorter Catechism of the Uninitiated
is not yet at an end.
Why is it, for instance, that, if some of us
are announced in thousands, this plain and
simple method cannot be extended to all?
The publisher addicted to shouting could still
juggle with his thousands, of course. But
those firms who respect themselves and their
authors would lose nothing by more lucid
statements; while both the public and_ the
authors would know better, so to speak, ‘‘ where
they are.” Another remedy—if there is any
thing against plain thousands—would be to
decide, once for all, on the “ unit ” of an
edition; giving that “ unit ” some elasticity
if need be. An edition might be fixed at any-
thing from 3,000 to 5,000, or from 500 to
3,000 ; and thereby much confusion and mis-
conception would at once be done away with.
But of the two alternatives set forth there
can be little doubt that a plain statement in
thousands is the consummation most devoutly
to be wished.
The present arrangement is utterly mis-
leading, not only as between novelist and
novelist, but as between the earlier and later
books of the same writer. Take my own case.
Judged by the tale of mere editions my sale
would appear to have been steadily decreasing
for the last six years, for my first novel achieved
nine editions in about the same time that it
has taken my two later ones to achieve two.
The reason is simple enough. With a new
writer, orders were tentative and editions
followed suit. Large advance orders produce
a larger immediate output, with the natural
result that while my earlier nine editions
barely reached 12,000 copies, my last novel —
started with a first edition of 15,000. This
sort of thing must be the case with scores of
novelists. It would be interesting to hear
what they think about it and whether there is
any hope, between us all, of inaugurating a
reform on the lines I have suggested.
I am, dear Sir,
Yours truly, °
** A NOVELIST.” ~
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The Author, Vol. 24 Issue 07 (April 1914)
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<em>The Author</em>, Vol. 24 Issue 07 (April 1914)
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1914-04-01-The-Author-24-7
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The Author
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https://historysoa.com/files/original/5/540/1914-05-01-The-Author-24-8.pdf
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The Author
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<em>The Author</em>
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1914-05-01
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Che Autbor.
(The Organ of the Incorporated Society of Authors.
Monthly.)
FOUNDED BY SIR WALTER BESANT.
Vor. XXIV.—No. 8.
May 1, 1914.
[PricE SIXPENCE.
TELEPHONE NUMBER :
874 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
———_—_—__+_—~¢
NOTICES.
ae
: the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tur Editor begs to inform members of the
Authors’ Society and other readers of The
‘Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tur Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
- Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month. S
Communications and letters are invited by
the Editor on all literary matters treated from
Von. XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising - Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
em.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
case. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
ee
THE SOCIETY’S FUNDS.
— 1
ROM time to time members of the Society
K desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid. :
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of rinciple, or in assisting to obtain
copyright reform, or in dealing with any other
208
matter closely connected with the work of the
Society. :
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
—\_—_+—>—_—__—_—_-
THE PENSION FUND.
——
N January, 1914, the sccretary of the
I Society laid. before the trustees of the
Pension Fund the accounts for the year
1918, as settled by the accountants. After
giving the matter full consideration, the
trustees instructed the secretary to invest a
sum of £350 in the purchase of Great Eastern
Railway Ordinary Stock. The amount pur-
chased has been added to the investments set
out below.
The trustees desire to thank the members of
the Society for the continued support which
they have given to the Pension Fund. They
haveJgiven notice to the Pension Fund Com-
mittee that there is sufficient money at their
disposal to enable them to give another
pension.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £5,419 6s., details of which are fully set out
in the following schedule ;—
Nominal Value.
£ 8 a.
Eocal Loans visi. eres ess 500 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ............ 291 19 11
London and North Western 3%
Debenture Stock ...............088 250 0 0
Egyptian Government Irrigation
Trust 4% Certificates............. 200 0 0
Cape of Good Hope 34% Inscribed
Stock we a oe 200 0 0
Glasgow and South-Western Rail-
way 4% Preference Stock ...... 228 0 O
New Zealand 34% Stock .......... 247 9 6
Irish Land 22% Guaranteed Stock 258 0 0
Corporation of London 24%
Stock, 1927—57 ..........0c0.000. . 488 2 4
Jamaica 34% Stock, 1919—49 ... 182 18 6
Mauritius 4% 1987 Stock ......... -° 120 12° 1
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1988 ......... 198 3 8
Antofayasta and Bolivian Railway
5% Preferred Stock ............... 237 0 0
Central Argentine Railway Or-
dinary Stock... es 232 0 0
THE AUTHOR.
[MAY, 1914.
Nominal Value.
£ os. 4
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ...,...-0-0.s20- 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares ...........0..++ 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) ..............000. 550 0 0
8 Central Argentine Railway £10
Preference Shares, New Issue... 380 0 0O
Great Eastern Railway Ordinary
Stock so ccpecciocee hangin ee 655 0 0
Total {cas . £5,419. 6 O
—_——\_1——_o_—
PENSION FUND.
—+—<—+
Tue list printed below includes all fresh dona-
tions and subscriptions (7.¢e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 1918.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1918.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. : : :
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry :
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. .
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dee. 4, Vansittart, Robert
Dec. 4, Lunn, Arnold . ‘
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry,. Miss Ana
Dec. 4, Vallois, Miss Grace . :
Dec. 17, Beresford, J.D. . ‘
Dec. 29, Inge, Charles . j
Dec. 29, Cross, Miss May. ‘
Dec. 29, Hardy, Thomas, O.M. ,
_
_
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MAY, 1914.] THE
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I. :
Jan. 16, Cooke, Arthur O.
Jan. 23, Exley, Miss M. :
Jan. 26, Sarawak, The Ranee of
Mar. 11, Dowson, Oscar F.
April 8, Stoeving, Paul ;
April 14, Buckle, Gerard, F.
April 14, Grattan, Harry.
April 17, Rubenstein, H. Eo.
April 20, Anon. . ‘
1913, Donations.
Oct. 7, Darwin, Sir Francis . ;
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold :
Oct. 30, Rosman, Miss Alice Grant
Nov. 3, Holland, Theodore
Nov. 3, Steane, Bruce ;
Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elrington, Miss Helen
Nov. 10, Waterbury, Mrs. . ‘
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dee. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
Dec. 20, Edwards, Percy J. .
Dec. 21, Keating, J. Lloyd
1914.
Jan. 8, Church, Sir Arthur
Jan. 5, Anon : ‘
Jan. 5, Joseph, L. :
Jan. 5, Swan, Miss Myra
Jan. 5, Vernede, R. E.
Jan. 6, De Crespigny, Mrs. Champion
Jan. 6, Rankin, Miss F. M. .-
Jan. 7, Sneyd-Kynnesley, E. M.
Jan. 7, Lathbury, Miss Eva .
Jan. 7, Toplis, Miss Grace
Jan. 8, Palmer, G. Molyneaux
Jan. 9, Mackenzie, Miss J. :
Jan. 10, Daniell, Mrs. E. H. . ‘
Jan. 12, Avery, Harold ‘
Jan. 12, Douglas, Mrs. F. A.
Jan. 15, Pullein, Miss Catherine
Jan. 15, Thomas, Mrs. Fanny
Jan. 16, James, Mrs. Romane
Jan. 19, P. H. and M. K.
Jan. 19, Greenstreet, W. J. .-
Jan. 19, Gibbs, F. Leonard A.
Jan. 23, Campbell, Mrs. L. A BR. .
Jan. 28, Cameron, Mrs. Charlotte,
a F.R.GS. . ;
Jan. 28, Blunt, Reginald.
Jan. 24, Raphael, Mrs. Mary.
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et
MANMOOSCHUBMDAMOUCBONACH
_
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ore COoOnwngn So
ooo eceococooooaocooaoocoooooaaceo
ore
_
209
Jan. 25, Plouman, Miss Mary
Jan. 30, Gibson, Miss L. S. .
Feb. 5, Brooker, Lt.-Col. E. P.
Feb. 6, Buchrose, J. E.
Feb. 7, Smith, Herbert W.
Feb. 20, Eden Guy : ‘ :
Feb. 21, Mayne, Miss Ethel Col-
bourn : :
Feb. 21, K. ; : :
Feb. 25, Aspinall, Algernon E.
Mar. 2, Dalziell, J. j
Mar. 2, S. F. G. . :
Mar. 5, Saies, Mrs. F. H. ;
Mar. 5, Thorne, Mrs. Isabel .
Mar. 5, Haviland, Miss M. D. :
Mar. 5, Todd, Miss Margaret, M.D.
Mar. 13, Cabourn, John :
Mar. 20, Fenwick Miss S. F. . :
Mar. 26, Prendergast, Mrs. J. W. .«
—______+—_+
COMMITTEE NOTES.
——
HE April meeting of the committee was
Si held on Monday, April 6, at the offices
of the Society, 1, Central Buildings,
Tothill Street, Westminster.
After the minutes of the previous meeting
had been read and signed, the committee
proceeded with the election of members.
Forty members and associates were elected,
bringing the total for the current year up to
135. The total number of resignations amounts
to sixty-seven. The committee consider they
may congratulate the Society on so large an
election.
The cases were next laid before the com-
mittee. The solicitor attended and made a
report. :
ie an action for non-publication, authorised
by the committee at their last meeting,
the solicitor was glad to report that the
defendant, through his solicitor, was coming
to a settlement, and hoped that the matter
would shortly be adjusted. He next reported
the conclusion of the case of Raleigh v. The
Kinematograph Trading Co., and that an
injunction had been obtained as well as
payment towards the costs. In a case 0
account the matter had_ been settled me
factorily, the author having Seccgtiea :
payment of the amount due. In a a
arising out of accounts and monies au: on. Wk
reproduction of a. cinematograph fi ae he
solicitor reported that the statement £ ve
had been delivered. He also reportec t . a
writ had been issued against a publisher for.
SOHrHoeo,
—_
eocorocoocornNwrcoco
ee
none aon &
Cacscoa®
—
oOo ONE DOO oO
aoegocooocoece
210
money due on accounts, but only part of the
sum due had been paid. A question of literary
libel, which originating in the United States
had taken place also in Great Britain, the
solicitor reported had been settled, so far as
the publication in this country was concerned,
by the payment by the defendants of a sum
in damages and costs, and by an undertaking
to publish an apology if desired.
In regard to the same issue in the United
States the secretary reported that a letter
had been received, and that he hoped to have
further information to report to the next
meeting. The committee sanctioned the
placing of the matter in the hands of the
Society’s United States lawyers if no satis-
factory arrangement could be reached.
In a ease of breach of agreement for the
production of a play a writ had been issued,
and the defendant had come forward with a
proposal for settlement. It was hoped that
the matter would be arranged amicably before
the next meeting. The solicitors reported
that in one of two small county court cases
judgment had been signed and execution
issued, and in the second the amount had been
recovered with costs, and that in two other
county court cases proceedings were being
taken in the usual way.
Another question of infringement of title
by a film production, and possibly of infringe-
ment of copyright, was considered. The
solicitor reported he had gone carefully into
the matter, and thought it was impossible,
as far as the infringement of title was con-
cerned, to take action until the film had
actually been performed. On the question
of the copyright infrimgement the solicitor
had written to the author’s agent for further
information, and was now awaiting his reply.
‘Two counsel’s opinions had been taken on the
instructions of the committee, (1) dealing
with the question of mechanical rights in
cases where the composer had made an assign-
ment before the new Act came into force;
and (2) in regard to the publication of a whole
novel in one issue of a magazine. The
opinions will be filed for reference.
A question was put forward of alleged
infringement of an author’s play by a play
now running in London. The committee
decided to obtain some competent witness to
attend a performance of the alleged infringing
play and to report to them as to the question
at issue.
The secretary then dealt with other cases
on his list.
The committee decided, in the case of a
THE AUTHOR.
[MAY, 1914.
publisher against whom the Society had five
or six claims, to transfer the papers to the
solicitors that they might deal with the issues.
A small case against a publisher for non-
delivery of account was, with the committee’s
sanction, placed also in their hands.
A question was raised by a member in respect
to an endorsement on the back of a cheque
which had been sent to him in payment for
contributions, such endorsement purporting
to be a conveyance of the copyright. The
matter was seriously discussed, and one of
the members of the committee undertook to
see the editor of the paper on the point. A
claim arising from non-payment of an article
in a United States magazine was referred to
the committee, who authorised the placing of
the case in the hands of the Society’s American
lawyers.
The committee discussed and arranged for
the settlement of a case in Germany where
the Society had obtained judgment, and was
unable, at present, to obtain satisfaction
owing to the defendant’s inability to pay the
whole amount at one time. In a case of
dispute between an author and the editor of
a series, the committee decided to write to
the editor for an explanation, and lastly it was
decided to place a claim for money due to
one of the members in the hands of the Society’s
solicitors.
The committee then considered a statement
laid before them by a member regarding an
alleged infringement of ideas, and the secretary
was instructed to write to the member. Ina
small claim for money alleged to be due the
committee regretted they could not support the
member, as there appeared to be no legal right
which could be enforced.
The secretary reported a case of mutilation
of an author’s work by a magazine, and was in-
structed to write to the editorforan explanation.
The chairman then reported what had
taken place at the Film Trade Conference,
at which representatives of the manufacturers,
exhibitors, renters and hirers of films, as well
as theatrical managers, were present, and the
committee decided to leave to the Dramatic
Sub-Committee the appointment of delegates
to serve on the Joint Board which it is proposed
to form.
In regard to the Society’s change of name,
it was decided to spend £25 in advertising
as soon as the legal formalities have been
carried through.
The committee regretted they were bound to
decline a request made by the Society’s former
advertising agents for an honorarium.
Re er Ne ree en ee RAO ae Se
MAY, 1914.]
Correspondence was laid before the com-
mittee dealing with the question of the re-
payment of subscriptions, but the committee
regretted they were unable to accede to the
request of the member concerned.
The secretary placed before the committee
a letter he had received from the American
Authors’ League on the subject of the Presi-
dent’s Proclamation in connection with the
section of the British Act dealing with mechani-
eal reproduction.
The committee begged to thank Mr. Charles
Garvice for a donation of £1 1s.
eee
Dramatic SuB-CoMMITTEE.
Tue April meeting of the Dramatic Sub-
Committee was held on Friday, the 24th of
that month, at three o’clock After the
signing of the minutes of the previous meeting
and of the conference with the cinematograph
trade, the formation of the Joint Board was
fully discussed.
The secretary reported that the following
associations had already appointed delegates :—
The Incorporated Society of Kinemato-
graph Manufacturers.
he Society of West End Theatre Managers.
The Theatrical Managers’ Association.
The Cinematograph Exhibitors’ Association
of Great Britain and Ireland.
The Touring Managers’ Association.
Further, that he had not heard definitely
from the Entertainments Protection Associa-
tion and the Incorporated Association of Film
Renters, as these two bodies were awaiting
meetings of their respective committees. He
hoped, however, to receive the names of their
delegates in a few days. ?
The next matter that arose was the appoint-
ment of delegates from the Society of Authors.
After considerable discussion, the following
motion, proposed by Mr. Justin Huntly
McCarthy, and seconded by Mr. Haddon
Chambers, was passed unanimously :—
“That the Authors’ Society be represented
on the Joint Board by its Dramatic Sub-
Committee.”
It was decided to call a meeting of the
Joint Board for Thursday, May 14, when the
future working of the Board would be fully
discussed. ;
The secretary reported on the matter of the
Managerial Treaty, that he had heard from
Mr. Fladgate, who was acting as solicitor for
the Society of West End Theatre Managers,
THE AUTHOR. Olt
that the matter had been further delayed
owing to Mr. Gatti’s absence, but that he
hoped to send a report in due course.
Certain cases were then considered. The
committee confirmed the action of the chair-
man in a small case for the collection of a
dramatist’s fees, and in a case of some import-
ance for the collection of fees on cinemato-
graph rights in America. It was decided to
advise the committee of the Society to drop
a small case of infringement of copyright in
Canada, as the issues were exceedingly small
and the expenses would be very heavy, as it
would be necessary for a commission to be
appointed to come to England in order to
collect evidence. The secretary then reported
that the solicitor’s opinion on a claim for
alleged infringement of copyright put forward
by a member was adverse to the claim, and the
sub-committee decided that nothing further
could be done.
There was one case in which the French
Society was involved, and the secretary was
instructed to write to the secretary of the
French Society on the matter.
In regard to the copyrighting of a member’s
work in Canada by Mr. Frohman, the secretary
was instructed to write to Mr. Lestocq, Mr.
Frohman’s London agent, for full particulars.
7
CONFERENCE FOR THE PROTECTION OF
FILM PRODUCTION
(CALLED By THE Dramatic SuB-CoMMITTEE),
—_t-—— +
CONFERENCE between the Dramatic
Sub-Committee and representatives of
the associations mentioned below was
held on Friday, March 27, at three o’clock at
the Society’s address.
Touring Managers’ Association.—Messrs.
H. Ralland and G. Carlton Wallace.
Theatrical Managers’ Association.—Messrs.
Walter Melville and Perey Hutchison.
Incorporated Association of Kinematograph
Manufacturers.—Messrs. H. A. Browne
and J. F. Brocklies, and J. Brooke
Wilkinson (Secretary). oS
Cinematograph Eahibitors’ Association.—Mr.
W. Fowler Pettie,
Film Renters’ Association.—Mr. Cluett Lock.
Mr. R. C. Carton, chairman of the Dramatic
Sub-Committee, opened the proceedings by
thanking the members of the various associa-
212
tions for their presence, and placed before the
meeting the following agenda :— |
(1) To consider what joint actions should
be taken to safeguard—
(a) Titles.
: (b) Subject-matter. :
(2) The appointment of a Joint Board to
protect the common interests of authors,
manufacturers and the film trade generally.
Mr. Carton quoted the case which had just
been carried through, viz., “ Sealed Orders,”
and read a letter he had received from
Mr. Cecil Raleigh, who was, unfortunately,
unable to attend.
Considerable discussion followed on different
points which were raised, viz., the protection
of titles and of cinema property generally,
the representatives of the Kinematograph
Manufacturers’ Association being very strong
on the point that legislation was necessary.
Finally, the following resolution :-—
“That the appointment of a Joint Board
to protect the common interests of authors,
film manufacturers, exhibitors, renters, thea-
trical managers and the film trade generally
would be to the advantage of all parties
concerned,”
proposed by Mr. Justin Huntly McCarthy,
and seconded by Mr. Haddon Chambers, was
carried unanimously.
The matter will be referred to the board of
each association represented at the meeting,
so that two delegates from each association
may be appointed to sit on the Joint Board.
It was decided also to ask the Society of
West End Managers and the Music Halls’
Association to appoint delegates also.
a
Cases.
Durine the past month the secretary has
handled fifteen cases. Five of these dealt with
disputes on contracts. It is interesting to
note that these cases are referred to the
Society in larger numbers, and that the
publishers or editors concerned are often
willing to accept the informal arbitration of
the secretary.
Out of five, two have been satisfactorily
settled, and three are still in the course of
negotiation. Disputes of this kind generally
involve a good deal of letter writing before
they are concluded.
There are three cases,where accounts have
not been rendered. ‘Two had to be handed to
the solicitors of the Society and are now
finished. In the third case the accounts were
rendered in due course.
- There were three cases where MSS. had been
THE AUTHOR.
[MAY, 1914.
retained. In one instance the MS. has
been recovered and forwarded to the member,
and in the others the secretary is still waiting
for a reply.
In two cases of infringement of copyright,
one lying in the United States is still in course
of negotiation, and the other has been satis-
factorily settled.
In two claims for money, one in France has
not yet been settled and the other has had to be
handed over to the solicitors of the Society.
This last is the case of a magazine against
which the Society has had a fair number of
claims. They have all been met in the end,
but it is generally necessary that the solicitors
should deal with the matter before a satis-
factory result is obtained.
Out of the total of fifteen cases, therefore,
five have been successful, three have had to be
handed to the solicitors, and two are out of
England. :
There are still a good many cases remaining
over from last month. This is no doubt owing
to the fact that little business has been done
during the Easter holidays. There are two
disputes on contracts. Of these one is in the
United States, and will naturally take some
time to settle. The second, having been
referred to the committee, cannot be closed
until after the committee meet in May.
There are still four claims where the demand
for the return of MSS. has not been complied
with. It has often been pointed out in these
columns that claims of this nature are difficult
to deal with. In many cases it is only possible
to bring the delinquent to book by continually
reminding him by letter. As answers have
been received from the retainers of the MSS.
in all four cases, it is possible that they will
terminate satisfactorily.
There are two other matters still open, oné
of infringement of copyright in the United
States, which will be some time before it is
settled, and a complicated dispute on accounts,
which also will need further handling.
te
April Elections.
Borthwick, Miss Jessica 22, The _ Bolton
: Studio, Redcliffe
Road, S.W.
2, St. John’s Hill,
Lewes, Sussex.
cfo Sir C. R
McGrigor, Bart. &
Co., 25, Charles
Street, S.W.
Brown, Mrs. Frances
Buckle, Gerard Fort .
MAY, 1914]
Campbell, Miss M. M.
Chalmers, C. ,
Chovil, A. Harold
Clue, G. Leo
Collins, Sewell
Croysdale, Mrs. Agnes.
Drummond, The Hon.
Capt. Robert Charles
Dunlop, Miss Jocelyn.
Fairbridge, Miss
Dorothea
Farrer, Miss M. Bruce .
Girdwood, John .
Gordon, Miss Helen C..
Grattan, Harry . :
Green, Emanuel, F.S.A.,
F.R.S.L.
Haig, Elizabeth .
Heape, Walter
Inman, Arthur Conyers
Leeney, G. H.
Leeney, Harold,
M.R.C.V.S.
Lonsdale, Miss Eva
MacMunn, Lt.-Col.
G. F., D.S.O., R.L.F.
a eens, Stephen
M.
Moore, William . .
Morgan, Mrs. Caroline.
Paine, Mrs. Josephine .
_ Piercey, Benjamin H. .
Platt, Charles.
THE AUTHOR.
Marchfield
Bracknell.
House,
“Maison,” Russell
Road, Moseley,
Birmingham. —
3, Milton
Herne Hill, S.E.
88, Loudoun Road,
St. John’s Wood,
N.W.
London and South
Western Bank,
Notting Hill, W.
11, Walpole Street,
Chelsea, S.W.
Paradise, Claremont,
S. Africa.
5, Kent Gardens,
Ealing, W.
16, Ainslie
Edinburgh,
29, Queen
Street, S.W.
Place,
and
Anne
4, Regent Street, W.
6, Piazza d’Azeglio,
Florence, Italy.
10, King’s Bench
Walk, Temple, E.C.
34, Hereford Square,
S.W.
Pilton,
Mallet.
Pilton,
Mallet.
21, Talgarth Road,
West Kensington,
W.
c/o Cox & Co., 16,
Charing Cross,
W.C.
6, Clement’s
Strand, W.C.
23, Avenue du Bois
de Boulogne, Paris,
France.
38, Agincourt Road,
Hampstead, N.W.
16, Emperor’s Gate,
S.W.
Medstead, Hants.
5, Queen’s Gate, S.We
60, Stapleton Road,
S.W.
Shepton
Shepton
Inn,
Road,”
Roscoe, Ada
Ross, Charles
, Rubenstein, H. F.
Somerset, Raglan H. E.
H
Stacpoole, Mrs.
Margaret de Vere
Stoeving, Paul
213
c/o Shurey’s Publi-
cations, 2 and 3,
Hind Court, E.C.
The Hippodrome,
Aldershot.
76, Addison Road,
Kensington, W.
Raglan, Monmouth-
shire.
Swiss Cottage, Vent-
nor, Isle of Wight.
29, Blenheim Road,
Abbey Road,
N.W.
20, Minford Gardens,
West Kensington
Park, W.
Hunter Street,
Brunswick Square,
W.C.
Williams, Hugh
Wood-Jones, F., D.Se.. 8,
Wrightson, Prof. John.
————_1 <_<
BOOKS PUBLISHED BY MEMBERS.
—+-—— +
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members, In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate,
ANTHROPOLOGY.
INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study
in Social Evolution. By E. Carpenter. 8} x 5}.
185 pp. Allen. 4s. 6d. n.
ARCHITECTURE.
DILAPIDATIONS AND Fixtures. A Textbook in Tabulated
Form for the use of Architects, Surveyors, and Others.
By Proressor BANISTER FLETCHER. Seventh Edition.
Revised and largely re-written by B, F. Frercumr and
H.P.Frietcunr. 7} x 5. 191 pp. Batsford. 6s. 6d.
BIOGRAPHY.
RICHARD CORFIELD OF SOMALILAND.
Barrerssy. 9 X 53. xviii + 259 pp.
10s. 6d. n.
Tuer Doass or VENICE.
9 x 5}. 394 pp. Methuen. 12s. 6d. n.
Tue Lire or Cesare Boraia. By. Raraet SABATINI.
465 pp. [First published 1912.] Honore DE Bauzac.
His Life and Writings. By Mary F.Sanpars. 312 pp.
[First published 1904.] (The Essex Library.) 8} x 5}.
Stanley Paul. 5s. n. each.
BOOKS FOR THE YOUNG.
Tan Boy Scours’ Rott or Honour. By Eric Woop.
With a Foreword by Lizvut.-Gen. Sir Ropert Bapen-
Powe, K.C.B. 8} x 5}." 308 pp. Cassell. 3s. 6d. n.
By H. F. Prevost
Arnold.
By Mrs. Ausrey RIcHARDSON,
212
tions for their presence, and placed before the
meeting the following agenda :— _
(1) To consider what joint actions should
be taken to safeguard—
(a) Titles.
(b) Subject-matter.
(2) The appointment of a Joint Board to
protect the common interests of authors,
manufacturers and the film trade generally.
Mr. Carton quoted the case which had just
been carried through, viz., ‘‘ Sealed Orders,”
and read a letter he had received from
Mr. Cecil Raleigh, who was, unfortunately,
unable to attend.
Considerable discussion followed on different
points which were raised, viz., the protection
of titles and of cinema property generally,
the representatives of the Kinematograph
Manufacturers’ Association being very strong
on the point that legislation was necessary.
Finally, the following resolution :—
“That the appointment of a Joint Board
to protect the common interests of authors,
film manufacturers, exhibitors, renters, thea-
trical managers and the film trade generally
would be to the advantage of all parties
concetned,”’
proposed by Mr. Justin Huntly McCarthy,
and seconded by Mr. Haddon Chambers, was
carried unanimously.
The matter will be referred to the board of
each association represented at the meeting,
so that two delegates from each association
may be appointed to sit on the Joint Board.
It was decided also to ask the Society of
West End Managers and the Music Halls’
Association to appoint delegates also.
Oo
Cases.
Durine the past month the secretary has
handled fifteen cases. Five of these dealt with
disputes on contracts. It is interesting to
note that these cases are referred to the
Society in larger numbers, and that the
publishers or editors concerned are often
willing to accept the informal arbitration of
the secretary.
Out of five, two have been satisfactorily
settled, and three are still in the course of
negotiation. Disputes of this kind generally
involve a good deal of letter writing before
they are concluded.
There are three cases where accounts have
not been rendered. T'wo had to be handed to
the solicitors of the Society and are now
finished. In the third case the accounts were
rendered in due course.
There were three cases where MSS. had been
THE AUTHOR.
[MAY, 1914.
retained. In one instance the MS. has
been recovered and forwarded to the member,
and in the others the secretary is still waiting
for a reply.
In two cases of infringement of copyright,
one lying in the United States is still in course
of negotiation, and the other has been satis-
factorily settled.
In two claims for money, one in France has
not yet been settled and the other has had to be
handed over to the solicitors of the Society.
This last is the case of a magazine against
which the Society has had a fair number of
claims. They have all been met in the end,
but it is generally necessary that the solicitors
should deal with the matter before a satis-
factory result is obtained.
Out of the total of fifteen cases, therefore,
five have been successful, three have had to be
handed to the solicitors, and two are out of
England. .
There are still a good many cases remaining
over from last month. This is no doubt owing
to the fact that little business has been done
during the Easter holidays. There are two
disputes on contracts. Of these one is in the
United States, and will naturally take some
time to settle. The second, having been
referred to the committee, cannot be closed
until after the committee meet in May.
There are still four claims where the demand
for the return of MSS. has not been complied
with. It has often been pointed out in these
columns that claims of this nature are difficult
to deal with. In many cases it is only possible
to bring the delinquent to book by continually
reminding him by letter. As answers have
been received from the retainers of the MSS.
in all four cases, it is possible that they will
terminate satisfactorily.
There are two other matters still open, one
of infringement of copyright in the United
States, which will be some time before it is
settled, and a complicated dispute on accounts,
which also will need further handling.
—
April Elections.
Borthwick, Miss Jessica 22, The — Bolton
Studio, Redcliffe
Road, S.W.
2, St. John’s Hill,
Lewes, Sussex.
cfo Sir C. R,
McGrigor, ‘Bart. &
Co., 25, Charles
Street, S.W.
Brown, Mrs. Frances
Buckle, Gerard Fort .
MAY, 1914]
Campbell, Miss M. M. .
Chalmers, C. : :
Chovil, A. Harold :
M2 Clue, G. Leo
Collins, Sewell
Croysdale, Mrs. Agnes.
Drummond, The Hon.
Capt. Robert Charles
Dunlop, Miss Jocelyn.
Fairbridge, Miss
Dorothea
Farrer, Miss M. Bruce .
Girdwood, John . :
Gordon, Miss Helen C..
Grattan, Harry . :
Green, Emanuel, F.S.A.,
F.R.S.L.
Haig, Elizabeth . :
Heape, Walter
Inman, Arthur Conyers
Leeney, G. H.
Leeney, Harold,
M.R.C.V.S.
Lonsdale, Miss Eva
MacMunn, Lt.-Col.
G. F., D.S.O., R.L.F.
ns, Stephen
M.
Moore, William .
Morgan, Mrs. Caroline.
Paine, Mrs. Josephine .
Piercey, Benjamin H. .
Platt, Charles. :
THE AUTHOR.
Marchfield
Bracknell.
House,
‘*Maison,”? Russell
Road, Moseley,
Birmingham.
3, Milton’ Road,
Herne Hill, S.E.
38, Loudoun Road,
St. John’s Wood,
N.W.
London and South
Western Bank,
Notting Hill, W.
11, Walpole Street,
Chelsea, S.W.
Paradise, Claremont,
S. Africa.
5, Kent Gardens,
Ealing, W.
16, Ainslie
Edinburgh,
29, Queen
Street, S.W.
Place,
and
Anne
4, Regent Street, W.
6, Piazza d’Azeglio,
Florence, Italy.
10, King’s Bench
Walk, Temple, E.C.
34, Hereford Square,
S.W.
Pilton,
Mallet.
Pilton,
Mallet.
21, Talgarth Road,
West Kensington,
W.
c/o Cox & Co., 16,
Charing Cross,
W.C.
6, Clement’s
Strand, W.C.
23, Avenue du Bois
de Boulogne, Paris,
France.
38, Agincourt Road,
Hampstead, N.W.
16, Emperor’s Gate,
S.W.
Medstead, Hants.
5, Queen’s Gate, S.We
60, Stapleton Road,
S.W.
Shepton
Shepton
Inn,
, Rubenstein, H. F.
213
Roscoe, Ada c/o Shurey’s Publi-
cations, 2 and 8,
Hind Court, E.C.
The Hippodrome,
Aldershot.
76, Addison Road,
Kensington, W.
Somerset, Raglan H. E. Raglan, Monmouth-
H. shire.
Stacpoole, Mrs. Swiss Cottage, Vent-
Margaret de Vere nor, Isle of Wight.
Stoeving, Paul 29, Blenheim Road,
Abbey Road,
N.W.
20, Minford Gardens,
West Kensington
Park, W.
Hunter Street,
Brunswick Square,
W.C.
Ross, Charles
Williams, Hugh
Wood-Jones, F., D.Se.. 8,
Wrightson, Prof. John.
i
BOOKS PUBLISHED BY MEMBERS.
— +
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members, In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
ANTHROPOLOGY.
INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study
in Social Evolution. By E. Carpenter. 83 x 53.
185 pp. Allen. 4s. 6d. n.
ARCHITECTURE.
DILAPIDATIONS AND Fixtures. A Textbook in Tabulated
Form for the use of Architects, Surveyors, and Others.
By PRroressor BaNniIsTER FLETCHER. Seventh Edition.
Revised and largely re-written by B. F. Fiumrcuur and
H.P.Furrcumr. 74 x 5. 191 pp. Batsford. 6s. 6d.
BIOGRAPHY.
RICHARD CORFIELD OF SOMALILAND.
BaTrersBy. 9 X 53. xviii + 259 pp.
10s. 6d. n.
Tur Dogus or Venice. By Mrs. AuBREY RIcHARDSON,
9 x 53. 394 pp. Methuen. 12s. 6d. n.
Tue Lire or Cusarn Borat. By. Rarazt SaBaTInNi.
465 pp. [First published 1912.] Honors pr Bauzac,
His Life and Writings. By MaryF.Sanpars. 312 pp.
[First published 1904.] (The Essex Library.) 8} x 54.
Stanley Paul. 5s. n. each,
BOOKS FOR THE YOUNG.
Tae Boy Scours’ Rott or Honour. By Eric Woop.
With a Foreword by Limut.-Gen. Sir Ropert Bapen-
Powstt, K.C.B. 8} x 5}.° 308 pp. Cassell, 3s. 6d. n.
By H. F. Prevost
Arnold.
214
BOOKS OF REFERENCE.
Coxoisz Dictionary or Proper NAMES AND NoTaBLeE
Marrers in tae Works or Dante. By PAGET
ToyNBEE. 8X5. 568 pp. Oxford University Press.
7s. 6d. n.
DRAMA AND ELOCUTION.
Tue Two Virturs. A Comedy in Four Acts. By
Atrrep Svurro. 6} x 54. 100 pp. Duckworth.
ls. 6d. n.
Prays By Leo Toxstoy. Translated by LovisE and
‘Ayumer Mavpr. (Complete Edition, including the
Posthumous Plays.) 8} x 5}. 413 pp. Constable.
5s. n.
Anpromacuz. A play in Three Acts. By GILBERT
Murray. (Revised Edition.) 7} x 43. 104 pp.
Allan. 1s. n.
Dramatic Actuanitias. By W. L. Grorcs. 7} x 5.
124 pp. Sidgwick and Jackson. 2s. n.
Rors Enovcn. A Play in Three Acts. By ConaL
O’Riorpan. (Norrey’s Connell.) 73 x 5. 112. pp.
Maunsel. 2s. n.
Srx Monoroauss (performed by BRANSBY WILLIAMS). By
Harry WYNNE. 7} x 43. 11 pp. Joseph Williams,
Ltd. 6d. n.
Tar Doctor’s Diremma. By Brrnarp SHaw. (Cheap
Edition.) 8 x 53. 128 pp. Constable. 6d.
FICTION.
Tun Men wo Fovcut ror Us. A tale of the ‘‘ Hungry
Forties.’ By Atuen CrarKe. 7} x 5$. 300 pp.
Co-operative Newspaper Printing Society. 5s.
Tanza. A Russian Story. By Merrie, BucHanan.
7% x 5. 328 pp. Jenkins. 6s.
Jupas THE Woman. By F.C. Puitresand A. T. PHILies.
74 x 5. 283 pp. Eveleigh Nash.
Tue Passionate ELOPEMENT. By Compron MACKENZIE.
(Cheap Reprint.) 74 x 5. 344pp. MartinSecker. 2s.n.
A Tuier in THE Nicut. By E. W. Hornune. (Cheap
Reprint.) 376 pp. Nelson. 7d. n.
Lismoyye. An Experiment in Ireland. By B. M.
Croker. 74 x 5. 386 pp. Hutchinson. 6s. n.
Mistress Cuariry GopoLPHin. By Guapys MURDOCK.
7% x 5. 309 pp. Murray. 6s.
Tore Herm to THE THRone. By A. W. Marcumont.
74 x 5. 334 pp. Ward, Lock. 6s.
Tue Heart or Monica. By Rosina Fivippi. 7} X 5.
214 pp. Cassell. 3s. 6d.
Wuat wit Prorte Say? By RupertHvucues. 7} x 5.
510 pp. Harpers. 6s.
Tue Jupament or Eve. By May Sincuarr. 7} xX 5.
323 pp. Hutchinson. 6s.
Tue Fortunate Youtsu. By W. J. Locxr. 7} x 5}.
352 pp. Lane _ 6s.
James WuITAKER’s DuKEDOoM. By E. Jepson. 7} X 5.
355 pp. Hutchinson. 6s.
A Free Hanp. By Herren C. Roserts. 7} x 5.
322 pp. Duckworth. 6s.
Unto Cmsar. By Baroness Ornczy. 73 X 5. 331 pp.
Hodder and Stoughton. 6s.
Joan Buirret’s Davauturs. By KaTHARINE TYNAN.
7% x 54. 333 pp. Smith, Elder. 6s.
Jmi-Aut-ALonE. By “Rita” (Mrs. Desmond Hum-
phreys). 73% x 5. 335 pp. Stanley Paul. 6s.
Tue Gates or Doom. By Rararn Sapatini. 7} Xx 4}.
343 pp. Stanley Paul. 6s.
Firemen Hor. By C. J. Curcnirre Hynn. 7 x 5.
309 pp. Methuen. 6s.
Tue Hippen Mask. By C. Guise Mirrorp. 7} x 5.
336 pp. Greening. 6s.
Tue Crimson Mascot. By Cuarues E.PEARCE, 7} x 4}.
335 pp. Stanley Paul. 68.
THE AUTHOR.
[MAY, 1914.
Lonpon Crrovs. By Henry BazrRuern. 7} x 5}.
316 pp. Fifield. 6s.
Turn Foot Errant. By Maurice Hew err. 383 pp.
Tre Prince or Prosperity. By H.A.VACHELL. 320 pp.
(The Wayfarers’ Library.) 7 x 44. Dent. 1s. each.
Tae Spats of THE Miauty. By Sir GiperT PARKER.
6} x 44. 469 pp. Nelson’s Sevenpenny Library.
Tun Wispom oF Fouuy. By Eten THORNEYCROFT
Fowier. 260 pp. Napa tHe Liry. By H. Riper
Haacarp. 321 pp. BreTrerTHan Lire. By CHARLES
Garvice. 320 pp. (Sevenpenny Library.) Hodder
and Stoughton.
DopoTHESrconD. By E. F. Benson.
Hodder and Stoughton. 6s.
Tue OrLEY TRADITION. By Rap STRAUS.
360 pp. Metheun. 6s.
Tur ReBELLion or EsTHEr.
7% x 5. 317pp.
717i x 5.
By Marcaret LEGGE.
72 x 5. 314 pp. Alston Rivers. 6s.
A Urrrue Raprant Girt. By Karuarinn Tynan.
63 x 54. 384 pp. Blackie. 6s.
Tar Devries Proression. By GeRTIE DE S. WENT-
wortH JamEs. 73 x 5. 319 pp. Everett. 6s.
LeviaTHan. By Jeannette Marks. 7} x 5}. 329 pp.
Hodder and Stoughton. 6s.
HISTORY.
HANNrBAL ONCE More. By D. W. FRESHFIELD. 9 X 5}.
120 pp. Arnold. 5s. n.
LITERARY.
Tam FRANCISCAN Ports IN ITALY AND THE 13TH CENTURY.
By Freperick Ozanam. Translated and annotated by
A. E. Neuien and W. E..Craic. Messrs. David Nutt.
6s. n.
Wuere no Far was. A Book about Fear. By A. C.
Benson. 8 x 5}. 240 pp. Smith, Elder. 68. n.
In Pursuit oF SPRING.
301 pp. Nelson. 5s.
Lerrers to Caroyine. By Exmyor Guyn. 7} X 5.
154 pp. Duckworth. 2s. n.
Love. By Gipert Cannan. 55 pp. FLOWERS. By
J. Foorp. 68 pp. TrRexs. By ELEANOR FaRJEON.
54 pp. Naturs. By W. H. Davins. 54 pp. THE
Meaning or Lire. By W. L. Courtney. 72 pp.
Portry. By A. QuitueR-CovcH. 64 pp. (Fellowship
Books. Edited by Mary Stratton.) 7 Xx 4}. Bats-
ford. 2s. 6d. n.
Sounps AND Siens. A Criticism of the Alphabet, with
Suggestions of Reform. By A. Witpr. 7} xX 5.
180 pp. Constable. 4s. 6d. n.
MUSIC.
By Epwarp Tuomas. 8} x 6.
Tue Music or Hinpostan. By A. H. Fox Straneways ~
9} x 5%. 364 pp. Oxford: Clarendon Press. London:
Milford. 21s. n.
NATURAL HISTORY.
British Frowerine Prants. Ilustrated by 300 Full-
Page Coloured Plates, reproduced from Drawings by
Mrs. Henry Perrin, with detailed descriptive notes
and an Introduction by Prorsssor Bovunesr, F.L.S.
Vol. L., xiii. +10}. Quaritch. £12 12s. the set of
four vols.
PAMPHLETS.
EvucnHarist AND BisHop. By the Rrv. J. H. SKRINE,
D.D. Longmans. Ils. n.
In Quust or TRuTH. Being a Correspondence between
Sim Artruur Conan Doyir and CaprarIn STANSBURY,
R.N. Watts. 2d.
E
1
|
MAY, 1914.]
POETRY.
‘Tus Sea is Kiyp. By T. Srurce Moors.
*-174 pp. Grant Richards. 6s. n.
Tue REVERBERATE Hints. By E. OprpeNHEIM.
m 56 pp. Constable. 3s. 6d. n.
A Raapsopy For Lovers. By A. Maquarie.
47 pp. Bickers.
& x 62.
ue & 6.
5 x 3h.
POLITICS.
Tue TrutTH apout Utster. By F. Franxrort Moor.
9 x 5%. 286 pp. Nash. 7s. 6d. n.
REPRINTS.
Karty Bett tHE ORPHAN. Possibly an Earlier Version
of Charlotte Bronté’s ‘‘ Jane Eyre.”” With an Introduc-
tion by Mrs. Exuis H. Caapwick. 7$ x 5. xxviii. +
146 pp. Sir Isaac Pitman. 2s. 6d. n,
‘Tue Poems or Sir Tuomas Wiat. From the MSS. and
Early Editions. Edited by A. K. Foxwnty. 7} x 5.
268 pp. Published for the University of London Press
by Hodder and Stoughton. 3s. 6d. n.
‘THe Fire or Love anp THE MenpinG or Lire. By
Ricuarp Rotie. Translated by Ricnarp MiIsyn.
Edited and done into Modern English by Francis M. M.
Comesr. With an Introduction by Evetyn UNDER-
HILL. 7? x 5. Ixii. +278 pp. Methuen. 3s. 6d. n.
SCIENCE.
THe WoNpDERS oF Brirp-Lire.
128 pp. (Twentieth Century Science Series.)
Manchester: Milner. ls. n.
SOCIOLOGY.
PREPARATIONS FOR Marriace. By W. Hears, F.R.S.
168 pp. Wuat ir Means To Marry: Or, YOUNG
Women anp Marriage. By Dr. Mary ScHARLIEB.
140 pp. (‘Question of Sex” Series.) 73 x 43.
Cassell. 2s. 6d. n. each.
SPORT.
AmatTeuR Samtinc. Reminiscences by C. F. ABpDY
Wiuutams. 8} x 54. 110 pp. Potter. 4s.
Necro Fork Sinerne-GAMES AND FoLtK GAMES OF THE
Hasrrants. Traditional Melodies and Text tran-
scribed by Grace CLEVELAND Porter. Accompani-
ments by H. W. Loomis. 12 x 9. xix. +35 pp.
Curwen.
THEOLOGY.
CatHouiciry; Concionrs ap Cuinrum. By T. A.
Lacey. 73 x 5}. 149 pp. Mowbray. 2s. 6d. n.
Tue Gotpen Censor. By Fiorence L. Barcnay.
64 x 41. 71 pp. Hodder and Stoughton. ls. 6d. n.
Tue Orpinaky Man anp THE EXTRAORDINARY THING.
By Harotp Brasie. (Popular Edition.) 74 x 5.
160 pp. Hodder and Stoughton. 1s. n.
TRAVEL.
How to Ses tue Vatican. By Dovaetas SLADEN.
8k x 54. 441 pp. Kegan Paul. 6s. n.
ALBANIA. The Foundling State of Europe. By WapHAM
Pracock. 9 x 53. 256 pp. Chapman and Hall.
7s, 6d. n.
By W. P. WESTELL.
7k x 5.
—___+——_+-__—_——_-
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
paceser nee one oneany
R. EDWARD CLODD has rewritten
his ‘“‘ Childhood of the World,” which
was first published in 1872. The new
edition, to which illustrations are added, is
THE AUTHOR.
215
divided into three parts: Man the Worker,
Man the Thinker, Man the Discoverer
(Macmillan & Co.).
Mr. Clement Edwards Pike, F.R.Hist.S.,
edits for the Royal Historical Society “ Selec-
tions from the Correspondence of Arthur Capel,
Ear! of Essex, 1675—1677.”’ This book makes
the twenty-fourth volume of the Camden Third
Series, and may be obtained from the offices of
the Society, 6 & 7, South Square, Gray’s Inn.
‘ Albania: the Foundling State of Europe ”
is the title of a new book by Mr. Wadham
Peacock, formerly private secretary to
H.B.M.’s Chargé d Affaires in Montenegro.
The book, which has numerous illustrations,
deals with history, customs, scenery, and
politics (Chapman and Hall, 7s. 6d. net).
In “ The Philosophy of Welsh History ” the
Rev. J. Vyrnwy Morgan, D.D., author of
‘The Welsh Religious Revival, 1904-5,” ete.,
does not pretend, he says, to give a history of
Wales or a consecutive narrative of the
movements that have affected the principality.
He calls, however, for a reconsideration of
many of the conclusions formed by Welsh
nationalist historians, whose deductions he
contends to be without justification (John Lane,
12s. 6d. net).
There has been just brought out by the
firm of Elkin Mathews “ Florentine Vignettes,
being some metrical letters of the late Vernon
Arnold Slade, edited by Wilfrid Thoiley.”
The author is of course the editor, and the
letters are written in the guise of an art-
student newly arrived in the Tuscan capital.
There is a frontispiece adapted from the
marble pediment of Cellini’s “ Perseus ”’ and
a Finis taken from masks on a fountain in the
Cascine.
Mr. Wharndford Moffatt has a volume of
‘“‘ New Canadian Poems,” of which a copy has
been accepted by H.E. the Governor-General.
The book is being published by Simpkin,
Marshall, & Co., price 2s. 6d. net.
In “ Dodo the Second” Mr. E. F. Benson
returns to an early mood and an heroine whose
literary birth took place a score of years ago
(Hodder and Stoughton). oe
Mr. W. J. Locke’s new novel is “ The
Fortunate Youth ” (John Lane).
It is stated of Mrs. Elinor Glyn’s “ Letters
to Caroline ” that it is not a story but a series
of letters of wisdom and counsel from a god-
mother to a goddaughter who is just entering
Society (Duckworth, 2s. net). :
Mr. Charles Garvice’s new novel is entitled
“© A4 Woman’s Way,” and has just been
published by Hodder and Stoughton.
216
Miss May Wynne has a romance of the
Huguenot period on the point of publication,
under the name of ‘“‘ The Silent Captain.”
K. L. Montgomery’s forthcoming romance,
which was announced in the last issue of The
Author as “ Ears of Leather,” will be published
by John Long in London and the Colonies
under the title “‘ Maids of Salem.”
Holden and Hardingham are publishing
immediately Mr. Kineton Parkes’s novel * The
Money Hunt : A Comedy of Country Houses.”
Miss K. Everest’s new romance “ Beaufoy,”
is published this month by Lynwood & Co.
This is a tale for young people. A copy has
been graciously accepted by H.R.H. Princess
Mary.
“The Good Shepherd,” by John Roland,
is the romance of a young American doctor in
a remote Tyrolese valley, who comes to play
the part of saviour to the suffering peasants
and, in doing so, himself regains a faith which
he has lost and wins a wife (Blackwood).
Miss Edith M. Keate’s “A Garden of the
Gods ” is the love-story of a blind man in a
beautiful garden, though introducing numerous
other characters (Alston Rivers).
Miss Meriel Buchanan, author of “ Tania:
a Story of Russian Life’ (Jenkins), is the
daughter of the British Ambassador at Con-
stantinople.
‘“‘ Lovers’ Meetings” is the title of a new
collection of short stories by Mrs. Katharine
Tynan (Werner Laurie).
A new edition has just been published of
“Pink Purity,” by Mrs. Gertie de S. Went-
worth James (Werner Laurie, 1s. net).
Mrs. C. Romanné James has been appointed
to the editorship of the quarterly Buddhist
Review.
“The Art of Dainty Decoration,” by
Mrs. Emily J. Skeaping, is a little paper-
covered book dealing with such subjects as
how to paint on silk, satin, or velvet, how to
decorate with stencils, how to make original
cards, ete. (Winsor and Newton, 1s.).
“‘ Jehane of the Forest,’ by L. A. Talbot
(Mrs. Ferguson) is a lively romance of a period
and place which has attracted no novelist of
note since Scott wrote “‘ The Betrothed ” ;
namely, the marches of Wales in the reign of
Henry II.
“Infatuation,”” by Marcu; Knox, is pub-
lished by Robert Ashley.
DraMatTIc.
The long run of Mr. G. K. Chesterton’s
“Magic” at the Little Theatre concluded on
March 28. On April 11, at the same theatre,
THE AUTHOR.
[MAY, 1914
Mrs. Percy Dearmer’s ‘“‘ Brer Rabbit and
Mr. Fox,” with music by Mr. Martin Shaw,
commenced a matinée season.
On April 11 was the first performance at
His Majesty’s Theatre of Mr. G. Bernard
Shaw’s ‘“ Pygmalion.”
On the same night Mr. G. R. Sims’s “ The
Lights 0’ London ” was revived at the Aldwych.
Mr. Israel Zangwill’s ‘“‘ The Melting Pot”
was transferred on April 18 from the Queen’s
to the Comedy Theatre.
‘The Mob,” a four-act play by Mr. John
Galsworthy, was seen at the Coronet Theatre
on April 20 and succeeding days.
On April 21 the first performance took place
of ‘“‘My Lady’s Dress,” by Mr. Edward
Knoblauch, the theatre being the Royalty.
““The Clever Ones,’”’ Mr. Alfred Sutro’s new
comedy, opened at Wyndham’s Theatre on
April 23.
The play chosen for the matinée at His
Majesty’s Theatre on May 22, in aid of King
George’s Pension Fund for Actors and Actresses,
is Mr. Henry Arthur Jones’s and the late
Mr. Henry Herman’s “‘ The Silver King.”
A new one-act play, ‘‘ Beastly Pride,” by
Miss Elizabeth Baker, was produced at the
Croydon Repertory Theatre on April 23.
The West End Productions, Ltd., on
April 22, gave their sixth special matinée at
the London Pavilion, among the plays pro-
duced being ‘“‘ The Girl from Australia,” by
Mrs. E. H. Harris.
Two of Mr. Charles Garvice’s plays are now
on tour—‘‘ The Heritage of Hale,” a four-act
piece in which Mr. Garvice had the assistance
of Mr. Arthur Shirley and which was first seen
on January 7; and ‘‘ Marygold,’’ by Messrs.
Charles Garvice and Allen F. Abbott, first
produced at the Royalty Repertory Theatre,
Glasgow, on March 23.
The Authors’ Producing Society is “an
association of subscribers formed for the
purpose of producing plays—particularly those
of an educational and sociological character—
hitherto unseen in England.” The society’s
first season began with the performance at the
Little Theatre on February 16 of John Pollock’s
translation of M. Brieux’s ‘“‘ Les Avariés ”
(‘Damaged Gocds’’). Other performances
of the play took place at the Court Theatre
on April 19 and 30, and a fourth is announced
for May 10. The address of the secretary of
the society is 4, Duke Street, Adelphi, W.C.
Mr. Herbert Jenkins, author and publisher,
has now become a playwright also. A one-act
play of his, “‘ With Her Husband’s Permission,”’
is to be produced by Miss Muriel Pratt at the
MAY, 1914.]
Theatre Royal, Bristol, on May 18. Later on
a West End production is contemplated.
Musica.
“Negro Folk Singing Games and Folk
Games of the Habitants”’ is the title of a
collection of traditional melodies and text
transcribed by Grace Cleveland Porter, with
accompaniments by Harvey Worthington
Loomis. The work is published in this
country by J. Curwen and Sons, Berners Street,
W.., at 2s. 6d.
““The Music of Hindostan,” by A. H. Fox
Strangways, is an attempt to deal, in one
volume, with the music of the Indus and
Ganges basins. Seventeen separate plates
illustrate the book, which is published by the
Clarendon Press at 21s.fnet.
—— se
PARIS NOTES.
——+ <>
REAT preparations were made _ for
the Royal visit to Paris. The Palais
des Affaires Etrangeres was furnished
for the occasion with historical furniture
which had belonged to Louis XIV., Louis XV.,
Louis XVI., and to Napoleon I. The Avenue
de l’Opéra and various other streets of Paris
were decorated with garlands of roses. The
magazines and reviews have been vying with
each other in giving articles concerning the
English King and Queen. :
‘“Croquis d’Outre-Manche ” is the title of
the latest book on England by M. Jacques
Bardoux. Most foreign writers content them-
selves with visiting London for giving their
opinion on England and its people. M. Bardoux
has taken the trouble to go to the more remote
parts of our island and to study the far back
history of our nation, in order to explain the
present by the past. He takes his readers
to the old-world county of Somerset. He goes
back to Hugues de Lincoln, and gives us an
interesting account of Glastonbury, of Wells,
and of Bath. :
““ Entre deux Mondes,” by Inés’ Bello, is a
curious psychological study of a woman.
The story opens with a journey from Florence
to Rome and a chance meeting in the train.
There is no plot and very little episode. The
whole volume is taken up with the senti-
ments of the two persons who meet in this way.
Incidentally we have descriptions of Rome
and of the very soul of Rome. The book is
distinctly original as a psychological study.
THE AUTHOR.
217
“ L'Homme de désir,”” by M. Robert Vallery-
Radot, is a novel which might certainly take
rank among the books belonging to the
~ Spiritualistic literature’ so much in vogue
now in France.
The President of the French Republic was
represented at the funeral of Mistral, the
celebrated meridional poet.
The event of the month in the theatrical
world has been Antoine’s resignation of his
post as Director of the Odéon. It is not yet
known who will be invited to succeed him at
the second State Theatre. It is rumoured
that M. Camille de Sainte Croix, who has for
some years been running the French Shake-
speare Theatre, stands a very good chance
of being elected. M. Lugné Poe is also men-
tioned as a candidate, and there are two or
three other names on the list.
The last play put on by Antoine was Psyché,
a tragedy-ballet in five acts by Moliére, Pierre
Corneille et Quinault, with music by Lulli,
arranged by M. Julien Tiersot. This recon-
stitution was extremely artistic and interesting,
and was a fitting close to Antoine’s career at
the Odéon.
At the Gymnase, Henri Lavedan’s three-
act play “‘ Pétard’”’ has been given. There
is plenty of episode and there are good dramatic .
situations, but the chief interest is the study
of modern life. We see the old world giving
way to the new and the old traditions being
sacrificed for the sake of gold. Pétard is a
nouveau riche, a parvenu, and we see him
buying the ancestral home of an old family.
M. Lavedan shows us the forces of the past
waging war with the material force of our
epoch.
In honour of the Royal visit the Little
English Theatre arranged to come over from
London and give a special three-play bill
during the week of the festivities. The pieces
chosen were ‘“‘ The Critic ’’ by Sheridan, ‘* The
Tents of the Arabs’ by Lord Dunsany, and
“The Music Cure’? by George Bernard
Shaw.
The Cinema Commission appointed by the
French Society of Authors for studying the
question of cinematograph rights has now
given in its report. There has been some
difficulty in this matter, which is now happily
settled, as the Society of Authors and Society
of Dramatic Authors have come to an arrange-
ment by which they will combine to protect
the rights of their respective authors. The
French law of 1793 protects authors, and last
November the Society of Dramatic Authors
changed its statutes, including the cinema
218
rights, in such a way that, according to the
law of 1791, it would be impossible for the
cinema rights of any dramatic author belonging
to the Society to be appropriated by outsiders.
The Cinema Commission has now arranged
that the two societies shall work together in
the interests of authors. In future, according
to Article 34 bis, every member of the Society
of Authors agrees to make no contract pri-
vately with manufacturers, hirers, or exploiters
of cinematographic films, concerning the
adaptation of his or her present or future
literary works or unpublished cinematographic
scenarios.
All contracts made previously to this new
_rule are to be held binding.
Every contract of this nature is to be made
by the intermediary of the (Société des Gens de
Lettres) French Society of Authors.
The Society of Authors may pass any conven-
tion or arrangement with any enterprise or
society of authors for exercising, directly or
indirectly, the rights belonging to its authors.
The present arrangement is to apply to
cinematographic’ adaptations by all present
or future methods.
The author shall give a written declaration
to the committee, indicating the rights he had
already disposed of before the date of the
present arrangement.
Such is the article decided upon by the
Commission. During what is called the transi-
tion period authors will fix the terms of their
contracts themselves, but these contracts
must pass through the hands of the managing
agents of the Society of Authors. The
Commission reports that quite recently the
Society succeeded in obtaining, for one of its
authors, an increase of nearly half the amount
already offered.
The definitive period will be when the
Society of Authors will have concluded general
treaties. ‘The Society will then have to agree
to the rules that the Society of Dramatic
Authors now has with the theatres. Authors
will then have to accept the minimum of
rights agreed upon, but it will be impossible
to accept less than this minimum. Above
this minimum, authors will be able to ask what
terms they wish.
As long as the transition period lasts,
authors must pay the agents who draw up the
contracts 6 per cent., but 1 per cent. of this
will be returned to the general funds of the
Society of Dramatic Authors and 2 per cent. to
the general funds of the Society of Authors.
The Society of Dramatic Authors will take
upon itself the responsibility of any lawsuits
THE AUTHOR.
[MAY, 1914.
which may arise in connection with cinema
rights.
Atys HALiarp.
“ Croquis d’Outre-Manche’”’ (Hachette).
‘*Entre deux Mondes”’ (Grasset).
“L’Homme de désir” (Plon).
—_—_—_—__— +> 6
U.S.A. COPYRIGHT LAW AMENDMENT.
st
AS Act to amend section twelve of the
Act entitled “An Act to amend and
consolidate the Acts respecting copy-
right,” approved March fourth, nineteen
hundred and nine.
Be it enacted by the Senate and House of
Representatives of the United States of
America in Congress assembled, That section
twelve of the Act entitled “‘ An Act to amend
and consolidate the Acts respecting copy-
right,” approved March fourth, nineteen
hundred and nine, be, and the same is hereby,
amended so as to read as follows :
Work BY, FOREIGNER, PUBLISHED ABROAD,
ONLY ONE COPY REQUIRED.—“ Sec. 12. That
after copyright has been secured by publica-
tion of the work with the notice of copyright
as provided in section nine of this Act, there
shall be promptly deposited in the copy-
right office or in the mail addressed to the
register of copyrights, Washington, District
of Columbia, two complete copies of the best
edition thereof then published, or if the work
is by an author who is a citizen or subject of
foreign state or nation and has been published
in a foreign country, one complete copy of the
best edition then published in such foreign
country, which copies or copy, if the work be a -
book or periodical, shall have been produced
in accordance with the manufacturing pro-
visions specified in section fifteen of this Act ;
or if such work be a contribution to a periodical,
for which contribution special registration is
requested, one copy of the issue or issues con-
taining such contribution ; or if the work is
not reproduced in copies for sale there shall be
deposited the copy, print, photograph, or
other identifying reproduction provided by
section eleven of this Act, such copies or copy,
print, photograph, or other reproduction to be
accompanied in each case by a claim of copy-
right. No action or proceeding shall be main-
tained for infringement of copyright in any:
MAY, 1914.]
work until the provisions of this Act with
respect to the deposit of copies and registra-
tion of such work shall have been complied
with.”
Sec. 2. That all Acts or parts of Acts in
conflict with the provisions of this Act are
hereby repealed.
Approved, March 28, 1914.
[Note.—Nevw legislation in italics.]
The copyright law of the United States has
been amended by the Act of Congress, approved
March 28, 1914, providing, in the case of a
work by an author who is a citizen or subject
of a foreign state or nation and which has been
published in a foreign country, that of the
best edition published in such foreign country
ONE complete copy shall be promptly deposited
in the Copyright Office at Washington, after
publication, in lieu of two copies as heretofore
required. (See full text of the amendatory
act above.)
This provision of law applies to books,
| dramas, music, maps, photographs, prints and
all other works by foreign authors published
in a foreign country, which are not required
by the copyright laws to be printed or manu-
factured in the United States in order to secure
copyright protection in the United States.
The new Act does not change any provisions
of the Copyright Act of March 4, 1909, as
regards the requirements of American manu-
facture.
The application for registration should
state the place and foreign country where the
work was first published.
Only one copy should be deposited in the
case of any such work published abroad.
Attention is particularly directed to this amend-
ment in order that no more than the one copy
required may be sent, as the Copyright Office
has no funds with which to defray the postage
for the return of any extra copies received.
Application forms to be used for filing
claims to copyright in accordance with the
new provision of law will be at once prepared
and will be forwarded to all persons requesting
them. Meantime it will be possible to use
the old application forms for published works
by changing with a pen “‘ two copies ”’ to “* one
copy” wherever these words occur In the
forms. :
Copyright relations have been established
between the United States and the following
countries, and the citizens or subjects of such
THE AUTHOR.
219
countries can secure copyright protection in
the United States upon compliance with the
requirements of the copyright acts of the
United States : .
Austria, Belgium, Chile, China, Costa Rica,
Cuba, Denmark, Fiance, Germany, Great
Britain and her _ possessions, Guatemala,
Honduras, Hungary, Italy, Japan, Luxemburg,
Mexico, Netherlands and__ possessions,
Nicaragua, Norway, Portugal, Salvador, Spain,
Sweden, Switzerland, and Tunis.
THORVALD SOLBERG,
Register of Copyrights.
+> ¢ —_____—
U.S.A. PLAY PIRACY.
—1.—<—+ —_
(From the U.S.A. ‘“ Publishers’ Weekly.’’)
A interesting dramatic copyright case
is pending on both the civil and
criminal sides in respect to the produc-
tion of “A Pair of White Gloves” at the
Princess Theatre in New York.
The play is the work of two French play-
wrights, André de Lorde and Pierre Chaine,
for whom the French Society of Dramatic
Authors is acting. The counsel for this society
in this country is the firm of Coudert Brothers.
The play, though copyrighted in this country in
1908, was produced without authorisation, and
it is said that the manager of the theatre,
F. Ray Comstock, had expressed a willingness,
after his attention had been called to the fact
that he was producing a copyrighted play
without authority, to pay royalty. An option
covering American rights had, however, been
given to a dramatic agent, John Pollock, of
London, who had not exercised the option,
which was still open—so that neither the
authors, the French society nor anyone had
the right to accept royalties until the option
had determined. :
The play ran a month at the Princess
Theatre, and the run was made the basis of
two suits, one by Coudert Brothers from the
civil side and one by the United States District
Attorney on the criminal side under the
criminal provisions of the copyright law. The
Grand Jury found a true bill and the defendant
is on bail. Both cases have yet to be brought
to trial, Justice Coxe, in the civil case, having
granted a preliminary injunction and the play
having been withdrawn.
220
HOW TO USE THE SOCIETY.
ot
1. VERY member has a right to ask for and to receive
advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Becretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel's
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinarysolicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination.
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements, (3) To enforce
payments due according to agreements. Fuller particu-
jars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
7. Many agents neglect to stamp agreements, This
must be done within fourteen days of first execution. The
Secretary will undertake it on behalf of members.
8. Some agents endeayour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
————-—>—2__—_—_
WARNINGS TO THE PRODUCERS
OF BOOKS.
—
: ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I. Selling Outright.
This is sometimes satisfactory, if a proper price can be
THE AUTHOR.
(MAY, 1914.
obtained. But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
Il. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for “ office expenses,”
anless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author.
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book,
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
—_———_—>—_-—_______
WARNINGS TO DRAMATIC AUTHORS.
—— to
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
ay
MAY, 1914.]
(>.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum inadvance of percentages. A fixed
date on or before which the play should be
performed.
(c) Sale of performing right or of a licence to
perform on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case,
4. Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance,
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceec-
ingly valuable. They should never be included in English
agreements without the author obtaining a stbstantial
consideration,
9: Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
is highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
—> +
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
——> +
CENARIOS, typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
: a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to the author
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2s. 6d. per act.
THE AUTHOR.
221
DRAMATIC AUTHORS AND AGENTS.
—*———+—_
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire au
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do-
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is-
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and:
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any,
circumstances without an agreement approved of by the
Society.
a ag
WARNINGS TO MUSICAL COMPOSERS.
—
ITTLE can be added to the warnings given for the
tr assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic:
property. The musical composer has very often the two:
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
—_——_—_¢—_____—__-
STAMPING MUSIC.
te
The Society undertakes to stamp copies of music on.
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe, The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the.
members, who are thus saved much unnecessary trouble.
Se ee
THE READING BRANCH.
cs
EMBERS will greatly assist the Svciety in this
branch of its work by informing young writers-
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach, The term
MSS. includes not only works of fiction, but pvetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works, The
Readers are writers of competence and experience. The-
fee is one guinea,
--—<— 9
REMITTANCES.
SSO as
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London ant
Smithe Bank, Chancery Lane, or be sent by registered
letter only.
COLLECTION BUREAU.
—+—>+—_
due to authors, composers and dramatists.
[Ne Society undertakes to collect accounts and money
1. Under contracts for the publication of their
works. ;
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amonnt passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland . : * A. REYDING.
United Statesand Canada. WALTER C. JORDAN,
Germany Mrs PoGSON.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
GENERAL NOTES.
—_+-——+
Notice.
Tur Committee of the Society of Authors
deem it important, in case any question
should arise affecting their separate interests,
to have a complete separate list of the novelists,
dramatists and composers of the Society. The
committee would be obliged, therefore, if every
member or associate of the Society who has
not previously published a novel, or a musical
composition, or had a dramatic piece per-
formed in public, would give notice to the
secretary of the Society as soon as publication
takes place, in order that his or her name
may be enrolled on the separate lists above
referred to.
INDIAN CopyricHt BI...
WE are informed by the India Office that
the approval of the Secretary of State for
India has been given in Council to the Indian
Copyright Act, 1914. A copy of the Act will
be printed in The Author at the earliest
possible opportunity.
‘We understand that in clause 4, dealing
with translation rights, the period of limitation
has been extended from five to ten years.
THE AUTHOR.
[MAY, 1914.
An explanation of the term “ translation
rights’ will be cleared up as soon as it is
possible to place the Act before the members
of the Society.
Unitrep STATES COPYRIGHT.
We are publishing in this month’s Author
the new American Copyright Act, or rather the
amendment to the old Act. It is not of any
great benefit to English authors. Any amend-
ment, however, of the United States Act which
simplifies the technical proceedings must be
valuable to the cause of the owners of copy-
right property. We hold copies of the Act at
the office in case any member would like to
have a separate copy.
Tue Lerezic CONGRESS.
Tut thirty-seventh Congress of “‘ The Inter-
national Literary and Artistic Association ”
will be held in Leipzig on September 10—14
next, under the august patronage of His
Majesty Frederick Augustus, King of Saxony.
Among the more interesting questions which
will be discussed are cinematographic rights,
methods of assuring the rights of translation,
and a review of the incidents affecting literary
and artistic property during the last twelve
months. A fuller programme of the Congress
will be hereafter published. Person» desiring
to visit Leipzig for the Congress should address
themselves to M. M. A. Taillefer, 215 bis,
Boulevard Saint-Germain, Paris.
Tur AutHors’ LEAGUE OF AMERICA.
WE have just received a letter from the
Authors’ League of America. From it we are
glad to hear that the authors are moving their
headquarters to 122, East 17th Street. The
League has taken the house which was formerly
occupied by Washington Irving, and the
library and reception room will be the room
in which Irving did most of his work.
“Tae DutcH AUTHOR.”
We have much pleasure in welcoming the
appearance of a new contemporary devoted to
the rights of authors, the Dutch Auteursrecht-
belangen, a monthly periodical published
conjointly by the committees of Musical
Copyright and of Literary Copyright of the
“ Vereeniging van Letterkundigen,” of which
the first three numbers have been courteously
j
i
E
i
f
MAY, 1914.]
‘sent tous. The pages of the opening numbers
are necessarily occupied chiefly with registers
of authors, pieces at the disposal of the
‘society, and classifications of the Dutch
theatres ; but the essentially practical aim of
the journal has our warmest sympathies, and
we shall look forward to the fulfilment of the
promise of articles on copyright subjects in
subsequent numbers. The address of the
journal is 22, Hooghstraat, Amsterdam.
Tue AUSTRALIAN Book MARKET.
In a recent issue of The Publishers’ Weekly
of the United States, there is a picture showing
the importation of American books in bulk at
the Australian docks. The pride with which
this is shown only confirms the statements
which have so often appeared in The Author
that the Americans are taking hold of the
Australian book market very firmly, and unless
English publishers are careful they will find
the Australian market, as well as other
colonial markets, entirely lost to them.
We note in The Book-Fellow, an Australian
paper, a statement that there are one or two
English publishers who are energetic enough
to secure good markets in Australia, and the
paper states that the English author should
therefore be careful, if he desires the Australian
market, of the choice of his English publisher.
The editor does not mention the names of these
English publishers; but it is quite possible
that the English publisher who has a good
connection in Australia might have a bad
connection on the English market, and in
consequence it would be better for the author
to stick to the better publisher in the English
market and lose his Australian market than
obtain a large Australian market and lose his
English market. /
There is another point dealing with the
same subject which has been brought to our
notice in a letter from the American Authors’
League. The secretary of the League 1s
evidently experiencing a difficulty on_ behalf
of his members in obtaining a market for
American authors in England, because the
English publisher demands the Australian
market and the market in Canada and the other
colonies. The American publisher, having
proved that he can do better business than the
English publisher, naturally demands these
markets for himself. The question, therefore,
will resolve itself into this: Is it better. for
an American author to leave his American
circulation and his colonial circulation 1n the
hands of an American publisher and lose his
THE AUTHOR.
223
English market entirely, or, obtaining his
English market and his colonial market with
an English publisher, run the chance of
offending his American publisher, and in con-
sequence perhaps lose some of his American
profits. The answer to this question lies on
the face of the statement.
————___+—_ ee —_____-
THE ANNUAL MEETING.
—
HE Annual General Meeting of the
Society took place on Friday, April 17,
at No. 1; Central Buildings, Tothill
Street, Westminster, the chair being taken at
4.30 by Mr. Hesketh Prichard, chairman of
the Committee of Management.
In laying the Report of the Committee before
the members present, Mr. H. Hesketh Prichard
asked that it might be taken as read, and
proceeding to comment upon its salient
features, congratulated the Society upon the
continued growth of its membership. The
elections, he pointed ovt, had been bigger
than in any previous years of the Society’s
existence, the figures for 1913 and 1912 being
349 and 345 respectively. It was satisfactory
to note, also, that the loss of members arising
from resignation and non-payment of subscrip-
tions was proportionately less. On the other
hand, he desired to emphasise the fact that
the enormous increase of membership during
the past few years had _ correspondingly
increased the work which had to be done by the
Society. As an instance he might mention
that the summoning of members to the annual
meeting now entailed the sending out of 2,600
circulars. New sub-committees had also come
into existence during recent yeats, adding to
the work accomplished by the Society. He
referred to the loss sustained through the
deaths of the members of its council—Lord
Avebury, the late Poet Laureate, and Field
Marshal Lord Wolseley—saying that he felt
sure that the sincere sympathy of those
present would be extended to the relatives
of these famous men. Turning to the passages
in the report relating to “* Library Censorship,
the chairman said that he wished to explain
the policy of the committee with regard to
this subject. It desired to treat the matter
broadly and from the point of view of the
Society as a whole. It was im possible for the
committee to take up individual cases or to
champion the cause of individual books, as
this might lead in effect to setting up a new
and most invidious form of censorship. As to
ee nee
224
what had in fact been done he referred members
to the pages of the report. In the report also
would be found what had been accomplished
during the year by the various sub-committees.
The recently instituted Collection Bureau had
made satisfactory progress in its work, and
its usefulness would increase as members
realised the work which it was prepared to do.
With regard to copyright legislation of an
international character during the past year,
Australia had passed a Copyright Act and so
also had New Zealand. ‘The Council cf India
had approved the Act of 1911, and the com-
mittee was endeavouring to put things on a
more satisfactory footing for British authors
in India and in the United States. Here he
might call attention to the world-wide area
covered by the work of the Society. It had
dealt with cases during the past year in the
United States, in Canada, Switzerland, Ger-
many, Austria, France, Australia and India,
in addition to the large number which it had
conducted in the United Kingdom. Details
of the work referred to would, again, be found
in the report.
With regard to financial matters, the capital
account had been increased by the investment
of £150 and of £215 standing to the credit of
the Society at its bankers ; and there had been
a total increase of subscriptions during the
year amounting to £130. The debit balance
had, however, increased to the extent of £280,
this increase being due to extra expense
entailed by moving to new offices, to the pur-
chase of furniture arising out of this, and to
heavy legal expenses, legal fees paid in London
aving alone increased by over £300. The
chairman concluded by thanking the members
of the committee and of the various sub-
committees for their unflagging zeal in the
performance of their functions, and _ the
secretary for the single-minded way in which
he had attended to the Society’s affairs. His
hours of work had increased with the increase
in the work done by the Society, until he was
one of the most hard-worked men in London,
and he might be assured that the members
of the Society appreciated his efforts. The
chairman, in resuming his seat, invited any
member who might desire to do so to call
attention to any point in the report as to which
he might desire further explanations.
Mr. W. L. George rose and expressed a wish
that there should be further elucidation of the
steps taken by the committee with regard
to the question of “ Library Censorship.”
Members might not be interested in knowing
why the Society was not in the same camp as
THE AUTHOR.
[MAY, 1914,
the booksellers and publishers, but authors.
might and did want to know in respect of
what, whether it might be plot or incident
or words, a book was going to be banned. He
did not mean to suggest that in the light of
such knowledge an author would deviate from
the course he had marked out for himself.
An author was not likely to emasculate his.
book or, indeed, to make any difference in it
to meet the views of library censors. The
whole matter was often before him in connec-
tion with his own work as a reviewer. A book
sometimes came before him conceived and
written in bad taste, a book which might
fairly be termed “indecent,” but which was:
accepted and circulated by the libraries,
whereas another crudely expressed, perhaps,.
but neither indecently conceived nor written.
with indecent intent, would be banned.
The chairman in answer said that when the
suggestion of a conference referred to in the
report was made he had seen Mr. Acland of
Messrs. W. H. Smith and Sons, and had made
the suggestion that there should be an informal
meeting of representatives of bodies interested
—a round table meeting for discussion. The
committee had assented to this course being
taken, but when the matter was laid before the
council, it was referred back by the council
to the committee which, therefore, found it
impossible to go forward. The chairman did
not profess to understand the principles of
library censorship. He had suggested a con-
ference to discuss the whole subject. The
committee wished for it. The council did not,
and so the matter stood.
Mr. George remarked that this did not.
entirely settle his difficulty and that what
he wanted to obtain from the conference
was a settlement on the part of the libraries
of exactly what it was that determined the
banning of a book. He wished to know
whether it was certain words or certain
definable situations which procured exclusion.
He had no means of knowing what it was
governed the action of the libraries, but he
assumed there must be some rule, and he
thought it would be greatly to the advantage
of the members to know in advance whether a
certain course would or would not cause them
to be banned. They could then decide, .
according to their artistic conscience or to
their commercial desires, whether they would
elect to be banned or not. He accordingly
suggested that he should move a resolution on
the subject, if it would be in order to do so, and
eventually it was moved by him and duly
seconded that ‘‘ A conference composed of
MAY, 1914.]
two authors, two publishers, two members of
the Libraries Association and two booksellers
be invited to meet, the representatives of such
conference to be appointed by the standing
committees of their respective associations.”
Mr. Charles Garvice, in support of the resolu-
tion, said that the committee had given the
matter the most earnest consideration, and
he expressed the opinion that if the conference
proposed in the autumn had been held it
might well have led to some definite result.
If the meeting would support unanimously
the resolution moved by Mr. George, the hands
of the committee would be greatly strengthened.
It was not the fact that pressure could not be
brought to bear upon the libraries ; it could
be done through the public. Mr Garvice drew
a humorous picture of the lady who goes to the
lending library and asks for a banned book
and is at once put off by the library assistant
with a different book by a different author,
accepted by the library as innocuous and at a
lower rate than the usual trade one. He
suggested, however, that to take without
murmuring a book which was not the one
asked for was not a necessary and certainly
not a wise course for the library subscriber to
adopt. Experience showed that the libraries
were not inevitably masters of the situation.
The motion, on being put to the vote, was
carried nemine contradicente, and the pro-
ceedings closed with an unanimous and hearty
vote of thanks to the chairman, proposed by
Mr. Armstrong and seconded by Mr. Anstey
Guthrie.
———_1——____—_
THE U.S.A. AUTHORS’ LEAGUE ON THE
AGENT QUESTION.
——+—~ +
(REPRINTED FROM ‘THE AUTHORS’
BULLETIN.’’)
EVERAL years ago a young and inexperi-
enced author wrote a one-act play and,
on the representations of a well-meaning
but misguided friend, entrusted it to the hands
of an inconspicuous agent. There was no
written agreement between this author and
his agent—merely such vague oral understand-
ing as that on which author’s relations with
agents are commonly based. Now the play
happened to be a good play ; and the agent's
efforts to place it were limited to handing it to
a certain actor, who accepted it at once on
the oral understanding that he was to pay
the author a fee of $50 for each week in which
he presented the piece. With this the author
THE AUTHOR.
225
was well content, but his enquiries ‘after an
agreement were always met by the agent’s
assurance that it would be all right : he would
draw up the agreement as soon as he could get
round to it. And so the actor went ahead
borrowed money enough (from the author) to
make the production, and had nearly finished
rehearsing the piece when, of a sudden, the
agent announced that he would insist not only
on a commission of 20 per cent. of the author’s
fees but on a commission from the actor of
10 per cent. of the gross earnings of the play.
That he had not a shadow of right to make
any such demand did not affect his effrontery ;
he persisted unblushingly, to the point of
engaging a shyster lawyer to support his
claim to the sole right to license the production
of the play. About that time the author woke
up and retained a lawyer on his own account,
with the upshot that he was permitted to
license the production of his own play for a fee
of $50 per week, but had to cencede the agent’s
claim to a 20 per cent. commission on that fee.
The play ran for something like eighty weeks
and the agent got $800 commission for a
transaction that had not required more than
half an hour of his time—exclusive of the time
he wasted trying to bleed the actor; and the
author was put to the further expense of the
fees demanded, and earned, by a good lawyer.
At about the same time the same author
received an enquiry from the secretary of the
(English) Society of Authors, asking him to
investigate statements made to one of his
clients by a certain literary agency. This
concern had sold to a certain American
magazine a series of stories by an English
literary woman, informing her first that the
magazine paid only on publication and later,
when her stories began to appear, that it didn’t
pay until several months after publication.
The American author happened to know the
editor and proprietors of the magazine in
question, and had done a great deal of business
with them, always receiving a cheque on the
first Friday following a sale. So he asked the
editor to explain this odd departure from his
customary methods of business. The editor
promptly produced a receipt signed by the
agent for payment in full for all the stories
and dated the Friday following their accept-
nce.
: The agent first mentioned is believed to
be no longer in any way connected with the
writing game, but the other is still doing
business in New York and, indeed, represents
several prominent members of the Authors’
League. He should have been put out of
226
business ; but there was no Authors’ League,
in those days, and the English writer, having at
length received her cheque, refused to move
an action against him through the Society of
Authors. So there is nothing to lead this
agent to believe that he cannot repeat the
offence in his discretion. In fact, he has
repeated it. The present writer met in London
last winter a prominent American author who
spends most of his time abroad. The latter
observed in the course of a discussion of agents :
“ Well, I stick to — Of course I know
he’s tricky, but he’s honest about his dis-
honesty—the one time, that I found out he’d
held up a cheque of mine for some months, he
admitted it and made good.” . . .
Not very long ago an agent now operating
in New York approached a certain author
for manuscript to market. The author gave
him one story and, at the agent’s invitation,
named $50 as the lowest price he would accept.
The agent sold the story to The Popular
Magazine for $150, paid the author $50, and
pocketed the difference of $100. His explana-
tion was that, although he styled himself an
agent, he was in reality a middle-man, whose
business it was to purchase from authors at
their lowest cash prices (neglecting, however, to
pay cash at the time of purchase—or at all in
the event of no sale) and sell to the highest
bidder, pouching the difference !
There exists in New York a dramatic agency
which has been conspicuously prosperous for
many years. So far as this writer is aware,
its probity has never been questioned. And
yet when he had occasion, a few weeks ago, to
consult a copy of the printed form of contract
employed by this agency in closing all agree-
ments between manager and author, he dis-
covered that the agency makes itself a third
party to all such contracts—the manager
cannot proceed against the author, and the
author cannot proceed against the manager for
any delinquency under the agreement, without
the full consent and active assistance of the
agent. In other words, the author surrenders
absolutely, under such agreement, all his right
to protect his own interests in his own work ;
if the agent should prove venal and side with a
dishonest manager the author is absolutely
powerless to protect his own property.
These anecdotes illustrate, doubtless, ex-
treme instances of the dangers latent in the
commonly lax understandings between authors
and agents; but they are strictly true in
every particular. And as long as authors
tolerate such turpitude, so long will they suffer
from it. The remedy is obvious—make an’
THE AUTHOR. [MAY, 1914,
agreement with your agent providing that alt
fees and royalties shall be paid to you im
person, and that you shall personally pay the
agent’s commissions. There is no earthly
reason why an agent should not repose the
same trust in his principal as he commonly
insists the principal must repose in him,
especially when he has an agreement enforee-
able through the courts. No reputable agent
can object to such a provision. And there
is at least one who does not object to it. Some
years ago he negotiated an agreement for me
involving an advance of a large sum of money.
My lawyer thoughtfully wrote into the agree-
ment the provision that the payment should
be made to me personally. The agent never
uttered a word of protest, though it was the
first transaction in which we had been asso-
ciated.
As a matter of fact, no author should employ
an agent except under a written agreement as
carefully formulated as his contract with his
publishers, which agreement should contain,
among other provisions, the following: (1)
That it shall terminate automatically at the
end of six months if the agent has not within
that time secured an acceptable offer for the
work ; (2) that he shall accept no offer without
consulting, and that no agreement shall be
valid unless signed by the author; (3) that
the author shall have the right to sell his work
at any tim2 without consulting the agent, but
with written notice to the agent of his inten-
tion; (5) that the agent’s commission shall
in no case exceed 10 per cent.; (6) that the
total commission shall not exceed an agreed
sum, ceasing automatically when that sum
has been reached ; (7) that all payments shall
be made direct to the author; (8) that the
agent shall keep a record of his efforts to dis-
pose of the work and surrender it to the author
on demand.
The strict necessity for incorporating the
last provision will perhaps be more readily
understood by those to whom it comes as a
novelty when they consider such circumstances
as the following :
A woman playwright, not a member of the
Authors’ League, recently sought advice about
securing readings for her plays. She stated
that she had left several plays for over two
years in the hands of a woman agent, who
positively and at all times refused any informa-
tion as to what she was doing or had done with
the plays, treating all such enquiries as reflect-
ing on her ability, good-will and probity.
This playwright has no agreement with her
agent, beyond an oral understanding as to the
<—
2
Fo
ge
A
iG
MAY, 1914.]
rate of commission ; she cannot get her manu-
scripts back without a row, has no idea of
their fortunes, and cannot well submit them to
managers of her own choosing, because she
does not know that they have not been so
submitted before and because she fears such
action may hinder the alleged activities of the
bent... :
Publishers should never sign agreements with
agents who cannot produce written authority
to represent the author in question.
Many agents make a business of claiming
to represent any and every author for whose
work there is a demand. Of one of this class
a certain Philadelphia editor said: ‘“‘ He will
run down from New York and come boiling
into my office with the claim that he is in a
position to secure me an article, signed by the
Creator ; he’ll name his price, collect a thou-
sand in advance, run back to New York and—
wire me with the last dollar of the advance that
the Creator has refused to sign the said article,
but he can get the devil to sign it for the same
money.”’
Again, an English agent carries my name on
his letter-head with the claim that he is my
general European representative. He is
nothing of the sort. He once secured per-
mission to sell Swedish translation rights in
some of my novels; that is the sole basis for
his pretensions. But an English publisher
who happened to want some of my work would,
on seeing this claim on the agent’s letterhead,
naturally open negotiations through the agent,
instead of personally with me, thereby sub-
jecting me toa loss of 10 per cent. of my terms.
Mr. H. G. Wells finds it necessary to adver-
tise regularly in The Author, the organ of the
Society of Authors, to the effect that he does
not employ a literary agent except for special
work, in which case the agent will be able to
produce written authority from Mr. Wells.
The Society of Authors has drafted a model
form of agent’s agreement, a copy of which is on
file in the office of the Authors’ League. With
certain modifications to cover differences
between American and English conditions, it
is an excellent formula; and it may be con-
sulted by any member of the League, on
application to the Managing Secretary. . - -
There is still another phase of the agent
i demanding more extended discussion
than is possible in this limited space. It is
the question of the value of an agent to the
beginning author. Beginning authors are
frequently most anxious to enlist the services
of well-known agents, apparently considering
such association in some way a cachet of dis-
ial casa cm 227
tinction ; but it is gravely to be doubted
whether their services are worth much to the
beginner. {t is my experience that an author
must make himself known by his own efforts
before the agents will accord his work the
attention it requires. It is obvious that an
agent, no matter how much he may admire
the work of Jonsmith, a new writer, is not
going to give it as much attention as he will
the work of, say Mr. Rudyard Kipling; it
takes as much time—generally, much more—to
sell Jonsmith’s manuscripts, and the commis-
sions are not one-tenth as large, and the agent
pursues his business with the notion of making
the best living he can. Give an agent a manu-
script of Jonsmith’s and a manuscript of Mr.
Kipling’s, with an opening where Jonsmith’s
would fit, and it is Mr. Kipling’s manuscript
that gets sold.
But the author of this article wishes to
disclaim any animus toward agents qua agents.
He has found them excellent servants, though
he believes the best of them to be poor masters.
And he is satisfied that there are many agents
of immaculate probity. But he would
earnestly advise his fellow-members to take
counsel with the Managing Secretary—who
has at his command the experience of the
entire membership—before entering into
relations with any agent whatsoever.
The Authors’ League cannot, indeed, fulfil
its first purpose until its members form the
habit of consulting the Managing Secretary
with the same freedom that they would con-
sult their family lawyers, on all matters per-
taining to their literary and dramatic ventures,
and of reporting any irregularities that come
to their notice, with the explicit understanding
that ali such enquiries, complaints and reports
will be respected as strictly confidential and
divulged not even to the Executive Committee
save with consent of the member.
—____——an-9-4 4-0
UNITED STATES NOTES.
HAT competition among authors —or,
perhaps I should rather say, anon
publishers—which takes the ne of
struggling to get on to the list of best He ee
has an interesting international side to it. .
New York Publishers’ Weekly brings out a
consensus for the year, based on. the ae
of best-selling books during 1913, and in t i
the result of the race between American an
foreign, that 1s, practically, English writers can
In fiction the three first places are
be seen.
228
taken by native authors ; Churchill (“The
Inside of the Cup’’) easily first, Harrison
(‘“ V. V.’s Eyes ”) second, and Stratton-Porter
(‘* Laddie ”’) third. The last-named only just
beat the first English author, Parker (“* The
Judgment House ”’). Another American comes
fifth, Fox (‘‘ The Heart of the Hills’); and
then two more English writers, Farnol (** The
Amateur Gentleman ’’), and Hall Caine (“* The
Woman Thou Gavest Me”). Consequently,
Englishmen may be said to hold their own very
successfully in the first seven, though lower
down the list becomes preponderatingly
American. In non-fiction the first four places
go to Americans—Lee (“ Crowds ’’), Collier
(“Germany and the Germans”’), Frank
(‘* Zone Policeman 88 ”’), and President Wilson
(“The New Freedom’’). Viscount Bryce
(‘South America”), and Arnold Bennett
(‘‘ Your United States ”) secure the next two
places for England. A larger number of
foreign authors, including French and Belgian,
figure below the leaders than in the fiction class.
So much for 1918. In coming to the present
year, the first point that strikes one is that the
early months do not seem to have been very
brisk. I say ‘“‘do not seem,” because, as a
matter of fact, I have not seen any figures,
and so do not know whether the appearance
is supported by reality. I shall attempt the
usual classification of the books, among which,
some at least, may be expected to survive the
test of time.
The biographies are not as numerous or as
important as when last I wrote. To the com-
plete edition of the works of James Whitcomb
Riley there is prefixed an authorised sketch of
Riley’s life by E. H. Hitel, the editor. Oswald
Garrison Villard has produced a life of ‘‘ John
Brown,’ C. S. Alden one of ‘‘ Commodore
Perkins, U.S.N.” “A Sunny Life,’”’ by Isabel
Barrows, is a record of the career of Samuel
Jane Barrows. Brand Whitlock writes his
own life, or part of it, under the title of ‘‘ Forty
Years of It’?; and Mr. S. S. McClure is the
author of ‘“‘ My Autobiography.” The edition
of the “ Journals of Ralph Waldo Emerson,”’
by E. W. Emerson and W. E. Forbes, may
perhaps be included also under biography.
Another work on an inexhaustible subject is
““The Everyday Life of Abraham Lincoln,”’
by Francis I’. Browne.
Later biographical publications are: ‘‘ My
First Years as a Frenchwoman,” by Mary King
Waddington ; “ Our Friend John Burroughs,”
by Clara Barrus; ‘Thomas Wentworth
Higginson,” by his widow; ‘‘ Landmarks
of a Lawyer’s Lifetime,’ by Theron Strong ;
THE AUTHOR.
[MAY, 1914.
and ‘Confederate Portraits,’ by Gamaliel
Bradford.
The history section may commence with
Admiral Mahon’s ‘“‘ Major Operations of the
Navies in the War of American Independence.”
George L. Rivés writes on “* The United States
and Mexico’”’?; M. M. Quaife on ‘‘ Chicago and.
the Old North-West, 16783—1835”; E. D.
Adams on ‘‘ The Power of Ideals in American
History’; G. W. James on ‘“‘ The Old Fran-
ciscan Missions of California.” ‘‘ Readings in
American History ”’ is by Professor J. J. Alton.
Two other professors write on historico-legal
subjects, C. G. Haines on ‘‘ The American Doc-
trine of Judicial Supremacy,” and E.S8. Corwin
on ‘“‘ National Supremacy : Treaty Power versus
State Power.’ ‘“‘ The Tariff History of the .
United States ” is by Professor Taussig.
Professor Dean C. Worcester has out his
expected book on ‘‘ The Philippines.”” Another
work about the same part of the world is ‘“‘ The
Philippine Problem,” by Frederick Chamberlin.
J. K. Goodrich tells of ‘* The Coming Hawaii ” ;
J. Saxon Mills writes about ‘‘ The Panama
Canal,’ which is also the title of a book by
Frederick Haskin, and Albert Edwards about
“The Barbary Coast.” ‘Across Siberia
Alone” is by a lady, Mrs. J. C. Lee; while
adventure of another kind is the subject of
“Alone in the Wilderness,” by Joseph
Knowles, the Boston artist who plunged
into the woods naked, foodless, and weaponless
—and emerged alive. ‘‘ The Ascent of Denali
(Mount McKinley)” is by the Archdeacon of
the Yukon, Dr. Hudson Stuck, who also has
produced “‘ Ten Thousand Miles with a Dog-
Sled.” General Rafael Reyes, ex-President
of Colombia, deals with ‘‘ The Two Americas,”
and Sidney Gulick with ‘‘ The American-
Japanese Problem.”
Two sociological works are “‘ Heredity and
Sex,” T. Hunt Morgan’s Columbia University
lectures, and ‘‘ The Family and Society,” by
Professor J. M. Gillette. President J. H
Baker, of Colorado University, is the author of
‘‘ Educational Aims and Civic Needs.” Edwin
Brown writes “‘ Broke,”’ a tramp’s record, and.
Adelaide Popp, ‘‘The Autobiography of a
Working Woman.” In “‘ Love and the Soul-
Maker’ Mary Austin deals with relations.
between men and women.
‘“‘ Nietzsche and Other Exponents of Indi-.
vidualism ” is the name of the latest work by
Dr. Paul Carus, editor of the Open Court.
H. E. Krehbiel, whom Lafeadio Hearn’s.
admirers will remember as his American
musical friend, has a book on “‘ Afro-American
Folk-Songs.”
5
B
4
j
i
oe
a
MAY, 1914.]
A remarkable feature in the novel list is the
great number of feminine names among the
authors this time—over 50 per cent. among
those which I have picked out for mention.
The order, I may note, has no significance.
Mary Roberts Rinehart has written ‘* The
After House’’?; Kate L. Bosher, ‘‘ The House
of Happiness”; Jane Stone, ‘“‘The New
Man’; H. K. Webster, “ The. Butterfly ”’ ;
David Lisle, ‘“‘The Soul of Life’’; Anne
Warner, ‘Sunshine Jane’’; Eleanor H.
Porter, ‘‘ Miss Billy—-Married ’’; Zane Gray,
“The Light of Western Stars”; Harold
MacGrath, ‘‘ Pidgin Island’’; Beulah Marie
Dix, ‘‘ Mother’s Son’’; Samuel Merwin,
** Anthony the Absolute’’; and Gouverneur
Morris, ‘‘The Incandescent Lily.” With
** Diane of the Green Van,’’ Leona Dalrymple
won a ten thousand dollar competition.
““Westways’”’ is by the late Weir Mitchell.
““The Red Emerald,” by John Reed Scott,
and ‘‘ The White Sapphire,” by L. F. Hartman,
make up a curious coincidence in nomen-
elature. ‘“‘A Wise Son” is by Charles
Sherman; ‘“ Victory Law,’ by Anne War-
wick; ‘‘The Desert and Mrs. Ajax,” by
E. S. Moffat; ‘‘ The Congresswoman,” by
Isabel Curtis; ‘“‘ Van Cleve,” by Mrs. Watts ;
“Dark Hollow,” by Anna Katherine Green ;
** Penrod,” by Booth Tarkington; ‘‘ The
Substance of his House,’ by Ruth Holt
Boucicault ; ‘‘ The Peacock’s Feather,” by
Leslie Moore; ‘‘ The Precipice,’ by Elia
Peattie; ‘‘ Kazan,” by J. O. Curwood ; “* The
First Step,’’ by Eliza Orne White; ‘‘ World’s
End,” by Amélie Rives; and ‘‘ Shea of the
Irish Brigade,’’ by Randall Parrish. Three
anonymous novels are “‘ Home,’ which ran
serially in the Century Magazine before appear-
ing in- book form; “ Overland Red’’; and
‘“* My Wife’s Hidden Life.’’ It seems that the
practice of suppressing the author’s name, in
order to provoke curiosity, is spreading on
both sides of the Atlantic.
Having had to reopen this letter I may add
the names of the following later novels:
L. J. Vance’s “The Lone Wolf’; C. T.
Brady’s ‘“‘ The Sword Hand of Napoleon ” ;
H. B. Wright’s “The Eyes of the World”
Carolyn Wells’s ‘Anybody but Anne”
G. B. McCutcheon’s ‘‘ Black is White” ;
Grace Lutz’s ‘‘The Best Man”; Rupert
Hughes’s ‘“‘ What will the People Say?” ;
Doris Egerton Jones’s “‘ Peter Piper”; Vir-
ginia Brooks’s “ Lost Little Sister”; B. W.
Sinclair’s ‘‘ North of Fifty-Three”; and
Caroline Lockhart’s ‘‘ The Full of the Moon.”
The ‘‘ Authors’ League of America” on
we vee
THE AUTHOR.
229
February 14 held their first annual dinner, at
the Hotel Biltmore, New York. Professor
W. Milligan Sloane, of Colombia University,
presided, Mr. W. J. Bryan, Secretary of State,
was the guest of the evening, and the company
has been described as the most distinguished
body of literary persons ever assembled in
America. Including members and_ guests,
thére were 442 present in all. The League has
now moved to new headquarters at 122, East
17th Street, New York, which was the home
of Washington Irving late in life.
Since I last wrote, the most notable death
has been that of Dr. S. Weir Mitchell, who
succumbed to influenza at his home in Phila-
delphia on the fourth day of the present year.
His literary work is so well known in England,
I imagine, that it is unnecessary to refer to it
here ; but it may be mentioned that he was a
prolific medical writer as well as novelist, poet,
ete. He was 84 years of age.
Captain F. H. Brownson, who died near the
end of the Old Year, combined the professions
of soldier, lawyer, and author. He trans-
lated from the Italian and Spanish several
works, and also wrote on masonry, religion,
and_ politics. Another soldier-author was
James Grant Wilson, who wrote a life of his
old general, Ulysses Grant, and other military
works. He was editing ‘The Lives of the
Presidents of the United States ”’ when he was
carried off. Charles Edmund Dana, who died
in February, wrote a book called ‘‘ Glimpses
of English History,’’ but was better known as
an art critic. February also proved fatal to
Mrs. Marie Robinson Wright, a great traveller
in Central and Southern America, about the
various countries of which she produced a
number of books. George William Sheldon,
who died in New Jersey, will be remembered
in London as the literary adviser in London
to the firm of Appleton between 1890 and 1900.
His own writings were chiefly concerned
with art and artists. Major-General Joshua
Chamberlain (a third soldier author, by the
way), who died on February 24, dealt with
historical and political subjects in a number
of books. He was one of the heroes of
Gettysburg.
Deaths in March include Frederick Townsend
Martin (in London); J. B. Dunbar, an
authority upon the Pawnee Indians ; Professor
R. B. Richardson, whose writings were
classical and archeological ; and Mrs. Frances
Squire Potter, Professor at Minnesota Univer-
sity, suffragist, and author.
Putue Wa.sit.
230 THE AUTHOR. [MAY, 1914:
SALE OF COPYRIGHT IN A BOOK.
—
N an article in The Author of April 1 it
I was stated that ‘‘in the early days of
the Society it was by no means an
uncommon practice for publishers to purchase
authors’ works outright for a lump sum.”
This rather suggests that in the year 1913 it
would be surprising to find a publisher or
editor who would desire to purchase an
author’s copyright for a lump sum rather
than to pay him a royalty. Probably, how-
ever, it was intended rather to convey that
the publisher who has had to do with the
Society, and who is aware that he is dealing
with one of its members, would hesitate to
suggest such a transaction, or at any rate
would not be likely to press it. There are,
it is submitted, plenty of offers made to
authors to deal on the terms that they shall
have money down in exchange for their rights,
and a good many authors who are not unwilling
to accept such terms. They may very likely
not be members of the Society, and so may
not have read its warnings not to sell literary
property outright, or only to do so under the
advice of the secretary, or of a competent
agent. If, however, writers insist upon waiting
until they get into trouble before joining the
Society, there are naturally many who only
learn the pitfalls of authorship by falling into
them. An author once bit is probably shy
on the next occasion. If he has discovered
from the large sale of a book of which he has
sold the copyright, that he has lost and that
the publisher has been the gainer by the
method of business adopted, he will stand out
for royalties on the second occasion. It may
be observed however that he will not have any
account of its sales supplied to him by his
publisher and so will have no definite figures
to rely upon when he wishes to cite the success
of his first work in endeavouring to secure
good terms from the publisher of his second.
There must be a good many occasions where
a man writes one or perhaps two or three
books, not because he wants to write or has
any need to do so from a pecuniary point of
view, but because a certain book is wanted
and he is the particular man to do it. A great
man may die, a statesman or a soldier, for
example, and leave behind him material for
a work which his relatives may well desire to
see published, and there may be a son or
nephew perfectly qualified to write his biography
oe ee his letters, who in ordinary circum-
: would probably never have produced
a book. Public interest may be temporarily
riveted upon some scientific discovery, in
investigations relating to a disease, or ina social
or religious question of absorbing interest and
of some obscurity. Naturally when an enter-
prising publisher is looking for material it may
strike him that a book on a special topic such
as these, written by as eminent an authority
as his estimate of cost will stand (or at any
rate by a sure hand who will do what is wanted
correctly), will be a safe investment. It can
easily be understood that in any of the circum-
stances suggested a sum down for all rights.
is likely to be offered and accepted. The
vendor is not accustomed to such transactions
and is glad to have a chance of concluding the
business part of his undertaking at once,
without any need to trouble himself further
about it. The purchaser is not so unaccus-
tomed, and if he has made up his mind that
a speculation is likely to be profitable, he is
naturally anxious that it should be as profitable:
(to himself) as possible ; besides which he can
act with independence if he has the whole
matter in his own hands without need to
consult anyone over any particular point that
may arise. He probably can make himself
safe in any case, but if he buys outright the
profits (if there is success) will be larger than
if he has to go on sharing them for ever with
someone else. Besides which he may, as has
been suggested above, be the person who has.
started the idea of the book, and it is only
natural that if he makes an offer he should
make the one which will suit him best. It is.
equally natural, however, that the Society
should advise the author, if he comes to it for
advice, not to accept such terms. They are
the terms which the trade most readily offers.
to the amateur, and which are more likely to
be accepted by him if he is an amateur and the
less experience he has, than by one who has
qualified himself by previous dealings to
dictate terms on his side, and gained the
knowledge that he ought to do so. Very much
the same thing takes place in picture dealing.
The owner of an old master not perhaps of
sufficient merit to command its value at
auction approaches a dealer. He expects,
perhaps, that the latter will offer to sell the
picture for him taking a specified commission
for which he will undertake to obtain the best
price that professional skill can bargain for.
The would-be seller is, however, much more
likely to be told by the dealer that if he will
name a price himself, he (the dealer) will be
content to take anything realised above that
ptice as his share in the profits. There again
MAY, 1914.3
the professional treating with the amateur
endeavours to make the best bargain possible
for himself, and he very often succeeds.
That, however, is no reason why the amateur
should not be advised to resist, even though
to do so may imperil his chance of making
any bargain at al]. Whether he runs a serious
risk of losing his deal altogether depends upon
circumstances, which vary according to parti-
cular cases. The author is spoken of above
as an amateur because his business is to
write ; to sell what he writes may be incidental
to authorship, but is not the author’s busi-
ness. Buying and selling literary matter is
the business of the publisher.
Now, the reasons for the author refusing to
part with his copyright for a sum down, or,
indeed, to part with it at all, are not entirely
connected with the question of relative
pecuniary profit. It is a matter of importance
to authors, or to most authors, that they
should get as much for their books as possible,
and it is to most authors, whether money is of
importance to them or not, extremely galling
to see large profits obviously accruing to others
and lost to themselves because in a moment
of weakness, possibly of financial weakness,
they made a bad bargain. The matter,
however, is not ended when this is said. The
man or woman who sells a copyright for a
sum down, with no provision for royalties,
or for any future profits, if editions are multi-
plied as the result of success, presumably
retains no control whatever over future
editions, or over the conditions under which
they will be published. There may be no
obligation upon him to make any revision, and
none upon the publisher to ask him for any
such correction, or to permit him to make any.
This may seem to be matter of little moment
(to take an example from what has been
suggested above) to the young scientist or
theologian who has gladly accepted a fairly
liberal offer for an exposition of his views,
probably perfectly correct and _ generally
interesting at the time, upon a topic of science
or theology. It may be a very different affair
twenty-five years later for a medical baronet
or for a bishop, who has perhaps almost
forgotten a pamphlet which others have quite
forgotten or never realised as his, to find that
an enterprising publisher has just grasped the
fact that one of his former authors (whom he
has long paid in full) is now a very eminent
person, and that he has republished his book.
The scientific or theological treatise may
have correctly represented the accepted views
of the best scientists and the most orthodox
THE AUTHOR.
231
theologians some years before, or may have
been to some extent coloured by the personal
views of an author whom no one then troubled
himself to criticise or correct. Appearing as.
an exposition of the views of a leading authority
in his profession, with a full statement of the
dignities which his learning has won for him,
and with no suggestion that the work is early,
immature, and perhaps entirely out of date,
such a book is likely to cause acute distress.
to an author who by his own imprudent act
has lost all power to prevent its publication.
There is again to be considered the pos sibility
that the author who, when young, has written
a book on a special topic may wish to remodel
it and to republish it in a more important form
when he has thoroughly established himself as
an authority on that topic. It will be par-
ticularly galling for him to find that he cannot
use his previous title again or perhaps any of
his previously used material because to do so-
would be to infringe upon rights which he has
assigned to another.
Wherefore it is not altogether a question
of whether the offer made is the most profitable
one which can be obtained. It is for the
author to ask himself also: Is this a book
of which it is important that I should keep
control, at any rate to some extent ?
There are other circumstances in which the
manner of publication selected may be objec-
tionable to the author besides those indicated,
and, of course, what has been said as to books
applies also to articles and contributions to
periodical literature and encyclopedias. It is
a question of entrusting that in which its
author’s interest is rather more than merely
commercial to those whose interest in it will
be commercial only. It is a question of losing
control over that of which the law has given
its author control for his own good and as a
valuable right, and not only for his profit.
He has some control, even in these days of
snapshots and cinematograph films over repro-
ductions of his own features. If he chooses to
part with the copyright in a portrait of himself
by letting a photographer take it on the terms
that the latter shall supply him with a few
free copies and own the copyright, he can only
complain afterwards effectively if some use
made of it should come within the law of libel.
Before this occurs he may be made ridiculous.
on many occasions in a lesser degree without
having any power to prevent it. The original
purchaser of the copyright may not be to
blame in the case of a book or of a photograph.
He may become impecunious or bankrupt, and.
the right to reproduce may pass on sale, and
230
SALE OF COPYRIGHT IN A BOOK.
—1—>— + —
N an article in The Author of April 1 it
I was stated that ‘in the early days of
the Society it was by no means an
uncommon practice for publishers to purchase
authors’? works outright for a lump sum.
This rather suggests that in the year. 1913 it
would be surprising to find a publisher or
editor who would desire _ to purchase an
author’s copyright for a lump sum rather
than to pay him a royalty. Probably, how-
ever, it was intended rather to convey that
the publisher who has had to do with the
Society, and who is aware that he is dealing
with one of its members, would hesitate to
suggest such a transaction, or at any rate
would not be likely to press it. There are,
it is submitted, plenty of offers made to
authors to deal on the terms that they shall
have money down in exchange for their rights,
and a good many authors who are not unwilling
to accept such terms. They may very likely
not be members of the Society, and so may
not have read its warnings not to sell literary
property outright, or only to do so under the
advice of the secretary, or of a competent
agent. If, however, writers insist upon waiting
until they get into trouble before joining the
Society, there are naturally many who only
learn the pitfalls of authorship by falling into
them. An author once bit is probably shy
on the next occasion. If he has discovered
from the large sale of a book of which he has
sold the copyright, that he has lost and that
the publisher has been the gainer by the
method of business adopted, he will stand out
for royalties on the second occasion, It may
be observed however that he will not have any
account of its sales supplied to him by his
publisher and so will have no definite figures
to rely upon when he wishes to cite the success
of his first work in endeavouring to secure
good terms from the publisher of his second.
There must be a good many occasions where
a man writes one or perhaps two or three
books, not because he wants to write or has
any need to do so from a pecuniary point of
view, but because a certain book is wanted
and he is the particular man to do it. A great
man may dic, a statesman or a soldier, for
example, and leave behind him material for
a work which his relatives may well desire to
see published, and there may be a son or
nephew perfectly qualified to write his biography
and to edit his letters, who in ordinary circum-
stances would probably never have produced
THE AUTHOR.
[MAY, 1914,
a book. Public interest may be temporarily
riveted upon some scientific discovery, in
investigations relating to a disease, or in a social’
or religious question of absorbing interest and
of some obscurity. Naturally when an enter-
prising publisher is looking for material it may
strike him that a book on a special topic such.
as these, written by as eminent an authority
as his estimate of cost will stand (or at any
rate by a sure hand who will do what is wanted
correctly), will be a safe investment. It can
easily be understood that in any of the cireum-
stances suggested a sum down for all rights.
is likely to be offered and accepted. The
vendor is not accustomed to such transactions
and is glad to have a chance of concluding the
business part of his undertaking at once,
without any need to trouble himself further
about it. The purchaser is not so unaccus~
tomed, and if he has made up his mind that
a speculation is likely to be profitable, he is
naturally anxious that it should be as profitable:
(to himself) as possible ; besides which he can
act with independence if he has the whole
matter in his own hands without need to
consult anyone over any particular point that
may arise. He probably can make himself
safe in any case, but if he buys outright the
profits (if there is success) will be larger than
if he has to go on sharing them for ever with
someone else. Besides which he may, as has
been suggested above, be the person who has.
started the idea of the book, and it is only
natural that if he makes an offer he should
make the one which will suit him best. It is
equally natural, however, that the Society
should advise the author, if he comes to it for
advice, not to accept such terms. They are
the terms which the trade most readily offers
to the amateur, and which are more likely to
be accepted by him if he is an amateur and the
less experience he has, than by one who has
qualified himself by previous dealings to
dictate terms on his side, and gained the
knowledge that he ought todo so. Very much
the same thing takes place in picture dealing.
The owner of an old master not perhaps of
sufficient merit to command its value at
auction approaches a dealer. He expects,
perhaps, that the latter will offer to sell the
picture for him taking a specified commission
for which he will undertake to obtain the best
price that professional skill can bargain for.
The would-be seller is, however, much more
likely to be told by the dealer that if he will
name a price himself, he (the dealer) will be
content to take anything realised above that
ptice as his share in the profits. There again
2
MAY, 1914.)
the professional treating with the amateur
endeavours to make the best bargain possible
for himself, and he very often succeeds.
That, however, is no reason why the amateur
should not be advised to resist, even though
to do so may imperil his chance of making
any bargain at all. Whether he runs a serious
risk of losing his deal altogether depends upon
circumstances, which vary according to parti-
cular cases. The author is spoken of above
as an amateur because his business is to
write ; to sell what he writes may be incidental
to authorship, but is not the author’s busi-
ness. Buying and selling literary matter is
the business of the publisher.
Now, the reasons for the author refusing to
part with his copyright for a sum down, or,
indeed, to part with it at all, are not entirely
connected with the question of relative
pecuniary profit. It is a matter of importance
to authors, or to most authors, that they
should get as much for their books as possible,
and it is to most authors, whether money is of
importance to them or not, extremely galling
to see large profits obviously accruing to others
and lost to themselves because in a moment
of weakness, possibly of financial weakness,
they made a bad bargain. The matter,
however, is not ended when this is said. The
man or woman who sells a copyright for a
sum down, with no provision for royalties,
or for any future profits, if editions are multi-
plied as the result of success, presumably
retains no control whatever over future
editions, or over the conditions under which
they will be published. There may be no
obligation upon him to make any revision, and
none upon the publisher to ask him for any
such correction, or to permit him to make any.
This may seem to be matter of little moment
(to take an example from what has been
suggested above) to the young scientist or
theologian who has gladly accepted a fairly
liberal offer for an exposition of his views,
probably perfectly correct and generally
interesting at the time, upon a topic of science
or theology. It may be a very different affair
twenty-five years later for a medical baronet
or for a bishop, who has perhaps almost
forgotten a pamphlet which others have quite
forgotten or never realised as his, to find that
an enterprising publisher has just grasped the
fact that one of his former authors (whom he
has long paid in full) is now a very eminent
person, and that he has republished his book.
The scientific or theological treatise may
have correctly represented the accepted views
of the best scientists and the most orthodox
THE AUTHOR. ae
theologians some years before, or may have
been to some extent coloured by the personal
views of an author whom no one then troubled
himself to criticise or correct. Appearing as.
an exposition of the views of a leading authority
in his profession, with a full statement of the
dignities which his learning has won for him,
and with no suggestion that the work is early,
immature, and perhaps entirely out of date,
such a book is likely to cause acute distress
to an author who by his own imprudent act
has lost all power to prevent its publication.
There is again to be considered the possibility
that the author who, when young, has written
a book on a special topic may wish to remodel
it and to republish it in a more important form
when he has thoroughly established himself as
an authority on that topic. It will be par-
ticularly galling for him to find that he cannot
use his previous title again or perhaps any of
his previously used material because to do so:
would be to infringe upon rights which he has.
assigned to another.
Wherefore it is not altogether a question
of whether the offer made is the most profitable
one which can be obtained. It is for the
author to ask himself also: Is this a book
of which it is important that I should keep
control, at any rate to some extent ?
There are other circumstances in which the
manner of publication selected may be objec-
tionable to the author besides those indicated,
and, of course, what has been said as to books
applies also to articles and contributions to
periodical literature and encyclopedias. It is
a question of entrusting that in which its
author’s interest is rather more than merely
commercial to those whose interest in it will
be commercial only. It is a question of losing
control over that of which the Jaw has given
its author control for his own good and as a
valuable right, and not only for his profit.
He has some control, even in these days of
snapshots and cinematograph films over repro-
ductions of his own features. If he chooses to
part with the copyright in a portrait of himself
by letting a photographer take it on the terms
that the latter shall supply him with a few
free copies and own the copyright, he can only
complain afterwards effectively if some use
made of it should come within the law of libel.
Before this occurs he may be made ridiculous.
on many occasions in a lesser degree without
having any power to prevent it. The original
purchaser of the copyright may not be to
blame in the case of a book or of a photograph.
bankrupt, ~~
an
He may become impecunious or
the right to reproduce may pass on sale,
932
may be a valuable property to one who, it
cannot be repeated too often, will have no
interest in it but a purely commercial one.
As the Encyclopedia Britannica patronisingly in
its article upon publishing says of the Society of
Authors: “It offered useful assistance to authors
ignorant of business in the way of examining
contracts.” It docs so still, and included in
that advice is the recommendation as a general
rule to refuse to part with all control over a
copyright and to refuse to take a sum down
as consideration for the right to publish,
unless special circumstances of the case render
this desirable or inevitable.
CORRESPONDENCE.
—_-—<>— +
AGENTS versus BRAINS.
Dear Sir,—I have received an offer of
ideas from a literary bureau which is a reve-
lation to me, and, I think, a glimpse at the
terms at which brains are supplied by agents
ought to serve as a warning to would-be
‘writers who may not be aware of the condition
of the literary market. The prospectus I
‘received offered me :—
(1) Plots of love, humorous and sensational
short stories, 2s. each.
(2) Ideas for humorous, interesting, instruc-
tive and personal articles, 2s. each.
(3) Jokes suitable for illustration or other-
wise, 2s. each.
(4) Ideas for new competitions, 2s. each.
(5) Notes for speeches, sermons, addresses
‘on any subject, 2s. per 100 words.
(6) Topical and other facts and information
‘written up in fiction and article form, 2s. per
100 words.
(7) Research and compilation, 2s. per hour.
(8) Scenarios and synopses for plays, serials,
‘and novels, 2s. per 100 words, etc., ete., etc.
-All on the bargain counter, 2s. a piece ! !
This is not a solitary case. Daily “ ghost
‘work ” is supplied at prices that makes one
‘Shudder at the traffic in brains going on in our
midst.
Is there no hope of organised literary labour
and a minimum wage for writers ?
A FREELANCE.
——— —
“Tam LITERARY YEAR-Book.”’
Sir,—My attention has been drawn to an
advertisement appearing on the front page of
Lhe Atheneum of 11th inst., under the heading
THE AUTHOR.
[MAY, 1914.
** Miscellaneous,”” wherein the advertiser seeks
capital to finance the production of a “ Literary
Year-Book.” T'o avoid misapprehension in
the minds of those who may have seen. this
advertisement, I write to say that it has
nothing to do with ‘“‘ The Literary Year-Book,”
of which I have been editor and proprietor
since 1909, and which has been published
annually since 1897, and is now published by
Heath, Cranton and Ouseley, Ltd. I should
be much obliged if you would kindly give
publicity in your next issue to this disclaimer.
Basin STEWART.
—1——+—.
MaGAZINE PAYMENTS.
Dear Srr,—Can you enlighten me as to
whether there is any principle governing the
rate of payment for short stories in our monthly
magazines ? In a writers’ Year-Book I find
such payments as “ a guinea per 1,000 words,”
“10s. 6d. a column,” “a guinea per page,”
and even a “ guinea and a half.” Also, I
observe, “‘ payment by arrangement with the
editors,” ‘‘ payments according to value.”
Let me relate my experiences.
Some time ago, a friend and I belonged to an
amateur magazine, and were inspired by our
critic’s praises to fly higher. She sent a short
story toa ls. magazine ; I, less bold, sent mine
(11,345 words in length) to a 6d. one. Both
were accepted and printed. Hers occupied
sixteen pages; mine, eighteen much larger
ones. On publication, she received seven
guineas. Mine appeared with a greater
flourish ; its title and my name were placed,
with one other, as “‘ Special Contents,” at the
top of the magazine cover. Four months
after publication, after repeated applications,
I received the magnificent sum of one guinea,
and I shall never believe there had ever been
an intention to pay me even that amount.
Thus my friend was paid 9s. 2}d. per page ;
I, for larger pages, 1s. 2d.—that amounts to
1s. 2d. per 680 words. Later, I tried her 1s.
magazine. For four and a_ half pages
(2,083 words) I received 81. i.e., 188. 4d. per
page. I ‘“‘ got into” another 1s. magazine
with a twelve-page story, and was paid three
uineas, 5s. 8d. per page. In each case the
S. was promptly accepted. There was no
‘arrangement with editor” suggested, no
discussion as to ‘“ value.” And what deter-
mines value in the case of an approved MS. ?
Pray enlighten my
PuzzLEDOM, -
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Title
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The Author, Vol. 24 Issue 08 (May 1914)
Subject
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<em>The Author</em>, Vol. 24 Issue 08 (May 1914)
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1914-05-01-The-Author-24-8
publications
The Author
-
https://historysoa.com/files/original/5/541/1914-06-02-The-Author-24-9.pdf
4d4a78512dfc1694bc7f9514926a1987
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Title
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The Author
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<em>The Author</em>
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1914-06-02
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Che Huthbor.
(The Organ of the Incorporated Society of Authors.
FOUNDED BY SIR
Vor. XXIV.—No. 9.
Monthly.)
WALTER BESANT.
JUNE 2, 1914.
[PRIcE SIXPENCE.
TELEPHONE NUMBER:
374 VICTORIA.
TELEGRAPHIC ADDRESS:
AUTORIDAD, LONDON.
NOTICES.
——+—_
TT the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tur Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
‘Author are cases that have come before the
motice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
‘application.
ARTICLES AND CONTRIBUTIONS.
Tur Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 1, Cen-
tral Buildings, Tothill Street, Westminster,
S.W., and should reach the Editor not later
than the 21st of each month. o
Communications and letters are invited by
the Editor on all literary matters treated from
Vou. XXIV.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
Messrs. Matthews’ Advertising Service,
Staple Inn Buildings, High Holborn, W.C.,
will act as agents for advertisements for
“The Author.” All communications respect-
ing advertisements should be addressed to
them.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
pS ——-
THE SOCIETY’S FUNDS.
So
| ‘ROM time to time members of the Society
4 desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid. :
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
234
matter closely connected with the work of the
Society. : :
(2) The Pension Fund. This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
a
THE PENSION FUND.
oS
N January, 1914, the secretary of the
I Society laid before the trustees of the
Pension Fund the accounts for the year
1918, as settled by the accountants. After
giving the matter full consideration, the
trustees instructed the secretary to invest a
sum of £350 in the purchase of Great Eastern
Railway Ordinary Stock. The amount pur-
chased has been added to the investments set
out below.
The trustees desire to thank the members of
the Society for the continued support which
they have given to the Pension Fund. They
have given notice to the Pension Fund Com-
mittee that there is sufficient money at their
disposal to enable them to give another
pension.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £5,419 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
£8. d
Enea) Boas 20.2.5 ie 500 0 0
Victoria Government 8% Consoli-
dated Inscribed Stock ............ 291 19 11
London and North Western 3%
Debenture Stock ................. 250 0 0
Egyptian Government Irrigation
Trust 4% Certificates............ - 200 0 0
Cape of Good Hope 84% Inscribed
e NLOCK a as 200 0 0O
Glasgow and South-Western Rail-
way 4% Preference Stock ...... 228 0 0
New Zealand 34% Stock .......... 247 9 6
Irish Land 22% Guaranteed Stock 258 0 0
Corporation of London 24%
Stock, 102% 6% ie vccoccas 438 2 4
Jamaica 84% Stock, 1919—49 ... 18218 6
Mauritius 4% 1987 Stock ......... ~ 120 12 4
Dominion of Canada, C.P.R. 34%
Land Grant Stock, 1988 ......... 198 8 8
Antofagasta and Bolivian Railway
5% Preferred Stock ........:05.04. 237 0 0
Central Argentine Railway Or-
GBORY BOCK cosh piceisss ci ccensy est 282 0 0
THE AUTHOR.
[JUNE, 1914.
Nominal V alue.
£ 8. a
$2,000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds ................ 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares <...........-... 250 0 0
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) .................. 550 0 0
8 Central Argentine Railway £10
Preference Shares, New Issue... 30 0 0
Great Eastern Railway Ordinary
Stock wieceiccccece 655 0 0
Total 4.3..5:.4...; £5,419 6 0
PENSION FUND.
——
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 1913.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it.
Subscriptions.
1913.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. : : :
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo 1
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. . :
Nov. 6, Bentley, E. C. y
Nov. 6, Petersen, Miss Margaret
Noy. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert
Dee. 4, Lunn, Arnold . ‘
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana
Dec. 4, Vallois, Miss Grace
Dec. 17, Beresford, J. D.
Dec. 29, Inge, Charles . ;
Dec. 29, Cross, Miss May . .
Dec. 29, Hardy, Thomas, O.M.
_
i
NOooaannods aan Oo Oe OO Ot Or Or
woeoscooooHrocoSoooSoCOHSSCOOOm
SOmeoccooaoccoOoSC SoS OSOSCOSCOSCCOF
JUNE, 1914.]
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I.
Jan. 16, Cooke, Arthur 0.
Jan. 23, Exley, Miss M.
Jan. 26, Sarawak, The Rance of
Mar. 11, Dowson, Oscar F.
April 8, " Stoeving. Paul : .
April 14, Buckle, Gerard, F. »
April 14, Grattan, Harry . :
April 17, Rubenstein, H. F. . .
April 20, Anon. . :
April 25, Stacpoole, Mrs. de Vere .
May 1, Miigge, Maximilian A,
May e Davies, Miss Mary
May 8, Simon, Andre L.
May 8, Deutsch, H. .
May 9, Campbell, Miss E. Hope
May 12, Lardner, E. G. D.
1918. Donations.
Oct. 7, Darwin, Sir Francis .
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold
Oct. 30, Rosman, Miss Alice Grant
Nov. 8, Holland, Theodore
Nov. 3, Steane, Bruce
Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elrington, Miss Helen
Novy. 10, Waterbury, Mis... :
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dec. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
Dec. 20, Edwards, Percy J.
Dec. 21, Keating, J. Lloyd
1914.
Jan. 8, Church, Sir Arthur
Jan. 5, Anon .
Jan. 5, Joseph, L. ;
Jan. 5, Swan, Miss Myra
Jan. 5, Vernede, R. E.
Jan. 6, De Crespigny, Mrs. + Champion
Jan. 6, Rankin, Miss I. ;
Jan. 7, Sneyd- es E. M.
Jan. 7, Lathbury, Miss Eva .
Jan. 7, Toplis, Miss Grace
Jan. 8, Palmer, G. Molyneaux
Jan. 9, Mackenzie, Miss J.
Jan. 10, Daniell, Mrs. E. H. .
Jan. 12, Avery, "Harold ;
Jan. 12, Douglas, Mrs. F. A.
Jan. 15, Pullein, Miss Catherine
Jan. 15, Thomas, Mrs. Fanny
Jan. 16, James, Mrs. Romane
Jan. 19, P. H. and M. K. ; ;
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Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
Mar.
THB AUTHOR,
19, Greenstreet, W. J. .
19, Gibbs, F. Leonard A.
23, Campbell, Mrs. L. A. R. .
23, Cameron, Mrs. Charlotte,
ERGS. . :
28, Blunt, Reginald :
24, Raphael, Mrs. Mary.
25, Plouman, Miss Mary
80, Gibson, Miss L. S. .
5, Brooker, Lt.-Col. E. P.
6, Buchrose, J. E. 4
7, Smith, Herbert W.
20, Eden Guy
21, Mayne, Miss Ethel
Four
| Col
21 KK
25, Aspinall, Algernon I E.
2 Dalziel, J: :
2.8. 8.G. .
5, Saies, Mrs. F. H
5, Thorne, Mrs. Isabel .
5, Haviland, Miss M. D.
5, Todd, Miss Margaret, M.D.
13, Cabourn, John .
20, Fenwick Miss S. F. .
26, Prendergast, Mrs. J. W.
May 6, Ward, W. J. .
May 7, Crosse, Gordon.
May 8, Williamson, CoN: pad Mrs.
CN. i
May 21, Colebroke, Miss H. E.
May 21, Munro, Neil.
May 21, O'Higgins, Harvey
May 25, Broadbent, D. R.
HE May me
being
of mem
was ele
Jacobs, seconded by Mr.
Hesketh Prichard was una
This is his second year of
of the former meeting were
after which the elections were
course, thirty-five mem
being added to t
total for the year 170.
were accepted, bringing the
to sixty-nine. .;
The next ma
was the solicitor’s repor
—__—__+——>—_>+>—____——_
COMMITTEE NOTES.
SOSCp
ocrcoocorooornNooce COOFRrF OCC OME
BOR oH
235
= bet oad
Aone
Aom=HOAbd OHH
rt et
aoe
ee
OL Or OS CUR Or OF OE
es aaa
tO pet OOH
SOHROSSOSOSSOSOSSCOSCSO ScnSDSoOCaOSCO Coo
onoos
eting of the Committee of
Management was held at the offices of
the Society on Monday, May 4.
the first meeting after the general meeting
office.
Hs
ted, and, on the pro yosal of Mr.
peers Ped Shaw, Mr.
nimously re- -elected.
The minutes
then read and signed
taken in due
bers and associates
he Society’s lists, making the
Two resignations
resignations up
This
bers the chairman for the current year
W. W.
tter dealt with by the committee
t on the cases.
go
25
In a question arising from the non-publica-
tion of a work the solicitor reported that an
order of the Court had been made by which
the book had to be published by a certain
date, subject to a penalty of £50 if publication
did not ensue, the defendant undertaking to
pay the costs of the action. In the case
dealing with the title of Mr. Raleigh’s drama,
“Sealed Orders,’’ the solicitor reported that
further action had been taken, owing to the
fact that managers of theatres in the country
had used the title contrary to the order of the
Court. The solicitor was pleased to report
that in all cases where the title had been thus
wrongfully used satisfaction had been obtained
and the offending advertisements had been
withdrawn. He also reported that, by the
desire of the author, he had made full copies
of the papers which had been sent over to the
author’s American lawyer explaining that,
without the express sanction of the com-
mittee, the Society could not be responsible
for the costs in the United States. There
were two cases of non-payment, one on
accounts delivered, and one for a sum due
under a contract. In the first case the
debt and costs had been paid, and, in the
second, part of the sum had been paid and a
proposal for settlement had been made. In
four cases against magazine editors the follow-
ing results had been obtained: In the first,
judgment was obtained, but on execution
being levied, the debenture holders had
appointed a receiver. It was obvious that
nothing further could be done. In the
second case, the debt and costs had been paid,
and in the remaining two cases proceedings
were pending. It was probable that both
would be settled, as other claims against the
same magazine had recently been satisfied.
In a case by a member against a film company
for unauthorised use of a title, the solicitor was
glad to report that, when the company’s
attention had been drawn to the matter, the
title was changed. ’
In a case of alleged infringement of dramatic
copyright, the solicitor reported that the
evidence of an expert had been obtained, and
after consideration of his report, the solicitor
had come to the conclusion that it would not
be possible to take action. The member had
been informed of the result. The position of
a publishing company against whom the
Society has claims on behalf of some dozen
members was fully reported by the solicitor
who had investigated the matter, and it
was hoped that the reconstitution of the com-
pany would be carried through successfully.
THE AUTHOR.
[JUNE, 1914.
Where judgment had been signed on behalf
of one of the members, it was decided, after
consideration of all the details by the com-
mittee, to throw the defendant into bank-
ruptey if the claims were not properly met.
There was a claim of one of the members
against a cinematograph company for piracy
and infringement of copyright. The company
was a French company with offices in England.
The solicitor reported that, as far as England
was concerned, the matter had been finally
settled, but it was decided that he should
send in his full report, in order that the papers
might be forwarded to Paris to be dealt with
by the Society’s French lawyer. There were
two small cases for the collection of dramatic
fees, and in both the solicitor reported that
writs had been issued. A difficult case of
alleged misrepresentation by a music publisher
came before the committee, and here also, so
far as England was concerned, the matter
had been settled. As the main difficulty
arose in Germany, it was decided that the
solicitor should make a full report to the
secretary in order that the matter might be
placed in the hands of the German lawyer of
the Society. Finally, in a case of dispute
between author and agent, after mature con-
sideration, it was decided that the author’s
contention could not be upheld, and that the
matter must be left in the hands of the solicitors
to make the best settlement they could on
behalf of the author.
The secretary then placed before the
committee questions which had arisen during
the past month. There were four cases in which
the chairman having given authority for
immediate action asked for confirmation
from the committee of that authority. The
first dealt with the collection of dramatic
fees in England, the second with a dispute
in the United States in respect of cinema
fees, the third was a claim against a
United States magazine for money due on a
published article, and the fourth a question of
documents alleged, by one of the members of
the Society, to have been stolen. The chair-
man’s sanction was confirmed. In a case of
dispute between one of the members of the
Society and the society with whom his con-
tract had been made, the committee, after
reading the letters from both sides, taking into
consideration the fact that the conflict of verbal
evidence would make it almost impossible
for the member to substantiate his contention
in Court, decided with regret to take no action
on his behalf. There was a case of dispute
between one of the members and a publisher
JUNE, 1914.]
as to the terms of a contract. The matter
was referred to the committee for arbitration.
The committee decided, with the sanction of
the author, to leave the legal question involved
to the decision of the Society’s lawyers. In a
case of disputed accounts which had already
been investigated by the Society’s accountants
it was decided that no further action should
be taken, as the committee felt that they could
not go behind the accountants’ report. In a
case of infringement of dramatic copyright in
Canada they regretted they could not take the
matter further, while it was decided to place
an infringement by an Australian paper in
the hands of the Society’s Australian lawyers
as soon as the member had established a title
to take action.
The secretary read letters that one of the
members desired referred to the committee,
dealing with some negotiations between him-
self and one of the religious publishing houses.
It was decided to thank the member for the
action he had taken, and, if possible, to get
into communication with the publishing house
mentioned. One of the members of the
Society had referred to the committee an offer
he had received from a magazine for the pur-
chase of work submitted, and it appeared to
the committee that the matter should be
mentioned in The Author with the name of
the magazine. A somewhat similar case,
where the issues were not quite so clear, the
committee left to the discretion of the secretary
to act as he thought best. — 2
A question arose as to a contribution pro-
mised by the Society to the Authors’ League
of America, and the secretary was authorised
to forward the sum due.
The sub-committees of the Society were
formally re-elected, the only change being the
election of Mr. Charles Klein on the Dramatic
Sub-Committee in the place of Mr. James T.
Tanner, resigned.
The motion passed at the General Mecting
of the Society, on the subject of the Libraries
Censorship was referred to the committee, and
the committee felt that they were bound to
carry through, to the best of their ability,
the request made at the gene ral meeting.
Accordingly, the secretary and chairman a
instructed to get into touch once again with
the publishers, the libraries and the _book-
sellers, and Mrs. Belloc Lowdnes, Mr. Charles
Garvice, Mr. Bernard Shaw and the chairman
of the committee were elected delegates to
represent the Society at a round-table con-
ference.
Dealing with the question of International
THE AUTHOR. ify
Copyright, the secretary drew the attention
of the committee once again to the fact that
when France made a treaty with Russia the
attention of the Foreign Office was called to
the fact by the committee, and it was suggested
that England should take the opportunity
of obtaining a similar treaty. A polite letter
had been received in reply ; when subsequently
Germany made a similar treaty with Russia
the attention of the Foreign Office was again
called to the position, and, again, a polite
reply was received. The secretary now
suggested that as the matter was of vital
importance to all members whose literary
and dramatic works were being translated
and pirated in Russia, another attempt
should be made to obtain a treaty with
Russia. The committee decided to leave
it with the chairman and the secretary to
arrange that a deputation should wait on the
responsible parties in the Government, with a
view to pressing forward the settlement of a
treaty with Russia at-the earliest opportunity.
The ‘secretary put before the committee a
letter he had received from the India Office in
regard to the passing of the Indian Copyright
Act, and stated that he hoped to have the
Act for insertion in The Author shortly. He
then referred to the difficulties surrounding
Canadian copyright, owing to the law of 1842
still running in Canada, as the Canadian
Government had not passed any new legisla-
tion adopting the Act of 1911. It was decided
in this matter, also, to see if it would not be
possible, by representation to the Colonial
Office, to remove some of the difficulties from
the present position, and the committee
determined, should it prove politic, that a
deputation should attend the Colonial Office
also.
. Questions regarding the salaries of the clerks
of the office and an articled clerk to serve under
the secretary of the Society were considered
and settled, and two or three minor matters
of no general interest.
et
Dramatic SUB-COMMITTEE.
I.
ig of the Dramatie Sub-
Committee was held on Friday, May 1, at the
offices of the Society, to meet the Society’s
American agent, Mr. W alter Jordan, who had
come over to England. The main subject for
discussion was the question of cinematograph
ights and prices. :
oie Jordan pointed out that ten or twelve
A speEcIAL mecetil
‘238
of the theatres in New York had gone over
entirely to the production of picture plays,
that the demand for good plays and good
films was greatly on the increase, and that
much higher fees could be obtained now than
formerly. Mr. Jordan stated that he would
forward to the Society of Authors, for the use
of the secretary, a copy of the contract he had
been making for the use of authors and
dramatists.
The legal questions respecting authors’
rights, which had been assigned before moving
pictures were known, were also discussed, also
questions of piracy and the legal decisions
which had been given bearing on these points.
The sub-committee thanked Mr. Jordan for
his attendance, and for the information
which had been given, which would be of
undoubted assistance to them and to the
secretary when dealing with these increasingly
important questions.
Il.
Tue May meeting of the Dramatic Sub-
Committee was held at the offices of the Society
on Friday, May 15. After the minutes of the
previous meeting had been read and signed,
the first business dealt with by the committee
referred to a dramatic agency agreement that
had been sent for the consideration of the
committee by one of the members of the
Society. The agent was present at the meet-
ing. It was clearly pointed out to him that
the Society could not possibly advise any
member to sign any agreement on the lines of
the one put forward. After a considerable
amount of questioning and discussion, the
agent expressed himself willing to accept any
reasonable agreement submitted by the Drama-
tic Sub-Committee for the use of members of
the Society of Authors. After the agent had
retired, the sub-committee discussed at some
length the position of agents in regard to the
Society, and the secretary was instructed to
draft an agency agreement for use in these
particular cases, to be placed before the sub-
committee at their next meeting.
The next question dealt with cinematograph
business.
Mr. Carton reported that the meeting of the
Joint Board, which had been held on the 14th
had been unsatisfactory, owing to the small
attendance, but that some important points
had been discussed, and it had been decided
to call a meeting for June 12. The question of
cinema business, however, appeared to the
chairman to be of such importance that he
THE AUTHOR.
[JUNE, 1914.
proposed to the sub-committee that the Com-
mittee of Management should be asked to
consider the appointment of a sub-committee
to deal only with cinematograph matters.
The industry was, at present, in its infancy,
and it was impossible, therefore, to come to any
definite conclusion at the present time on the
many important points involved; that cine-
matograph representations were not simply
matters concerning the dramatist, but also the
novelist, and writers on educational subjects
and on natural history—in fact, were so wide
that it appeared essential to have a separate
sub-committee to deal with the issues. Mr.
Shaw was appointed delegate of the sub-com-
mittee to attend and discuss the matter with
the Committee of Management. ‘The secretary
also brought to the notice of the sub-committee
the question of cinema contracts and bad debts
so far as they affected the author. The
secretary pointed out that publishers paid
royalties on all books sold and were responsible
for all bad debts. It was most important that
the same position should be adopted in regard
to authors’ contracts with cinema manufac-
turers.
The sub-committee then considered certain
cases. The first was a case of non-payment of
fees by an American producer, and the sub-
committee recommended the Committee of
Management to do what was possible in the
matter. The next case, the secretary reported,
was also a case of non-payment of fees by an
American manager. Immediate action had
been taken and the papers sent to the Society’s
lawyers in America.
The Dramatic Sub-Committee
this action.
The third case, which was one of alleged
copyright infringement, the secretary was glad
to report had been settled.
The fourth case also referred to the non-
payment of fees by an American manager.
The sub-committee recommended action to be
taken in this case should an answer, which the
author was awaiting from America, prove
unsatisfactory.
confirmed
—
Firm Ricuts Jomst Boarp.
Tue first meeting of the Joint Board to
deal with Film Rights was held at the
offices of the Society on Thursday, May 14,
at three o’clock in the afternoon.
Regret was expressed by those present that
the attendance was so small, owing to the fact
that many of the delegates had important
engagements elsewhere.
JUNE, 1914]
In these circumstances, it was decided that
it would be inadvisable to pass any important
measures, but it was determined to call another
meeting for Friday, June 12, at three o’clock
at the same place.
The agenda before the meeting will include
the rules for guidance of the committee, such
as financial questions, the number to form a
quorum, and other details. Beyond these
there will be joint action in regard to piracy,
and a proposal put forward by Mr. Browne, of
the Kinematograph Manufacturers’ Associa-
tion, that a sub-committee for purposes of
arbitration should be appointed.
3
Dunrine the past nivnth the secretary has
dealt with nineteen cases, of which seven have
been satisfactorily settled. The record runs
as follows :—
There were six claims for the return of MSS.,
one has been settled, two have only recently
come to the office, one has had to be abandoned,
and in settling the remaining two it is possible
that the Society will be unsuccessful, as they
date back a considerable time. It is therefore
difficult to obtain the necessary evidence.
There were five claims for money. Three
have been settled and the money has been
paid; one in South Africa will necessarily
take some time, and the remaining case has
only recently come to the office.
Two applications for accounts have been
acknowledged, and the accounts have been
forwarded to the authors.
There were three disputes on contracts ;
one has been settled, one has only recently
come to the office, and one has had to be trans-
ferred to the Society’s solicitors in the U.S.A.
One infringement of copyright will take
some time, as that is also in the U.S.A.
There have been two claims for accounts
and money; one has been settled and the
other is still in the course of negotiation.
The cases still open from the former month
are all outside England, and consequently
cannot be settled quickly; one is a case of
infringement of copyright in the U.S.A., one a
case of dispute on contract in the U.S.A., one a
case of accounts in South Africa, and the last a
question of royalties due in France.
The record varies little from month to month,
but during the last two or three months a much
larger number of cases have come forward in
foreign countries. These are naturally some-
times very difficult to deal with.
THE AUTHOR.
239
May Elections.
Douglas Anstruther
Major J. B. Arbuthnot,
M.V.O.
Percy J. Barrow .
M. V. Barty
S. Bristowe.
Evelyn Hope
bell
Sir Valentine Chirol
Camp-
Miss H. Emma Cole-
brooke
Richard St.
Colthurst
Denis Cox . ‘
(* D. H. Dennis.” )
Gordon Crosse
John J.
Madame Blaze de Bury
(FE. Dickberry ).
Henry Deutsch, Ph.D. .
Alan Drew .
Aleck T. Ellis
Wilfrid H. G. Ewart
Miss M. Z. Hadwen
(‘‘ Margaret Hope’’).
-H. W. Hicks
The Rev. Russell H.
Jeffrey
Capt. E. G. D. Lardner
¥F. Gerald Miller ;
Mrs. Muriel Minnitt :
Mrs. Richardson .
Reginald Rogers
Cavendish Club;
Piccadily, W.
Derry House, Ross-
earbery, Co. Cork,
Ireland.
5, Kingdon Road,
West Hampstead,
N.W.
Glenacros, Dun-
blane, Scotland.
122, Sutherland
Avenue, Maida
Vale, W.
Templeton, Hunger-
ford, Berks. ;
34, Carlyle Square,
Chelsea, S.W.
85, Bruton Street,
London, W.
Blainey Castle, Co.
Cork, Ireland.
Weir Cottage, Har-
low, Bucks.
64, Lauderdale
Mansions, Maida
Vale, W.
37, Rue
Paris.
60, Venner Road,
Sydenham, S.E.
Lower House, Burn-
ley.
512, Fulham Palace
Road, S.W.
8 West Eaton Place,
London, S.W.
20, St. Leonard’s
Terrace, Chelsea,
S.W.
c/o Thomas Cook
- & Son, London.
Muckley Cross,
Bridgnorth.
The Army and Navy
Club, Pall Mall,
S.W.
Studio Street, New-
lyn, Penzance.
Redmarley, Long-
field Road, Ealing,
W.
22, Egerton Gardens,
S.W.
9, Upper Woburn
Place, Tavistock
Vaneau,
Square, W.C.
240
The Rey. Ewart Rust . Hamsteels Vicarage,
Durham.
-é L. Simon . 24, Mark Lane,
a London, E.C.
The Rev. W. H. K. 6, Albany Road,
Soames, M.A. Bexhill.
Walter Stephens . 6, York Street,
London, S.W.
Gladys Unger . , 18, Pack. Village
West, | Regent’s
Park, N.W.
William James Ward . 86, Westbourne
Road, Penarth,
Glam.
Adéle Warren. . 47, Cornwall Gar-
dens, S.W.
1, Pemberley Cres-
cent, Bedford.
F. W. Westaway . :
F, Weston : . H. M. Dockyard,
Hong Kong.
Thomas Whittaker . 13, Sharples Hall
Street, Regent’s
Park Road, N.W.
————__+—>—_+___—__
BOOKS PUBLISHED BY MEMBERS.
——— 1 —
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however; that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate,
ANTHROPOLOGY.
THE CHILDHOOD OF THE WoRLD. A Simple Account of
Man’s Origin and Early History. By Epwarp Oropp.
(New Edition, rewritten and enlarged.) 74 x 5. 240
pp. New York. The Macmillan Co. 4s. 6d. n.
ARCHITECTURE.
MonvMentAL CLAsstc ARCHITECTURE IN GREAT BRITAIN
AND IRELAND During THE EIGHTEENTH AND NINE-
eTEENTH CENTURIES. By A. E. Ricnarpson. 15} x
ll}. 124 pp. Batsford. £4 4s. n, :
BIOGRAPHY.
Tue Story or Dorotuy JorDAN.
9 x 53. 429 pp. Nash. 15s. n.
RoMANcEs OF THE Pemrace. -By THorNTON Hatt, F.S.A.
By Cuare JERROLD.
9x 53. 352 pp. HoldenandHardingham. 12s. 6d. n.
My Variep Lire. By F.C. Puiirs. 9 x 53. 319 pp-
Eveleigh Nash. 10s. 6d. n. 5
Lirze or WattrerR Bacenor.
By Mrs. Russert B :
TON. 9} x 58. y 8 ARRING
486 pp. Longmans. 12s. 6d. n.
DRAMA. ,
Damacep Goops. A Play by Briuux. Translated b
J. Pottock. With a Preface by Bernarp Saw ants
Foreword by Mrs. Brr» : a
Wiflelds. Je. a, RNARD SHAW. it Xx 5}. 244 pp-
THE AUTHOR.
[JUNE, 1914.
Dusk. By R. Vansirrart. 7 x 4}. 43 pp. Hum-
phreys. Is. n.
Pures Wire. A Play by F. G. Layton. 7 x 5.
64 pp. Fifield. Is. n.
PLAYWRIGHTING FOR THE CINEMA.
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242
“Life of Walter Bagehot,” written as @
precursor to a complete edition of Bagehot’s
work which is to be published in the autumn
of this year. Mrs. Barrington, who Is the
sister-in-law of her subject, tries to present a
picture of Bagehot the man, as traceable in his
own and his friends’ letters and in the memortes
of those still alive who were his closest inti-
mates. The material used ranges from family
correspondence in Bagehot’s carly boyhood to
the tributes of his contemporaries on his death
at the age of fifty-one (Longmans, Green & Co.).
Mr. W. L. George’s ‘“‘ Woman and To-
morrow,” will be published in America by the
firm of Appleton.
Archdeacon Hutton writes the latest addi-
tion to Macmillan’s Highways and Byways
Series, ‘‘ Shakespeare’s Country,” to which Mr.
E. H. New furnishes the illustrations.
Mr. Philip W. Sergeant’s next book will be
published by Messrs. Stanley Paul & Co., the
subject being the Princess Mathilde Bonaparte,
the niece of the great Napoleon, and the link
(it might almost be said) between him and the
present day, since it is only ten ycars ago that
she died.
In “ The Utilisation of Solar Energy,” Mr.
A.S.E. Ackermann, B.Sc., describes the expe1i-
ments in this direction, costing about £30,000,
with which he has been associated during the
past four years, including those in the Shuman-
Boys Sun Power Plant at Cairo. A method
for estimating the value for power purposes of
steam is a feature of the work; and there is
also a full description of the Shuman high and
low pressure engines. The publishers are the
Society of Engineers, 17, Victoria Street, S.W.,
and the price of the book is 2s. 3d., post free.
Mr. Max Rittenberg has a book called ‘‘ Gold
and Thorns,” for the spring of 1915. It deals
with the sensational adventures of a cosmo-
politan “‘ gentleman of fortune.’ Ward Lock
& Co. will publish in England.
Mr. Selwyn Brinton has just visited Venice
to report for the Studio and the Graphic at the
Eleventh International Art Exhibition of
Venice, which was opened on April 24th. The
exhibition this year is of special interest to
English art, as, besides the excellent show in
the British Pavilion, a whole room in the
Central Palace is dedicated to the work of Mr.
Frank Brangwyn.
A German translation of Mr. C. E. Goulds-
bury’s latest book, ‘‘ Tiger Land,” is to be
published and issued shortly by Mr. Robert
a of Stuttgart, in his Memoirenbibliothek
series.
Mrs. Frederika Macdonald, D.Litt., is the
THE AUTHOR.
(JUNE, 1914.
writer of the article upon Jean Jacques Rous-
seau in the fifth volume of the “* Cyclopedia of
Education,” published by Columbia University,
New York.
Mrs. Alec Tweedie’s ‘‘ Mexico as I Saw It ”
is being translated for publication in Germany.
‘“‘ Pagan,” is the name of a book of verse by
Mrs. Amy Skovgaard-Pedersen (A. C. Fifield,
1s. 6d. net).
We have received from Messrs. William
Collins & Sons copies of five books in their new
Nation’s Library, published at 1s. net :—“t The
Nation’s Wealth,” by Mr. L. Chiozza Money ;
“The Relations of Capital and Labour,” by
Mr. W. T. Layton ; ‘‘ The State and the Poor,”
by Mr. Geoffrey Drage; ‘‘ The Future of
Egypt,” by Mr. W. B. Worsfold; and “ The
Star World,” by Mr. A. C. de la Crommelin.
Mrs. Dawson Scott’s' novel, “‘ The Caddis
Worm,” is being published immediately by
Messrs. Hurst and Blackett.
Miss Sheila Kaye-Smith’s novel, “ Three
Against the World,” which Messrs. Chapman
and Hall published in April, is to be produced
in the United States by Messrs. Lippincott.
A two-shilling edition is announced of Rita’s
story of Bath, “A Grey Life,” of which the
publishers are Messrs. Stanley Paul. The
same firm is adding to its sixpenny Clear Type
series Mr. Keble Howard’s ‘‘ The Cheerful
Knave,” and Mr. Charles E. Pearce’s “ The
Snake Girl.”
‘“ Megan of the Dark Isle,”’ is the title of Mrs.
J. O. Arnold’s new novel (Alston Rivers).
Mr. Georg? H. Jesscp’s historical novel
‘‘Desmond O’Connor ”’ has been issued by
John Long, Ltd.
Miss May Crommelin, who has lately returned
from India, is engaged on a novel to be pub-
lished in September by Messrs. Hurst and
Blackett. The scene of this is mostly laid in
Kashmir, and the book will describe the life in
houseboats of English visitors to the country,
with its comic incidents and opportunities for
flirtation and courtship. Miss Crommelin’s
previous book, “The Golden Bow,” is now
being issued in a cheap edition by Messrs.
Holden and Hardingham.
Mr. James Baker’s ‘‘ By the Western Sea,”
has been added to the popular edition of his
novels (Chaprnan and Hall, 2s.).
‘“¢ World’s-End,” by Amelie Rives (Princess
Troubetskoy), has been produced in the United
States by the Frederick A. Stokes Co.
Mr. F. R. M. Fursdon’s novel, ‘‘ The Story of
Amanda,” deals with the rise of a girl from the
slums to be wife to a leading English politician
(Simpkin, Marshall & Co.).
JUNE, 1914.)
H.M. the Queen has accepted a copy of
** Where Pharaoh Dreams,’ by Mrs. Irene
Osgood, with a foreword by Mr. Stephen
Phillips and illustrations by Mr. W. Gordon
Mein.
*“* How to Breathe, Speak, and Sing ”’ is the
name of a book by Mr. Robert Stephenson,
upholding the old Italian method of respiration
and dealing with all aspects, including the
therapeutic and hygienic, of voice-production
(Jarrold, 2s. cloth; 1s. 6d. paper covers).
DRAMATIC.
At the Little Theatre on April 24th, Mr. R.
Vansittart’s one-act fantasy, ‘ Dusk,’ was pro-
duced for the first time.
On May 3rd, ‘“‘ The Patience of the Sea,” a
new play by Mr. Norreys Connell, was produced
by the Pioneer Pleyers at the Ambassador’s
Theatre.
On May ‘th, Mr. H. V. Esmond returned to
the London stage at the Vaudeville Theatre,
appearing in his own play ‘“‘ The Dangerous
Age” (originally ‘“‘ The Dear Fool”), with
which he has been touring Canada and the
United States.
On May 5th Mr. Israel Zangwill’s play “ The
Melting Pot ’ was played for the hundredth
time at the Comedy Theatre. On May 28rd,
after its 120th performance, it was replaced by
Mr. Zangwill’s new play “ Plaster Saints.”
In “ The Holy City,” played at some special
matinees at the Comedy Theatre in the first half
of May and subsequently at the Haymarket,
Mr. Sydney Valentine filled the part of Judas.
Mr. Roy Horniman is the adapter from the
German of “ The Blue Mouse,” presented at
the Criterion Theatre on May 12th.
Mr. John Galsworthy’s ‘‘ Justice ’’ was seen
at the Coronet Theatre during the week com-
mencing May 18th.
Mr. Jerome K. Jerome’s comedy “ The
Great Gamble” was produced at the Hay-
market Theatre on May 21st.
The French rights of Mr. W. Somerset
Maugham’s play “The Land of Promise ~
have been secured by Mme. Bady for produc-
tion in Paris next autumn. ee
At a special matinee of West End Produc-
tions, Ltd., at the London Pavilion on May 6,
one of the plays was Mrs. E. P. Medley’s ‘Sold!
At Store Prices.”
MUSICAL.
Mrs. Agnes Mary Astle’s song “ Morning
tide ” was sung by Miss Gertrude Macaulay at
Basingstoke on Sunday, April 26. The same
composer has recently published — Nell’s
Doll”. “The Doctor”; and “Light of
?
THE AUTHOR.
243
pies One ad Morning ”’—the words of all
ree songs being by Mrs. A. M. All Stai
and Bell, 1s. 6d. net). Pee
Sg a gg
PARIS NOTES.
— +
: E MONARQUE ” is the title of Pierre
§ 4 Miulle’s new book, and all friends of
Barnavaux will be delighted to make
the acquaintance of Juste Claude Bonnafoux
a native of a little provincial town of Southern
France. Born with the imagination and the
optimism of a true Meridional, Bonnafoux
ought certainly to have known Tartarin. His
fellow-townsmen surnamed him ‘ The Mon-
arch” for the simple reason that, possessing
nothing of his own, he had no eares and no
responsibilities such as men have who must
earn their living. He was kept, more or less,
by the community, as he was considered an
ornament to society. He visited one family
during the shooting season, another during the
vintage ; he was invited to all the marriages and
baptisms. He had always plenty of time, and
was always in a cheerful frame of mind. There-
fore, as he said himself, he lived like a king,
accepting everything from the world at large
and giving himself in return. The stories of
his various exploits are entertaining and, like
Barnavaux, the ‘‘ Monarch ” is a philosopher,
so that we learn many homely truths from his
sayings and doings.
‘“*Mes Origines, Memoires et Recits ” (Tra-
duction du Proveneal), by Frédéric Mistral.
This is a translation of the poet’s Moun
Espelido. An edition is also published with
the original text and the translation together.
Among the new books are the following :—
“ La Dormeuse éveillée ” is the title of Helene
Vacaresco’s latest volume of poems.
“A travers Shakespeare,” by Jean Riche-
pin. This volume contains the lectures recently
given at the University of Les Annales. _
‘La Vie et la Mort de Paul Derouléde,” by
Jérome et Jean Tharaud.
“Le Commerce et l’Industrie de la Plume
re,” by Edmond Lefevre, should be
read by all interested in the subject of birds
and feathers for millinery purposes. It con-
tains 300 illustrations, and M. Lefevre is the
President of the Committee of Ornithologie
économique. He gives us a chapter on the
different causes of destruction of the birds and
another one on the situation of the feather
trade in the various countries. _
‘‘Napoléon et sa Famille,” by Frédéric
Masson, is the eleventh volume of this work.
pour paru
244
The twelfth and last volume of the series is
announced for publication next season.
“Les Cathédrales de France,’ by Auguste
Rodin, is the title of a volume by the famous
sculptor. Some time ago _ Maurice Barrés
published his book entitled ‘* La Grande Pitié
des Eolises de France,’’ and now Rodin writes,
as an artist and a thinker, on the cathedrals.
The volume contains about a hundred illus-
trations. oe
“Les Pays d’Albanie et leur Histoire,’ by
Frédéric Gibert. The author is a specialist in
Oriental subjects. He gives a detailed account of
the actual condition of the Albanian countries.
“* Histoire de la Musique européenne ” (1850
—1914), by Camille Mauclair, will be greatly
appreciated by music lovers. About a quarter
of the book is given up to the works of Wagner.
The author then studies the music of the
various European nations.
“Les Universités Allemandes au XX°
Siécle,”’ par Dr. René Cruchet, is an account
of a visit to twenty German universities by a
Professor of the Bordeaux University. Dr.
Cruchet gives us various anecdotes and a
résumé of his conversations with the German
Professors. He also shows up the various
differences between the French and German
university.
In the Revue hebdomadaire, M. Laudet is
now publishing a series of articles by prominent
persons on the subject of France as it was in
their youth and at present. The first of these
articles is by General Lebon, who was formerly
Commander of the first corps darmée. The
General goes back to his recollections of 1866.
He is now in his seventieth year, and after
twenty-six admirable pages devoted to his
experiences and observations, his advice to the
present generation is: ‘‘Soyez gais, mes
Jeunes camarades, d’une saine et vigoureuse
gaieté qui vous donne le ressort d’un Gallifet.””
Another of these fine articles is by Charles
Richet of the Institute. He tells us of the
“* Physiology of former days and of to-day.”
He points out that physiological chemistry has
made great progress during the last thirty-five
years. He tells us of the experiments of
Pasteur (1857—1880). M. Richet says, in
conclusion, that the “ future of humanity is
in science only, and that the miseries of
humanity can only be attenuated by means of
the discovery of scientific truths.”” He declares
that disease is our enemy, and that, in order to
fight it, it must be known and then treated by
science, In an eloquent appeal, he asks that
the scientists who are devoting their lives to
this end shall not be allowed to die of starva-
THE AUTHOR.
[JUNE, 1914.
tion themselves. He declares that the dearth
of physiologists is largely due to the fact that
the State does so little for scientists. ‘“‘ Ignor-
ance with regard to science was the great error
of former times; it is the great error too, of
modern times,’”’ concludes M. Charles Richet.
One of the most interesting articles of the
series is certainly the one written by Madame
Mary Duclaux. She tells us of the literary Paris
of 1885. She left the ‘‘ poetic and pre-Raphaelite
England of her early life,’ and went to Paris.
Among the people she first met were Mlle.
Louise Read, at whose house she met Barbey
d’Aurévilly and Mme. Ackermann. Two or
three years later she married James Darmes-
teter, and at the house of his brother, Arséne
Darmesteter, she met Sully Prudhomme,
Gaston Paris, and Mme. Dieulafoy and the
Renans. (Arséne Darmesteter, the celebrated.
philologist, had also married an Englishwoman.
Her Salon pictures have won for her a place
in the recent book on ‘Celebrated Woman
Painters.”) After James Darmesteter’s death
his widow married M. Duclaux, who was then.
at the head of the Pasteur Institute. Paris is.
now the second home of Madame Duclaux, and,
in her clever article, she tells us her impressions.
of the Paris of former days and of to-day. Her
advice to the present generation, in conclusion,
is that they should not only follow General
Lebon’s advice and be “ gay,” but that they
should be “sincere and true.” Madame
Duclaux finds that the great danger of modern
times is the hurry to see the immediate result
of everything. She wonders whether a group
of young workers could be found now such as
the group which devoted itself to the founding
of the Pasteur Institute. She wonders, too,
whether the words renoncement, désintéresse-
ment and recueillement are as well understood:
now as in the nineteenth century ?
M. Gavault has been appointed Director of
the Odeon Theatre. He is himself a well--
known dramatic author, whose plays have had.
great success. At the Bouffes-Parisiens M.
Arthur Meyer’s play, ‘“‘ Ce qu’il faut taire,”’ is-
now on the bill. M. Meyer, as Director of the-
Gaulois, is a well-known Parisian, and the first
night of his play was a society event.
Autys HA.uarp.
“Le Monarque’’ (Calmann Levy).
“Mes Origines, Memoires et Récits ” (Plon).
“La Dormeuse éveillée ” (Plon).
“ A travers Shakespeare ” (Fayard),
‘““ Napoléon et sa Famille ’? (Ollendorff).
“Les Cathédrales de France” (Colin).
“Les Pays d’Albanie et leur Histoire” (Rosier). ”
‘‘ Histoire de la Musique européenne ” (Fischbacher).
“Les Universités Allemandes au X Xe Sitcle” (Colin)...
=e a ®
JUNE, 1914.]
AUSTRALIAN BOOK RIGHTS.
—— +
{Reprinted fromthe * Bulletin of the U.S.A.
Authors’ League.’’)
Wuo SHouLD Have THEM—THE AMERICAN OR
THE BrITISH PUBLISHER ?
MEMBER of the Authors’ League who
has had several of his books published
in London, some sold through his
American publisher, who supplied “ sheets ”
(unbound copies), and some through a separate
contract with English publishers, in attempting
to sell an English edition of a recent work,
encountered considerable difficulty in disposing
of his British rights unless the London firm was
permitted to handle the Australian rights also.
The author was informed by his agent, more-
over, that there appeared to be a greater and
greater disposition on the part of English pub-
lishers to insist upon Australian rights, and it
might be difficult, in the future, to dispose of
the English rights alone.
In view of this fact, the League has investi-
: c 3 sie
gated the Australian situation in the endeavour
to obtain for authors information which might
enable them to decide advantageously as to the
disposition of any Australian editions. To this
end, inquiries have been made of a number of
New York publishers and literary agents, the
results of which we quote in abridged form.
The following description, supplied by a well-
known New York publisher, of actual sales con-
ditions in Australia, will enable one to under-
stand the reason for many of the opinions after-
wards cited. This firm says, in part :-—
“Many American publishers have placed the sale of
their books in the hands of an importing firm in Sydney,
which has agencies in Melbourne, Hobart, Launceston,
Adelaide, Brisbane, and in several places in New Zealand.
To this firm we send, as early as possible, advance copies
of the books likely to find a market in Australia, and. also
review copies for a number of papers. We then receive
by cable orders for such books as our agents find the
Australian trade will take. These agents concern them-
selves with nothing but the wholesale importation of books
and the sale of them to booksellers. As they have no
retail trade whatever, their interests and those of the book-
sellers are identical, and there exist, we believe, very
friendly relations between them and the booksellers.
“« Opposed to such agents as ours and to the bulk of the
book trade in Australia is a large importing house in
Melbourne which also conducts a retail business. This
house, we are informed, endeavours to secure the exclusive
rights in Australia to books from English and American
publishers. Maintaining, as the house in question does,
a large retail establishment of its own (perhaps more than
one), it has aroused the antagonism of the Australian book-
sellers, the more so because the prices it charges booksellers
are much in excess of those charged for similar books by
firms engaged in importing in wholesale business only.
Booksellers in Australia have a further grievance in that
THE AUTHOR. 245
the house in question will not supply popular books i
quantities desired by the teil, Wihsaiver hey an
that they can sell their stock at retail themselves they
either cut down the orders from the booksellers or do not
fill them at all.
“The attitude of booksellers toward this house was
demonstrated to us in the case of a book for which we
received an offer from the Melbourne house after we had
shipped a large quantity to our agents. Two of the
principal booksellers in Sydney, hearing that the Melbourne
house might get a consignment of the book, notified our
agents that if this were true their orders were to be cut
from 250 copies each to 50 copies each. We have in the
past urged our agents to try to arrange some basis by which
the Melbourne house could sell at retail, but this has been
foundimpossible. And whether the antagonism is justified
or not, the attitude of booksellers in reducing orders from
500 to 100 copies shows that the condition is not one about
which to theorize.
“‘ Since we have had to choose between the jobber who
also conducts retail business and the wholesale agent, we
have decided in favour of the wholesale agent, partly
influenced by the facts we had gathered, and partly by
actual figures. In the case of a novel which sold in
America less than 15,000 copies, our total orders for
Australia were 2,000 copies, whereas the offer made by the
jobbing and retailing firm was only 1,500.”
So much for the details of market conditions.
The American publishers who have answered
the request of the League for their opinions on
the matter are, as might have been expected,
unanimous in declaring that the American
authors are best served by disposing of their
Australian rights to or through their American
publisher, rather than to the English house
publishing in London.
One of the largest publishing firms answers
as follows :—
“In one case where we had sold an edition of only 500
copies to England, our Australian sales exceeded 3,000 ;
and in another case where the English publisher took only
250 copies, our Australian sales were 2,000. Two facts
should be borne in mind when deciding the disposition of
Australian rights: First, the Australians prefer the books
of American manufacture. We always send cloth bound
books exactly like those that are sold in America, Of
course, we have to make very low prices, and, therefore,
cannot pay more than half royalty. But the returns to
authors on this basis, are, we are certain, much greater
than they would be if the Australian sales were controlled
by the English publishers. Second: we are informed that
in many cases the English publisher sends what he calls
his ‘Colonial edition,’ which is a cheap edition much
inferior to the edition prepared for England. If, as must
be the case, the royalty is computed on the low selling
price of the Colonial edition, it 1s doubtful if the returns
per book are as great as they are on the American edition.
There is no doubt in our minds that the authors’ interests
are best served by having the Australian rights remain with
the American publisher.”
A New York publishing house which has also
an English office writes :-—
“For a number of years we sold Australian rights
through our English house, or through English agents. In
recent years we have reversed this policy and have sold
the Australian market directly from this country. We
find that in doing so we are able to place more editions of
246
to secure the continuing interest in each of the
nee Se By the English method one edition is
taken and there the matter usually ends. In the case of
certain very popular authors this original edition would be
larger than the edition taken from America; but this in
only a very few cases indeed, and even in these instances
when handled from America succeeding editions would
more than make up the difference.” ;
“The Australian public,” he adds, “seems to like the
type of books which appeal to Americans rather than the
type which appeal to the English.”
Another prominent publisher, while desiring
Australian rights for his own publications,
thinks that individual cases may differ and
leaves the general question in some doubt. He
says :—
“The American publisher, who has occasion to arrange
with an English publisher for the British edition of a book,
may often find it desirable to retain in his own hands the
arrangements for Australasia. Firms like my own, whose
imprint reads ‘ New York and London,’ and which carry
on their publishing business on both sides of the Atlantic,
make a practice of retaining in their own hands the control
of the selling arrangements for Australasia. I should take
the ground, therefore, that there was no such thing as ‘a
proper ownership of Australian rights,’ but that the matter
was one to be determined wholly by the origin of the book
(that is to say whether England or America), and very
largely by the status of the connections and the publishing
machinery of the house controlling the book.”
The following communication, however, from
an equally important firm, is bolder and more
definite in its reasons, corroborating a previous
opinion :—
‘“We oftentimes secure from Australia alone an order
just as large, if not larger, than we get from England, even
when they have all foreign rights. As a general rule, we
think the English publisher wishes the Australian market
simply to use as a dumping ground. In case he is not able
to dispose in England of books at the regular price, he
sends them over there (Australia), and brings them out as
a cheap edition. My feeling is that he does very little, if
anything, to promote the sale in Australia.”
Two New York literary agents, both of whom
have had wide experience in placing foreign
rights of American authors, take opposing
positions in regard to the disposal of Australian
rights. One of them says :—
“Tt is my belief that a popular author gets more out of
his Australian rights when they are sold by the American
publisher than when they are sold by the English publisher.
In the cases of several popular authors the American pub-
lisher has got more out of the Australian rights than the
English publisher was willing to offer for the English rights
plus the Australian rights. Australia in its outlook on life
and in the kind of books which attract it is much nearer to
America than it is to England.”
_The other literary agent makes the following
distinction :— #
“(a) Given an American novel of the type that is li
to obtain manufacture and publication in Se oo.
separate contract with an English publisher, I believe it is
to the advantage of the author to put the Australian
volume rights into the hands of the English publisher.
(6) If the novel is of the type not likely to be sufficiently
THE AUTHOR.
(JUNE, 1914
acceptable in England to attain the publication under a
separate contract, I advise giving all rights of volume pub-
lication in the English language, including Australia, to the
American publisher. Taking two average standard con.
tracts, one with an English publisher, the other with an
American publisher, it is my experience that the author
receives from the English publisher a larger sum per copy
than from the American publisher. I need scarcely say
that where American publishers have a fully equipped
English house (and not a mere agency), and conform to the
Australian royalty scales customary with the best English
publishers, my advice to American novelists is—as a rule—
to let such American publishers have all volume rights in
the English language, including Australia. But (as you
know), American publishers thus equipped are few.”
One of the agents quoted above states :—
“Many English houses will not take a book on which
they don’t have the Australian rights, so that if you have
sold the Australian rights to an American publisher you
may find it difficult to place the book in England at all.”
This opinion confirms that of the English
agent first cited.
But there is still another reason for favouring
the American publisher. Every American
author who has had books published and
printed in England has bewailed their inferior
appearance, as compared with his American
edition. In typography, paper and binding
most English editions are far behind the usual
American made books. Not only does this
displease the author’s esthetic sensibilities, but
it probably seriously affects the sale of his book.
A case could be mentioned in illustration of one
book whose English sale fell far behind the
American, indubitably for that reason alone.
Says one of the above quoted New York pub-
lishers :—
“‘ We are certain that the appearance and manufacture
of the American book is of more advantage, especially in
the Australian market, where it is much preferred to the
English book.”
The concensus of opinion of those interested
(on this side of the water at least) is, therefore,
that the American publisher can do better for
the author, in Australia, than the English.
But, meanwhile, the League is iz communics-
tion with London firms and agents, and hopes,
later, to present the British side of the question,
as well as supply direct information from
Australia itself.
Se
FRANCIS, DAY, AND HUNTER v. FELD-
MAN & CO.
8
fe eee action was tried on May 21 and 22,
and involved two issues: (1), whethet
the plaintiffs’ song called ‘‘ You made
me love you (I didn’t want to do it),” written
i
'
asain ities
JUNE, 1914.]
by Joe McCarthy and James V. Monaco, both
American citizens, was “ first published ” in
the British dominions within the meaning of
the Copyright Act, 1911, so as to entitle it to
copyright thereunder; and (2) whether the
words of the defendants’ song, called ** You
didn’t want to do it—But you did,” infringed
the copyright in the words of the plaintiffs’
song. No complaint was made with regard to
the music of the defendants’ song. :
Section 1 (1) of the Copyright Act, 1911,
provides that copyright shall subsist in every
original literary, dramatic, musical and artistic
work if, in the ease of a published work, the
work was first published within His Majesty’s
dominions to which the Act extends. Section
1 (3) provides that publication in relation to
any work means the issue of copies of the work
to the public ; and section 35 (3) provides that
a work shall be deemed to be first published
within the parts of His Majesty’s dominions to
which the Act extends, notwithstanding that
it has been published simultaneously in some
other place, unless the publication in such
parts of His Majesty’s dominions is colourable
only and is not intended to satisfy the reason-
able requirements of the public, and a work
shall be deemed to be published simultaneously
in two places if the time between the publica-
tion in one such place and the publication in
the other place does not exceed fourteen days.
The plaintiffs’ song was published in New
York and Toronto on May 5, 1918. On April 24,
the Broadway Music Corporation, who pub-
lished the song in New York, transmitted
twelve copies to the plaintiffs and requested
them to copyright the song in England on
May 5. On that day the plaintiffs caused one
copy of the song to be sent to the British
Museum, four copies to be sent to the agent for
the other libraries, and one copy to be filed as
a record. The remaining six copies were
placed in the plaintiffs’ retail premises in a box
labelled ‘‘ New works issued this day.” They
remained in the box from ten to fourteen days,
other music being placed on the top each day
as published. The six copies were then
r moved to the stock room. It was proved
that on the average from eighty to one hundred
customers would come into the plaintiffs
retail premises each day. It was also proved
that American songs. were Oe ei oe
until they had been performed 1n this co y-
The sischite ae John Abbott, stated
that it was their intention to have copies of the
song in question available to meet any demand
as and when it might arise. There was, how-
ever, no demand for the song until August, and
THE AUTHOR. 947
no sale could be traced before August 12. In
July, the plaintiffs heard that the song was
going to be performed in England, and on
July 18, they ordered by cable ten further
copies from America. On July 26, they ordered
ten more. These twenty copies came to hand
on August 12. On August 18, they cabled for
100 copies, which came to hand on August 25.
The song was first sung in England on July 25
by Miss Florence Smithson at the Chiswick
Empire. On August 4 it was sung by Miss
Grace la Rue at the Palace. The demand
began about August 12, and on August 20,
they published an English reprint of 750
copies. They had always been in a position
to supply any demand which was made,
Beyond placing the six copies of the song in
the box in their retail premises, the plaintiffs
never advertised the song either in the Press
or in their catalogue or otherwise until’ Sep-
tember.
On these facts the defendants contended that
the song had not been issued to the pwhlie in
England within fourteen days from May 5, and,
alternatively, if it was so issued that the publica-
tion was colourable and was not intended to
satisfy the reasonable requirements of the public.
Mr. Justice Neville, however, held that there was
an issue of copies to the public and that, as
there was a bona fide intention on the part of
the plaintiffs to satisfy any demand for the
song, as and when it might arise, the publica-
tion was not merely colourable and the con-
dition required by the Statute had been satis-
fied.
On the question of infringement, the defen-
dants contended that their song was what was
known as a reply song to the plaintiffs’ song,
and as such was a legitimate publication.
Evidence was given on behalf of the plaintiffs
to the effect that there was great similarity
between the words of the two songs in rhythm,
idea and language, and that the sale of the
defendants’ song was calculated to prejudice
the sale of the plaintiffs’ song. Mr. Justice
Neville said that the question was not free
from difficulty. A song might well be what
was called a reply song, and yet be an infringe-
ment of the song to which it was a reply. The
court must be guided by the general impression
created on the mind by the one song and the
other. In this case he thought the defendants’
song was but a colourable imitation of the
plaintiffs’ song, and he granted an injunction
and inquiry as to damages.
el
HOW TO USE THE SOCIETY.
—
4 VERY member has a right toask for and to receive
: advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
‘Secretary of the Society is a solicitor; but if there is any
-special reason the Secretary will refer the case to the
‘Solicitors of the Society. Further, the Committee, if they
«deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel 8
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
-and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
‘the document to the Society for examination.
4, Remember always that in belonging to the Society
~you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
‘members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
-confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements, Fuller particu-
‘lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
- of the Society.
7. Many agents neglect to stamp agreements. This
must be done within fourteen days of first execution. The
‘Secretary will undertake it on behalf of members,
8. Some agents endeayour to prevent authors from
referring matters to the Secretary of the Society ; so
do some publishers. Members can make their own
‘deductions and act accordingly.
9. The subscription to the Society is £1 4s. per
annum, or £10 10s. for life membership.
——>— +
WARNINGS TO THE PRODUCERS
OF BOOKS.
oe
ERE are a few standing rules to be observed in an
| [ agreement. There are four methods of dealing
with literary property :—
I, Selling it Outright,
This is sometimes satisfactory, 7f a proper price can be
THE AUTHOR.
[JUNE, 1914.
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements,
(3.) Not to allow a special charge for ‘‘ office expenses,”’
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
“By Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher,
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It isnow
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in The Author.
I¥. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book,
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
C1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
a
WARNINGS TO DRAMATIC AUTHORS.
ee
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating ‘for
the production of a play with any one except an established
manager,
3. There are three forms of dramatic contract for plays
in three or more acts :—
(2.) Sale outright of the performing right. This
is unsatisfactory, An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
:
5
i
JUNE, 1914.]
(.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system, Should
obtain a sum inadvance of percentages. A fixed
date on or before which the play should be
performed.
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in anyevent. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time, This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance.
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable, ‘Lhey should never be included in English
agreements without the author obtaining a su. bstantial
consideration.
9.Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
is highly speculative : that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
—> -—
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
——
CENARIOS, typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to the author
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 22, 6d. per act.
THE AUTHOR.
249)
DRAMATIC AUTHORS AND AGENTS.
Ee
De authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author's fees.
from it, As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is:
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess:
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
ee ae
WARNINGS TO MUSICAL COMPOSERS.
Segoe
: ITTLE can be added to the warnings given for the-
ey assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
a
STAMPING MUSIC.
Sage ee
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
_—_____+—<»—e —__—_
THE READING BRANCH.
—+—
EMBERS will greatly assist the Society in this
N branch of its work by informing young writers.
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach, The term
MSS, includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea,
> +
EMITTANCES.
f the Society begs to give notice
a ee Ses are Scuyowiodued by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered.
letter only,
COLLECTION BUREAU.
ee ecg
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists. :
1. Under contracts for the publication of their
works. : :
2. Under contracts for the performance of thei
and amateur fees. é .
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission. :
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
r works
AGENTS.
Holland . ‘ ‘ A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs. Poason.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
ee =
GENERAL NOTES.
ae es
PUBLISHERS’ AGREEMENTS AND THE AGENCY
CLAUSE.
Our attention has been drawn once again
to the agency clause inserted by agents in
publishers’ agreements. The clause runs as
follows :—
** All accounts due and all moneys payable under this
agreement shall be rendered and paid to of
and it is hereby agreed that his receipt shall be a fulland
sufficient discharge therefor and that shall have
authority to treat for and on behalf of the said author in
all matters under this agreement.”
The publishers’ agreement, with a covering
letter from the agent making several comments
on the document as far as it concerned the
publishers’ proposed terms, was submitted
through the author to the Socicty for criticism,
but the agent’s letter written to the author
made no comment whatever upon the clause
which referred to his own position and which
he had inserted.
We have on former occasions and at full
length dealt with this matter. If an agent,
when commenting on the publishers’ agree-
ment, sets fairly before the author the diffi-
culties that may arise under the clause which
he inserts for his own benefit, states that it is
irrevocable, that it may handicap the author
THE AUTHOR.
[JUNE, 1914.
seriously, ete., ete., and if the author, having
the full statement before him, says ‘* You are
my agent, I am quite willing to trust you as
regards this clause,” then no blame whatever
can attach to the agent; though something
might be said on the question of the author’s
folly. But when an agent as in the present
case says nothing the matter assumes quite
another aspect. Supposing, for instance, a
solicitor when drawing up a contract for a client
inserted a clause which, of great benefit to him-
self, might be seriously detrimental to his client,
and omitted to point out the facts ; if the matter
was then referred to the Incorporated Law
Society, the result would most probably be that
the solicitor would hive his name struck off the
rolls. But agents who dealin a similar manner
with their clients are full of anger when com-
ments are made upon their methods of doing
business. Solicitors are responsible to the
council of their profession, but agents have no
such responsibility. It has been said that all
authors are not angels, and that unless the
agent protect himself he runs a chance of being
swindled; but the agent seems to forget that the
author runs exactly thesame chance. It would
be interesting to know the proportion of corrupt
agents to the total number of agents, as com-
pared with the proportion of corrupt authors
to the total number of those who follow
authorship as a profession. It is doubtful if
this sum were worked out whether the agent’s
care for himself could be wholly justified.
AGENTS AND ACCOUNTS.
WHILE we are discussing the question of
agents, there is another matter to which the
members’ attention should be called. Agents
—literary, dramatic, and others—are very
fond of receiving accounts and passing them
on to authors without any comment. They
take no trouble to compare them with the
former accounts, to compare them carefully
with the agreement and to see that the proper
percentage is given throughout. They simply
ask the author, who is helpless in the matter,
whether he is satisfied with them. Many
agents, however, have got a worse habit still.
They make out an account of their own,
presumably from the original accounts, deduct
their agent’s fees, and send it on with a cheque
to the author, who has no possibility of viewing -
the original documents. We are glad to
see, that this is not always the case,
One or two of the best-known agents: make
a point of always sending on the originals for
consideration. Even then it is the agent’s
|
JUNE, 1914.]
duty to state clearly that he has compared the
accounts with the former accounts and with
the agreement. The matter would not be of
such importance if, in the clause which we have
quoted, the agent’s receipt was not a valid
discharge. The insertion of these words into
the clause cannot be supported by the same
arguments that warrants the agent to collect
the monies. They are merely an added
burden to the author.
Prorit SHARING ON THE SALES OF SHEETS IN
ture U.S.A.
WE re-publish in another part of The Author
an article which deals with a clause inserted
in Publishers’ Agreements giving the author
half profits on sales to America. The matter
is of growing and serious importance, be-
cause such a clause, although the author is
receiving a royalty on other sales, is being
inserted more frequently in author's agree-
ments, and its interpretation, when the
accounts come in, is nearly alweys—there are
honourable exceptions—to the detriment of
the author. Every form of profit sharing in
literary as well as dramatic agreements is
unsatisfactory. If the accounts are rendered
with the most honourable intentions, distrust
and suspicion is bound to spring up, often
because the author cannot understand the
intricate details. Profit sharing on American
sales is a subject which might very usefully be
discussed between the committee and the
Publishers’ Association, if the latter would
care to discuss it.
There are two reasons why, from the pub-
lishers’ point of view, the power to sell on half
profits to America benefits them. It enables
them to cut down prices to an absurdly low
figure. This is detrimental to the author, who
practically gets no profits, but is not a serious
matter for the publisher, because in any case,
he takes care to get his cost of production
eovered. The cost of production including, as
is shown by the article, the cost of composition.
The second point is that, however equitable
the arrangement may appear, it is impossible,
as shown in the article, that it should be an
equitable arrangement if the book continues
to sell briskly in England. Bot h these points
are detrimental to the author's financial
interests.
We hope, therefore, that all authors who
receive a royalty on the English sales, failing
to obtain U.S.A. copyright, will oppose the
clause of profit sharing on the American sales,
THE AUTHOR.
251
and will insist upon receiving a royalty of so
much per copy, which will force the publisher
to keep up a reasonable price for the sale as he
has to pay the author a reasonable price also,
A Boox aspout AUTHORS.
__WE are quoting the following from Mr. Hope
Moncrieff’s ‘‘ Book about Authors ”’ :—
*“The Authors’ Society has recently started a pension
fund of its own which appears to be usually applied for the
benefit of novelists, the only class of authors that does
make any money to speak of. And in two cases it is paid
to gentlemen also enjoying Civil List pensions. This looks
as if the Authors’ Society contained few really necessitous
members. But one has known only too many authors,
and of note and of usefulness, who could not afford even
the guinea subscription to this association.”
We think Mr. Moncrieff is a little unfair to
the Authors’ Society. The Authors’ Society
is paying at the present time five pensions.
Three of the pensioners are novelists ; two are
not. The proportion of three to two is not an
excessive proportion considering the member-
ship of the Society. Mr. Moncrieff states,
however, about novelists ‘‘ the only class of
authors that does make any money to speak
of.” With all Mr. Moncrieff’s large knowledge
of authorship, he has failed to understand that
many educational writers have a much larger
circulation and a much surer and continued
income than novelists, and that the suecesstul
dramatist again is often far ahead of the
successful novelist. The remark also is not
quite fair because after all it is not the class
that benefits by the pension but the individual.
There is a further point to which attention
might be drawn. It would appear that Mr.
Moncrieff has written the paragraph without a
correct knowledge of the Pension Fund scheme.
It is absolutely essential that the author
secking a pension should have been a member
for a certain number of years. We regret to
say we know more than one case in which an
author has resigned from the Society, not
always on account of poverty, and coming on
bad days, has desired to rejoin the Society
with a view to getting a pension. There is
also a limit of age in the Society’s Pension
Fund scheme. There is also the fact that the
Pension Fund scheme was started with a view
not to cut in any way into the work of the
Royal Literary Fund. Like Mr. Moncrieff, we
have known too many authors who have fallen
on evil days.
has only been tempore
by the Royal Literary F
In many cases their position
ary, and being relieved
und, they have regained
252
their work and stemmed the tide of misfortune.
The Socicty, although it cannot assist directly
in these cases from its Pension Fund, can assist
indirectly and is constantly doing so, by giving
advice and referring members to the Royal
Literary Fund, and by calling the notice of the
more fortunate members of the profession to
an urgent case.
Again, amongst those authors who are not
only known to Mr. Moncrieff, but also to_us,
many were not entitled by age to relief.
Finally, the Pension Fund of the Society is an
exceedingly small fund, and when the income
is exhausted by the payment of present pen-
sions, however pressing may be the needs of
those who claim, it is impossible for the
Society to assist until the income at the
disposal of the trustees is sufficiently increased.
We think the Society may well be proud of
its Pension Fund, small as it is. The first
pension granted was to Mrs. Riddell. The
fund was started by the Society, ten prominent
members heading the list with donations of
£100 each—and for members of the Society
only. It has never appealed to the public by
way of advertisements, charity concerts and
other methods, but has gone steadily from
year to year, supported by members of the
Society both rich and poor, until its funds are
over £5,000 in value. The amount invested
per annum usually runs to between £200 and
£300. It has not been a one-man fund, born
of the generosity of this or that millionaire,
although no doubt the trustees would be willing
to receive outside gifts. It is because the funds
are really part of the life of the Society, and its
membership that the Society has reason to be
proud of it.
Tue Art or LEAyING Orff.
_ A very interesting little paragraph appeared
in the May number of the Chicago Dial, which
we take the liberty of copying :—
“* The Art of Leaving Off, in writing, in story-telling, in
specch-making, in preaching, in calling, and in much else,
is an art that many never learn, perhaps chiefly because it
is so simple—to stop when you get through. Scott more
than atones for the long-winded preliminaries to his novels
by the masterly abruptness with which he closes them, A
compliment worth winning from one’s readers is the
involuntary exclamation at the end of the book, Is that
all! Those who have read much aloud will recall many a
masterpiece of fiction that has elicited from breathless
hearers that unmistakeable testimony to the attention-
compelling quality of the narrative. In her useful treatise
on “The Art of Story-Telling,’ Miss Julia Darrow Cowles
pertinently remarks : ‘ Story-tellers sometimes remind one
THE AUTHOR.
(JUNE, 1914.
of a man holding the handles of an electric battery. The
current is so strong that he cannot let go. The story-teller
must know when and how to “‘let go.”’ Letus suppose that,
in telling Hans Christian Andersen’s story of ‘‘ The Nightin-
gale,” the story-teller—after the delightful denouement of
the supposedly dead Emperor’s greeting to his attendants,
where he “‘ to their astonishment said ‘ Good morning !’ ””
—were to add an explanation of the effect of the nightin-
gale’s song in restoring the Emperor to health! It would
be like offering a glass of ** plain soda’ from which all the
effervescence had departed.’ .. .”
But is it true that authors generally know
when to stop ? In the old days of long serials,
many authors being bound by the serial
market to make the beginning of the story
interesting dragged on interminably towards
the end. Is not the second volume of
Thackeray’s “ Virginians” a fair example
of not knowing when to stop?
Copyricut Casrs, 1918.
WE have received from the Publishers”
Association the ‘‘ Copyright Cases for 1913,”
edited by Mr. E. J. MacGillivray. This.
collection is produced for private circulation
at the expense of the Publishers’ Association,
and the Society cannot be too grateful to that
Association for allowing the Society every
year to have a copy. It is an invaluable
production.
In the summary, Mr. MacGillivray touches
on the question of titles, which he rightly
says has jumped into supreme importance
by reason of the fact that the producers of
films are claiming the right to appropriate the
title of any novel or drama.
is one that may effect seriously all authors,
and it is hoped that the efforts of the Society
will be successful in organising a satisfactory
defence.
INTERNATIONAL CONGRESS OF AUTHORS
AND JOURNALISTS.
WE have received some papers with regard
to the Congress of Authors and Journalists to-
be held at the Panama-Pacific International!
Exposition which will take place at San
Francisco in 1915.
The papers give some idea of the arrange-
ments that are going to be made for all those
who, specially invited, are able to accept the
invitation.
Fuller particulars may be obtained from:
Miss Ina Coolbrith, 1067, Broadway, New York,
or from Mr. Hermann Scheffauer, Bank Point,.
Jackson’s Lane, Highgate, N.
The matter
vip
JUNE, 1914.]
‘MODIFICATION OF THE BERNE-BERLIN
COPYRIGHT CONVENTION OF 1908.
—o— +
(Reprinted from the U.S.A. “ Publishers’
Weekly.’’)
TWFNHE following additional protocol to the
Convention of 1908 adopted by the
countries of the International Copy-
right Union, March 20, 1914, is of especial
importance in the United States because it
_ doubtless originated in and reflects the dis-
satisfaction with the manufacturing and other
restrictions of our own copyright code felt by
those countries which grant full copyright.
Under it, Great Britain can impose counter-
restriction on books of American authorship
without violating its full relations of reciprocity
with the other countries of the Union.
ADDITIONAL ProrocoL TO THE REVISED
BERNE CONVENTION OF NOVEMBER 13,
1908.
The countries, members of the International
Union for the protection of literary and artistic
works, desiring to authorise an optional limita-
tion of the extent of the Convention of Novem-
ber 13, 1908, have, by mutual agreement,
-adopted the following Protocol :
1. When a country not belonging to the
Union does not protect in a sufficient manner
the works of authors who belong to a country
-of the Union, the provisions of the Convention
-of November 13, 1908, cannot prejudice, in any
way, the right which appertains to the con-
tracting countries to restrict the protection of
works of which the authors are, at the moment
-of the first publication of these works, subjects
-or citizens of the said country ‘not being a
member of the Union, and are not actually
domiciled in one of the countries of the Union.
2. The right accorded to the contracting
States by the present Protocol, equally apper-
tains to each of their trans-marine possessions.
3. No restrictions established in virtue of
No. 1 above, may prejudice the rights which an
author has acquired upon a work published in
-one of the countries of the Union prior to the
putting into force of these restrictions.
4. The States which, in virtue of the present
protocol, limit the protection of the rights of
authors, will notify the Government of the
Swiss Confederation by a written declaration
‘indicating the countries against which the
protection is restricted, and also the restrictions
to which the rights of authors from these
-eountries are submitted. The Government of
the Swiss Confederation communicates at once
the fact to all the other states of the Union.
THE AUTHOR.
2538
5. The present Protocol to be ratified, and
the ratifications to be deposited in Berne within
a maximum delay of twelve months from its
date. It enters into foree one month after the
expiration of this delay, and has the same power
and duration as the Convention to which it
relates.
In witness whereof the Plenipotentiaries of
the countries, members of the Union, have
signed the present Protocol, of which a certified
copy is to be transmitted to each of the govern-
ments of the Union.
_ Made in Berne, the 20th day of March, 1914,
in only one copy deposited in the archives of
the Swiss Confederation.
(The signatures of the representatives of the
countries of the Union follow) :—
Liberia,
Luxembourg,
Monaco,
Norway,
The Nether-
lands,
Portugal, Spain,
Switzerland, France,
Tun’‘s, Great Britain,
Germany, Haiti,
Belgium, Italy,
Denmark, Japan.
——__—— @ > +~<4 6
ROYALTY AGREEMENTS AND HALF
PROFITS ON SHEETS TO AMERICA.
Pe Se EEE
HERE is a clause often embodied in agree-
ments issued by the best houses in
London in which the author—failing
to obtain the American copyright—is entitled
to half of the profits on the sale of sheets to
America. If this clause is inserted in the
usual half-profit agreement, there is little to be
said against it. The only points at issue, then,
are: (1) Is a profit-sharing agreement desir-
able? (2) In what proportion should profits
be divided between author and publisher ?
But if the clause is inserted in an agreement
where the author is to obtain a royalty on the
publication of the English edition, there are
two very strong points of objection.
The first point rests on the fact that a clause
drafted on these lines is a distinct pitfall to the
author. Itis 4 pitfall for the following reasons:
(1) because to the ordinary person the difficul-
ties with which the clause 1s pregnant are
altogether invisible ; (2) because the amount
the author receives is always calculated—see
the books of the Society on the point—on the
basis that the full cost of composition is charged
against the English edition. If this were not
the ease, the author ought to receive a higher
royalty on British sales.
254
Let us explain what we mean more fully.
Take the ordinary 6s. book :—
£8 ¢,
Cost of composition of 3,000
copies . : : 35 60, 0:0
Cost of printing of 3,000
copies . ; : - 16 0, 0
Cost of paper of 3,000 copies 58 0 0
Total - 104° 0 0
Of the 3,000 copies the publisher sends 2,000
to America and receives for the same (say) Ls.
a copy—£100. The cost of composition was
compulsory for the completion of the English
edition, the author’s royalty, as stated, being
based on this understanding; but the pub-
lisher takes two-thirds of this cost towards the
American edition as well as two-thirds of the
cost for the print and the paper, leaving to be
divided between himself and the author—
£ sg
By sale of 2,000 copies to
America : ; . 100 QO 0
Two-thirds cost of produc-
tion : 69 6 8
{30 138 4
As the cost of composition has no right to be
charged against the American edition, but only
the cost of print and paper, the difference
would work out as follows :—
£3. d.
By sale of 2,000 copies to
America : : - 100. 0: 0
Two-thirds cost of print and
paper : 49 6 8
£50 18 4
Instead, therefore, of the author receiving
£25 6s. 8d., by the publisher’s method of cal-
culation of half profits, the author receives
£15 6s. 8d. and the publisher £85 6s. 8d. It is
almost as reasonable an arrangement as the
ordinary half-profit agreement, whose clauses
and workings have so often been exposed in
The Author.
To show how this method may be worked out
in the interests of untrustworthy publishers
unfairly to the author, say the publisher in the
first instance only publishes 1,000 copies. The
cost of composition would still be £80; print-
ing, £10; paper, £20. He sells 500 copies to
Amcerice,, end on the same principle the follow-
ing sum is worked out :—
fos ad.
Half cost of production _ $0 0-0
By sale of 500 copies to
America at ls. per copy . 25 0 0
£5 0 0
THE AUTHOR.
[JUNE, 1914.
This would leave a deficit against the author’s.
account of £2 10s., as the sale to America has
failed to cover the cost of production. As
soon as the edition is sold and the amount is
worked out against the author he prints
10,000 copies for the English edition, but never
takes into account the proportion of the cost
of production of the 500 sent to America to the
10,000 printed in England. Again, supposing
you take the first instance and 20,000. were
subsequently sold, the cost of the 2,000 sold to
America is still taken in proportion to the cost
of the 3,000 of the first edition printed, and not
in proportion to the whole cost.
It will be seen, therefore, that, quite apart
from the contract being unfair, and a pitfall to
the unwary (as on the face of the agreement
the difficulty is invisible), even if it is worked
out by a publisher with an honest idea of doing
nothing dishonourable, the result of its working,
its natural evolution, becomes a fraud on the
author, as it is impossible to calculate this sale
to America on the basis of future sales. It
must always be calculated upon the sales that
have already been made. The position is
ridiculous. It is to be hoped that the Pub-
lishers’ Association will dissociate themselves
from this form of agreement.
The second objection arises from the fact
that this sale to an American house is mere
agency work. If conducted through the
medium of an author’s agent, the latter would
be highly pleased with the payment of 10 per
cent. on the net result. Not so the publisher,
although he is constantly erying out against the
agent and his charges. It is a well-known fact
—instances have often been quoted—that the
publisher, although he expresses strong dis-
approval of the intervention of the agent who
charges a modest 10 per cent., makes—when
he endeavours to undertake any of the agent’s
duties—a general charge of 50 per cent.
Further arguments against allowing a pub-
lisher to undertake an agent’s work need not
be repeated here.
——_____o—>_+_____—_-
THE FAMILY HERALD PRESS.
THVHE attention of the committee has been
LT called to a letter issued from the
‘Family Herald Press ” to one of the
members of the Society of Authors. The
letter runs as follows :—
“Dear Srr,—On the understanding that you are the
author and sole owner of the above-named story, the
Editor is prepared to pay you for the entire rights of
i
‘JUNE, 1914.]
~publication and re-publication (Home, Colonial and
International) the sum of ten shillings, the Editor to
shave the right of making any alteration he nmy deem
advisable in title, names of characters, and text.
“Should the Editor’s offer be acceptable to you, we
shall be obliged by an early intimation of the fact, so that
a remittance may be sent at the end of the month.
‘“* WintraMs, STEVENS, Lrp.”
The article for which the magnificent sum
of 10s. was offered was an article of 2,000
-words in length; therefore, the price being
‘paid was at the rate of 5s. per 1,000 words.
Now from the point of view of the worst author,
5s. per thousand words must be considered an
‘impossible price even when the purchaser
desires only the first serial use for a special
paper ; but to offer to pay 5s. per 1,000 words
for rights intended (as the form of receipt subse-
quently sent showed) to cover the copyright
‘which now includes dramatic rights, transla-
tion rights, and cinematograph rights is, from
the author’s point of view, wholly absurd.
No doubt the argument on the other side
would be that there are many papers that pay
as low as 5s. per 1,000 words. There is no
doubt that some papers do fall as low, but two
‘wrongs will never make a right. and it is
rather a shock to find an old and well-estab-
lished paper like the Family Herald pays such
prices. It is not often that so low a figure is
paid, even for the first serial use, and it is quite
the exception that the copyright is purchased
for so low a figure. It would be further urged
no doubt that the letter was a printed form,
that as amatter of fact the work proposed to be
purchased was not such as could be used either
in book form, or for dramatisation, and. that,
therefore, the author, although the contract
embraced rights of so extensive a character,
lost nothing. There is really nothing in this
second argument, the point being that it is
for the author to decide whether or not he
ares to yield these rights, even though they
are not likely to bring him in anything. There
is one good point in the letter quoted. The
author receives it before the article is published
and puts quite clearly before him what the
urchaser desires for the pittance that has
een offered. This is a thousand times better
than the case of those magazines which give
an indefinite acceptance or no acceptance at
all, then publish the story or article, and,
when it has been published, claim, by an
endorsement on the back of the cheque, all
the copyright and prevent the author from
obtaining his money until the cheque 1s signed
without alteration.
———_—_—__—_4+—-_+___—_—_
THE AUTHOR.
255
TRANSLATIONS.
See
Tue RecENT ACTION OF THE ‘‘ SocrkTE Drs
Gens DE LETTRES.”’
VERY author whose works are capable
of translation should take notice, and
immediate notice, of the recent action
of the ‘‘ Société des Gens de Lettres” respecting
translations. If any one will remark that to
say this is hardly necessary, seeing that all the
proceedings of the great French society, the
Queen of authors’ societies, are always of con-
summate importance, it shall be immediately
admitted that this is essentially true; but, at
the seme time, it is to be feared that there are
among authors, or at any rate among English
authors, very many who have not realised that
the “ Société des Gens de Lettres ” is not only
the oldest, and by far the most powerful of all
authors’ societies, but also on every occasion
the first to seize the meaning of new situations
and developments, and the quickest to per-
ceive how they can be turned to the advantage
of its members; in effect, in all cases the
leading society of all societies of the same
kind.
Before proceeding farther, it may be well to
mention, in case any reader should not be
acquainted with the methods of the “‘ Société
des Gens de Lettres,” that the society is not
only a society for protecting the rights of its —
members, but represents also a single and. most
powerful agency. Its members confide their
works to its care, publish through its inter-
mediation, and find all their business interests
most attentively watched by its officials ;
whilst it at the same time enjoys a prestige so
indisputable that any publisher or editor who
gets his name into the black books of the
society, if this expression may be used, finds
his affairs in a very awkward predicament. —
Some little time since the society turned its
particular attention to the subject of trans-
lations, and appointed a special commission
to inquire into the whole question of trans-
lations and royalties on and payments for
translations. The ‘‘ Rapport sur la Tra-
duction ” rendered to the general meeting of
the society on Sunday, March 29 last, 1s
published in the official organ of the society
(Chronique de la Société des Gens de Lettres, Mai,
1914, Paris, Cité Rougemont, No. 10), and is
well deserving of attentive perusal. A sum-
mary only of it follows here ;
ever, of importance 1s omitted ;
nothing, how-
and it will be
256
seen at once that an entirely new light has been
thrown upon the whole problem of translations
and of authors’ benefits to be derived from
translations.
Authors’ rights in translations are fixed and
protected by the Berne Convention, revised
and regulated by the Congress of Berlin.
The exercise of these rights, on the other
hand, is often qualified by arrangements and
engagements with some third party, publishers
becoming frequently, under various stipula-
tions, co-proprietors of the rights, and having
interests indissoluble from those of the authors.
(Here, in France, the position of the ** Société
des Gens de Lettres,’ as agent for its members,
naturally comes into consideration.)
Translations can be regardedin three different
aspects.
1. The translation of a work in book form
again in book form.
2. The translation in serial form (feuilleton)
in a periodical, either of a work that has
originally appeared in book form; or of one
that has appeared as a serial (feuwilleton) not
published in book form; or of tales, novels,
articles, or poems, which have appeared in
a periodical, but have not appeared in a
book.
3. The reproduction of a translation, of class
either 1 or 2, in a serial form. (In this case
there are three different stages of publication ;
the original work, its translation as first pub-
lished, a reproduction of this translation in
some other manner.)
In reality there is another possibility, not
mentioned in the society’s report. A work
appears by some well-known author ; for it is
only in the case of works by popular authors
that the complication here considered takes
place. The work is very soon published, in
book form, in a translation ; first of all almost
always either in French or German, and then,
from this translation another translation is
made. That, evidently, ought never to hap-
pen. The best of translations is never any
better than it should be—and often a great
deal worse than it should be; but a trans-
lation of a translation is an abomination for
which no excuse can be pleaded. Still the
things exist. At the present moment there is
lying before us a Roumanian translation of
Sienkiewicz’ well-known Polish novel ‘ Quo
Vadis,” with the statement shamelessly printed
on its title page “* Translated from the French.”
Such frank admissions are indeed rare, but
that in many cases what are offered as trans-
lations are merely translations of translations
is certain. The aberrations from the original
THE AUTHOR.
[JUNE, 1914.
are, in many instances, such as to leave no-
possibility of a doubt of a German inter}
mediary. Neither can there be any possibility
of a doubt that these lucubrations represent
the happy hunting ground of the literary
pirates of many tongues. There is probably
no kind of literary production in which
the producer of contraband wares is more.
active.
To return, however, to the French report.
Up to the present authors and publishers have
paid attention to translations of the first class
only, either completely ignoring the second and
the third, or, at the best, taking the second only
into consideration quite by accident.
‘In fact, generally, and excepting only in
the case of some agreements with England or
with the United States, we are accustomed
hitherto to sell our works purely and simply
for a single payment made once for all either
by translator or publisher, who afterwards
makes of these works what use he pleases.
** Meanwhile the formidable development of
the international Press tends to render more
and more profitable to the foreign purchaser
the exploitation of the complete right which
he has obtained. Having become absolute
proprietor (of the translating right) the foreigner
is able to sell and to re-sell his translation, to
publish it and to re-publish it in various forms,
in volumes of various prices, in illustrated
editions, in parts, to offer it for serial publica-
tion, to publish it in twenty different periodi-
cals, and everywhere to gather profits with
both hands, whilst neither the author nor his
co-proprietor has any suspicion of the con-
tinuously increasing profits resulting from his
having agreed to accept a single payment for
his rights.”
It appears, however, that some authors have
been a bit more prudent, and whilst ceding
rights of French translation, have reserved the
rights of French serial production. Respecting
which the report observes, ‘‘ We see no reasom
why we should not treat our fellow-authors as:
they treat us.”
For the future the ‘“ Société des Gens de
Lettres ” intends to support, with a firm
expectation of making this mode of action
triumphant, the following equitable general
theory: the French author who treats with a
foreign translator (publisher, editor of a
journal, or individual translator) will sell for a
fived sum the right to translate a work in one
form strictly defined, and will explicitly reserve
all the other rights, and in particular those which
in any way represent reproductions of the
translation.
P|
——_—_—_ ><
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258
“THE LAW OF COPYRIGHT.” *
+4
TYNHIS volume is a reprint of a series of
articles which appeared in The Bio-
scope. In the nature of things, it was
not to be expected that the author, in the
space at his disposal, could give more than the
merest outline of the law. Nevertheless, Mr.
Croasdell has succeeded in presenting a fairly
concise summary of the main features of the
Copyright Act of 1911, and has added a
certain amount of information respecting
international copyright.
We gather that the articles which go to
make up the work were written, in the main,
for the guidance of those interested in the
cinematograph industry, and, no doubt, some-
thing may be said in favour of a short treatise,
such as the one before us, which presents the
main features of the Copyright Law as amended
by Parliament.
There is, however, as we have pointed out
on previous occasions, great danger in con-
sulting works which seek to explain so complex
a subject as copyright in the limited space
which Mr. Croasdell allows himself. We are
glad, therefore, to observe that it is to be
followed by a larger work on the same subject.
Mr. Croasdell, referring to the question of
titles remarks :—
Copyright exists in the title of a book if such title is a
new and original literary composition, for the title is part
of the book, and is as much the subject of copyright as the
book itself. Although a book may have been out of print
several years, still the copyright may exist, and another
person is not justified in adopting the title so long as the
copyright continues.
This statement of the law is very misleading.
Practically speaking, there is no copyright in a
title, though there may be a certain property
acquired by user. A general statement such
as the one we have quoted is sure to mislead
rather than to enlighten the layman.
No doubt in the larger work which has been
promised Mr. Croasdell will amplify what he
has said on this subject, but it is precisely
because such amplification is necessary, that
we feel the dangers incidental to any attempt
to explain the law in the small compass chosen
by the author. bite
In the chapter on Copyright Abroad, Mr.
Croasdell speaks of Holland and the United
States of America, among other countries, as
being outside the Berlin Convention, In
regard to the former, the statement is in-
_* “The Law of Copyright,” by W. Carlyle Croasdell,
Barrister-at-Law. London: Ganes, Ltd. 85, Shaftesbury
Avenue, W. ,
THE AUTHOR.
‘JUNE, 1914.
accurate—Holland joined the Convention in
November, 1912. In regard to the United
States of America, the statement is inadequate,
for while it is true that America is not a party
to the Convention, copyright protection may
be obtained in that country, and this should
have been explained.
——— ¢ —~<—
THE TRADE OF AN AUTHOR.*
oe
\7 OT the least interesting of Mr. Hope
ae Moncrieff’s ‘* Reflections and_ Recol-
lections,”” is the Introduction, where
we get the personal note, rather lacking in the
rest of the volume. This is the more welcome,
as this ‘‘ author of sorts,’? as Mr. Moncrieff
modestly styles himself, has always been a
determined opponent of publicity. Indeed,
we would prefer more recollections and less
reflections.
The earlier chapters, which deal with a general
history of authorship, the making of the author,
his genesis and development, show traces of
wide reading and a remarkable insight into the
varied conditions of the literary ‘ife.
The author’s genial personality is constantly
reflected in the autobiographical portion of the
book and in his tolerant and good-humoured
reference to the eccentricities and shortcomings
of certain well-known authors—a_ pleasing
contrast to the mordant and cynical comments
on contemporary writers in several popular
books of reminiscences recently published.
The book is not over-laden with anecdotes
and good stories, but the few that are given are
new and full of point. There is one of a cele-
brated author who had had an unsatisfactory
interview with two of the partners in a well-
known New York firm of publishers. He had
left them in high dudgeon, but before he had
reached the corner of the block, he was accosted
by a stranger who told him that he had seen
the wrong man—that he had interviewed the
literary partner and the financial member of
the firm. ‘* You should have come to me first ;
Tam the drinking partner!” Ultimately they
both came to an harmonious understanding.
Under the well-known pseudonym, Ascott R.
Hope, the author has a high reputation as a
writer of sound and wholesome stories of
school life and adventure for boys, and with
the late George Henty he stood at the top of
the tree in this kind of fiction.
* “ A Book about Authors: Reflections and Recollec-
tions of a Bookwright.” By A. R. Hope Monerieff. 10s. net.
A. & C. Black. 1914.
JUNE, 1914.]
His stories of school -life, which” show a
remarkable insight into boy nature, though
well known and popular, have not, however,
attained such success as they deserve. But the
writer is, no doubt, handicapped through con-
fining himself almost exclusively to studies of
life at grammar schools and what are known as
private schools, and ignoring the more popular
field offered by the public schools and those
public schools in miniature—the preparatory
schools. Then too, Ascott R. Hope’s
school-boy rather lacks modernity, especially
as regards school-boy slang—his boys, indeed,
talk too correctly. Perhaps this accounts for
the fact that, though many of his books have
reached several editions, he cannot claim one
great out-standing success like his rivals,
Desmond Coke or Ian Hay.
In an instructive chapter on publishers, the
unbusinesslike methods of some firms is
humorously indicated by the following epi-
sode. A publisher, “ who long somehow
escaped bankruptcy,” happened to be travel-
ling by the same train as our author. ‘* Guess-
ing that the likes of him would travel first, I
took a third-class ticket, and walked slowly
along the train. Sure enough, he sat in state,
where he graciously invited me to join him.
‘No,’ said I, * You can travel first-class ; I pay
my debts.’ ”
In the course of some good-humoured
strictures on editors and their ways, in con-
nection with one who wanted to commission
him to write a school history of Europe, which
should make no mention of the Reformation,
he tells an anecdote of Leo XIII.. which is new
to us. He had given a celebrated historian
access to the archives in the Vatican Library,
but impressed upon him that he need not feel
restricted in the use he made of them, and
added slily, ‘‘ There are some good people who
would like to edit the Scriptures, cutting out
the story of Peter and the cock, for instance,
lest it should bring discredit on the Holy See)”
The author holds rather pessimistic views
of present-day literary criticism. The Early
Victorian sledge-hammer methods of censure
have had their day, and are apt to be replaced
either by indiscriminate eulogy or tame and
colourless criticism. With books, as with the
stage, the public is more and more inclined to
be its own critic, and our author asks with
reason, Is the plebiscite of the readers a better
guide than its professed counsellors ? Who
shall say ? :
On the question of press criticism, Mr. Mon-
crieff is uncompromisingly severe. To prove
the contradictory character of reviews he
THER AUTHOR. 259
devotes a page to a selection of favourable and
unfavourable criticisms of the same book. But
this method of the “‘ deadly parallel,” to show
the futility of press criticism, is, however, mis-
leading. It assumes that the exaggeratcd
encomiums of the Mudford Mercury are of
«qual value to the author and publisher as the
few lines of guarded approval in the Times or
Atheneum.
Among Mr. Moncrieff’s excursions in. the
various ficlds of literary enterprise, perhaps his
most notable success has been in topography.
A marked feature of his guide-books and topo-
graphical works is their literary distinction—a
feature which frees them from the reproach of
not being literature—from which this class of
book usually suffers.
In ‘“ London” for instance, the following
illumining speculation on London in posse is
worth quoting as a vivid piece of word-
painting :—
“Are there children now elive whose
bleared eyes may see London shrunk to its old
bounds, perhaps huddled on some choice site
like the heights of Highgate and Hampstead—
which, according to Mother Shipton’s prophecy
shoald become its centre—when for leagues, as
about the walls of Delhi or Pekin, the open
country will be dotted with ruined temples and
towers, round the broken dome on Ludgate
Hill, standing up in solitary state like the
Kutub Minar? Can it ever come to lie
squalidly deserted for a new city, rebuilt by
some conqueror, as at Bokhara and Samarcand?
Are there generations yet unborn to whom this
capital will be a show, like ~ hundred-gated
Thebes,’ a quarry of antiquities like Nineveh,
or Knossos, a mystery like the Cambodian
Angkhor, or the Bolivian Tiahuanaco, an over-
grown wilderness like the buried ruins of
Yucatan ? ”
Probably the most enduring of Mr. Mon-
crieff’s works is that by which he is least known
to English readers. This is a monumental
geographical work of reference in six volumes,
called ‘‘ The World of To-day,’’ which gives a
popular survey of the present-day geographical,
historical, political, social and economic con-
ditions of all the countries of the world. In-
deed, the author of this colossal compendium
of geography might almost be described as a
twentieth century Reclus.
The book ends with a note of encouragement
to his fellow-craftsmen, and an impressive and
dignified Vale to the reader. ‘‘ On coming to
add up my account, I find a balance on the
right side. I have lived my life; I a
spoken my mind; I have done what I could,
‘260
in a world where at the best we are all but un-
profitable servants.”
“By diligently plying the pen rather than
the sword or the plough, one may have more
surely helped to turn the wilderness of life into
a garden. If one have taken pains not to let
one’s tool go rusty; if one have never prosti-
tuted it to base uses; if one have cared to be
an honest hireling in this day’s work; if one
be aware of having given pleasure to some, of
having sought to work harm to none, these are
the things that should not make death terrible
to an author who, like the silent many, must
look to be forgotten ; yet what good or ill he
could do for his generation will not die in the
lives of men.”
KH. A. R. B.
BOOK-PRICES CURRENT.*
to
ry NUE first three numbers of the new volume
of Book-Prices Current are lying before
us, numbers as full as ever of interesting
matter, presenting once more the insoluble
problem of how any notice is to do justice to a
publication of this kind. The modern reader
of the notice of a book expects from the
reviewer something more than an honest state-
ment of how the work which the volume con-
tains has been done; the reader wishes to
know something about the book, something
which will enable him to talk about it—without
having read it; and how is any reviewer to
enable a man to do that when the very essence
and merit of the work lying before him is that
it consists of hundreds of minutely accurate
notes of various volumes, the excellence of the
work and its interest being wholly in the
minuteness of its details? Indeed, we will
freely admit that our custom of selecting a few
items for note, which we shall again do pre-
sently, is really indefensible. In almost every
vase not the books which anyone may happen
to select, but very many others, are just those
whose mention would be interesting to a reader
of the periodical. All the books in the world
cannot have a meaning for any one individual,
any more than all the words in the world can
have a meaning for him. Each real lover of
books will be interested in his own specialities,
and not at all interested in anything else ; for
which reason the book-lover ought to read
Book-Prices Current for himself; and will in
* “Book-Prices Current.’
Volume XXVIII, Nos. 1
2,3. London: Elliot Stock,
1914, :
THER AUTHOR.
[JUNE, 1914.
all cases find his pains well rewarded by
information that he will not be able to gather
anywhere else. We have said this more than
once; and still fear that the periodical does
not find its place even in the libraries of all
public institutions, nor even in the libraries of
all literary institutions ; though it is certain
that no public library ought to be without it.
Since the beginning of the new volume a new
arrangement of the contents has been adopted.
The books are no longer catalogued under the
headings of the different sales; but each
number displays all the books mentioned in it
in one alphabetical arrangement. A good deal
is to be said for this. Any single book is more
easily found, and different copies of the same
book come into juxtaposition. The last par-
ticular is a distinct advantage. The whole is
also more easily used as a book of reference—
or at least the whole of each single number.
What form the index which ends the number
concluding the year is to take we cannot tell
until that number reaches our hands.
Still, on the whole, we think that it must be
granted that the new arrangement is more
convenient for ordinary purposes ; though we
must confess to a regret at the loss of the
distinctly picturesque presentment of the
several libraries grouped one by one. Some-
thing there was of interest, not altogether
purely sentimental, and in some ways very
real, in the perspective, if the term may be used,
of the different collections of books ; perhaps
because the tastes of the collector peeped out
from among them ; perhaps because the books
themselves, that had sometimes been so long
together, had the appearance of a grave
symposium which the auctioneer’s hammer
was, alas, to scatter, so that they could never
come together again. The breaking up of a
library is the undoing of a thing that had
organic life for the brain that created it. So
whilst we admit again, we admit it with the
Oriental proverb, ‘“‘ There is no advantage
without a disadvantage.”
Our own task of selecting a few volumes for
mention—which we have already admitted
cannot be defended—has also become more
difficult. It is no longer possible to say,
‘“* Look at the sale of this library or that for
books of such and such kinds.’”? The books
have succumbed to the tyranny of the alpha-
bet. And so there is all the more reason why
the book-lover should read Book-Prices Current
for himself. He, indeed, will find his favourite
authors more easily than before; so be it
hoped that he may be the more disposed to
read,
laa
ib.
if
JUNE, 1914.)
: Among the greatest rarities are the follow-
ing :—
Byron, ‘ English
Reviewers,” fifth edition, original boards,
uneut. The only copy known. The edition
was suppressed by Lord Byron, and every copy
ordered to be burnt before publication. The
title page, preface, and postscript found in this
copy are not found in the two or three copies
of the fifth edition with a fourth edition title
page. It seems surprising that the work
should not have fetched more than £12.
A first folio of Shakespeare—last two pages
of ‘‘ Cymbeline ” in facsimile—probably unique
in having the “ Tragedy of Troilus and Cres-
sida’ regularly and correctly paged through-
out. This was sold in one lot with three other
folio Shakespeares—1632, 1664, and 1685
respectively—for £1,200.
Richardson. A collection of the first edition
of his works. ‘‘ Pamela,” 1741—42; “‘ Cla-
rissa,” 1748; ‘‘ Grandison,”’ 1754, and ‘“‘ The
Correspondence of S. Richardson,” by A. L.
Barbould, 1804. The twenty-four volumes
fetched £96.
Records of sales of various works of
Thackeray’s are numerous. Amongst them
will attract particular interest—
Thackeray, Autograph MS. of Lecture on
Jonathan Swift, twenty-one pages written by
Thackeray, and thirty-two by his daughter,
Anne Thackeray Ritchie, with numerous cor-
rections by Thackeray. $1,700.
Still more interesting is the only known copy
of “The Whitey-Brown Paper Magazine ” by
Thackeray, lithographed. The mention of
this strange periodical is accompanied by an
explanatory note. $23,000.
Books certainly have their fashions as well
as their fates; and it is curious to place the
following two sales side by side. :
E. Fitzgerald, “‘ Omar Khayyam,” second
edition in original wrapper. 1868. £12 10s.
Sophocles, “* Edito Princeps,’’ Venice, Aldus,
1502. £11.
From which it would be easy to deduce—
well, too many different things to be set down
here. ‘
Mark T'wain’s autograph MS. of “A Yankee
at the Court of King Arthur,” 1889, sold for
£100. :
Meredith, ‘‘ Diana of the Crossways,” first
edition, 3 vols., cloth, 1885, sold for £2 6s., and
those who have in their libraries copies of the
old three-volume novels, which Mudie no
longer circulates, may easily possess works
that are worth money. :
her work of Meredith’s
Bards and _ Scotch
THE AUTHOR.
26r
may be quoted, as evidence that when authors
present their works to friends they should
write their names in them. It makes a good
deal of difference in the money value of the
present. Meredith, “The Shaving of Shag-
pat,” first edition, 1886, with author's inserip=
tion, £19; although the original cloth binding-
was cracked and the half-title torn. a
ee i —2-+ + © ia ———__
CORRESPONDENCE.
—+—<—+
MacazZInE Payments.
Dear Sir,—I was very much pleased to see
in last month’s Author, under the above title,
an exposition of the effrontery manifested by
some unprincipled ‘‘ MSS. snatchers.” The
writer leads us to suppose that these literary
ghouls occupied chairs of distinction; this, of
course, is an all-important consideration.
Presuming this to be the case, I feel sure that a
strongly-worded letter to the owners of the
publication would have received attention
and ultimately brought forth a statement
to the effect, “* We regret that your contribu-
tion entitled -—— published in our
issue was erroneously underpaid, through a
clerical error, and we have much pleasure in
enclosing cheque value £—— to cover the
deficiency. Regretting the error, ete.”
Another case that I recall with great readiness
was that of a very respectable 6d. monthly
(not an English publication) that underpaid
me by several shillings; the editor, upon
having his attention drawn to the deficiency
(not by the proprietors, however), promised to
add the amount on to the next cheque. Six
“next cheques’ have come and gone since:
then, but no increase has been apparent.
The editorial memory is exceedingly defective:
upon such issues, and I have not the slightest
doubt that the incident has long ago passed into
the sub-conscious portion of it. If the cditor
should see this letter, doubtless he will gladly
add the amount to the neat cheque.
Jpon still another oceasion a very experl-
enced friend of mine (an old editor) told me
that he found the best plan was to return the
cheque with a covering note politely intimating
that the amount 1s insufficient. This pe
apparently causes the editor to be stung . i :
he hastens to write
out a fresh cheque.
f ‘ ass of editor I forbear to
oubtful whether I could
with the aid of any
Of the other cl
speak, indeed, it 1s d
really do them justice,
262
printable words. These creatures trade upon
the credulity of the inexperienced author,
and are usually so bad that in many cases they
reap their own reward, or at least the two very
worst cases that came within my ken did.
One rapscallion to whom I had sold some
“ stuff’? arranged to pay for it on the instalment
plan, which he did until he reached the third
or fourth instalment (I forget which). He
then heard rumours of absence in a far country,
and promptly ceased to continue the pay-
ments; no doubt he thought I had left the
country for good, and, that, even if he did
send it on, I should not be able to spend it.
However, a little later the secretary of the
Society relieved him of any doubts he may
have entertained, by requesting him to send
the rest of the monies to the secretarial depart-
ment. This so scared him that he sent the
remainder toute « coup.
Haroup Ucrus.
— <4
REAL EDITIONS.
‘
Srr,—On the question of “editions” as
against a statement of the number of copies
of a book issued, your correspondent may be
interested in the letter of Jared Sparks printed
in ‘George Palmer Putnam, a Memoir,”
published by G. P. Putnam’s Sons, 1912, pp. 55
and 56. The writer says ‘ Prescott and
Bancroft publish what are called ‘ editions,’
500 each. They think there is some advantage
in it, although where there are stereotype
plates, one can hardly see the propriety of
calling each impression a new edition.”
Earlier in the letter he had given figures with
regard to Washington’s writings.
Yours faithfully,
E. A. ARMSTRONG.
— ++
A QUESTION AS TO PAPER.
DrEar Sir,—A work of mine—published
about a year ago—is printed on very thick,
soft paper, which seems to me likely to be the
sort that does not last. The paged proofs
were printed on thin paper, which, apparently,
is of much better quality. Bound up they
make a book little more than half the bulk
of those issued to the public; but I care
nothing for bulk if the work is not to be lasting.
Would some reader kindly tell me how I may
know good, that is durable, paper from bad,
THE AUTHOR.
{JUNE, 1914.
and what would, approximately, be the differ-
ence in cost between the one and the other.
The book in question is demy 8vo and
consists of 360 pages.
Cuaries F. Moxon.
Sea peelings
U.S.A. Puay Piracy.
Dear Sir,—My attention has just been
drawn to a paragraph in the May number of
The Author referring to the piracy in New York
of ‘“‘ La Petite Fille,’ under the title of “A
Pair of White Gloves.”
I shall be obliged by your publishing an
immediate contradiction of the statement con-
tained in this paragraph, to the effect that I
prevented the authors, or the Société des
Auteurs Dramatiques from benefiting from
the unauthorised production at the Princess’s
Theatre. The production was stopped at the
instance of the Société des Auteurs Drama-
tiques, acting for the authors, and the option
I hold was only concerned so far as to make my
consent to their action necessary.
I am not, and have never been, a ‘‘ dramatic
agent,” and am surprised that the editor of
The Author should pass a paragraph oppro-
briously mentioning a member of the Society
of Authors without first submitting the con-
tents to him. I have repeatedly tried to learn
the particulars of the production of the play
and the result of the French society’s action
from the secretary of the Society of Authors,
but so far without the slightest result.
Your obedient servant,
Joun PoLiock.
[We gladly publish this letter, though we
cannot admit that any opprobrious mention
was made of the writer in the paragraph
referred to, which was quoted from the United
States Publisher's Weekly.]|
a
NovELISTS AND THE HosprraLs.
Dear Sir,—Has it ever been suggested
before that it would be a good plan if novelists
and publishers sent proofs of novels to the
fever hospitals for the amusement of patients
and nurses? There are stages in illness when
fiction is a good tonic and the last stage for
these infectious sheets would, of course, be
the fire. I see no harm that could come from
this suggestion, if novelists will take it, and
the corrections on the proofs would only
add to the amusement and interest.
Yours faithfully,
A NOVELIST.
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The Author, Vol. 24 Issue 09 (June 1914)
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<em>The Author</em>, Vol. 24 Issue 09 (June 1914)
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1914-06-02-The-Author-24-9
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The Author
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A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
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1914-07-01
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The Huthbor.
Notices... S a ee is ne ae ar 268
The Pension Fund
Council Meetings
Committee Notes aa ese
Books published by Members ‘ he
Literary, Dramatic and Musical Notes ...
Paris Notes
The Criticism of Fiction
Magazine Contents
Warnings to the Producers of Books
Warnings to Dramatic Authors... ae i
Registration of Scenarios and Original Plays
(The Organ of the Incorporated Society of Authors, Playwrights and Composers. Monthly.)
Vou. XXIV.—No. 10. vay : oe
CONTENTS.
PAGE |
os x Dramatic Authors and Agents
The Society's Funds . | Warnings to Musical Gore covers 553
cs Stamping Music ‘ Bee ie
The Reading Branch .
Remittances as
x Collection Bureau :
General Notes ... se oe ee ues ee ae Be
The Last of the Pre -Raphaclites, Theodore Watts-
Dunton, 1832—1914 Pees oe ee ook ae Bs
United States Notes
Are Novels Too Cheap ?
j Matilde Serao ... og ae se
| Memories of My Youth, 1844—1865
| J. M. Synge oe oe ao
| Correspondence
Chappell v. Columbia Gramophone Co.
The Sixteenth Congres International de Presse
How to Use the Society
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Cathol $< q pas Antiquary.—“ Mr. Hannah's pages well repay the reading,”
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a eo, | te Eeolution of the Ome”
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1 THE DUKE OF SOMERSET (as Chair-
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The Cor ex Laudianus ([ Wordsworth’s man of the British Olympic Council) a striking
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Lat. 108 in the Bodleian Library at Oxford. Now Just Ready. Illustrated.
first Edited with 4 Collotype Facsimiles. Bori.
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he Mall Gazette. — Will not be put down until the ends Daily Express.—< We recommend it heartily.”
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SEND FOR COMPLETE LIST,
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PRESIDENT.
THOMAS PLA DY. © a:
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ROBERT BATEMAN,
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ROBERT BRIDGES.
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CLERE, P.C,
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Mr. FORBES DAWSON
(Member of the Incorporated Society of Authors)
An Actor of over 25 years experience
in every class of theatre, character
| and play, a producer and author of
| Plays acted in England and America,
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HH: the opinions expressed in papers that
: are signed or initialled the authors alone
are responsible. None of the papers or
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opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
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publishers concerned can obtain them on
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than the 21st of each month. 8.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou XXIV.
JULY, 1914.]
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I. :
Jan. 16, Cooke, Arthur O.
Jan. 23, Exley, Miss M. :
Jan. 26, Sarawak, The Ranee of
Mar. 11, Dowson, Oscar F.
April 8, Stoeving, Paul
April 14, Buckle, Gerard, F.
April 14, Grattan, Harry
April 17, Rubenstein, H. F. .
April 20, Anon. . : : :
April 25, Stacpoole, Mrs. de Vere .
May 1, Miigge, Maximilian A.
May 7, Davies, Miss Mary
May 8, Simon, Andre L.
May 8, Deutsch, H. . :
May 9, Campbell, Miss E. Hope
May 12, Lardner, E. G. D.
May 29, Beesley, George J. .
19138. Donations.
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold :
Oct. 30, Rosman, Miss Alice Grant
Nov.
Nov.
Nov.
Nov.
Nov.
Dec.
Dec.
Dec.
Dec.
8, Holland, Theodore
8, Steane, Bruce ;:
3, Batty, Mrs. Braithwaite
10, Elrington, Miss Helen
10, Waterbury, Mrs. . 3
5, Dymock, R. G. Vaughton .
6, Macdonald, Miss Julia
11, Little, Mrs. Archibald
11, Topham, Miss Ann .
Dec. 20, Edwards, Percy J. -
Dec. 21, Keating, J. Lloyd
1914.
Jan. 8, Church, Sir Arthur
Jan. 5, Anon : .
Jan. 5, Joseph, L. y
Jan. 5, Swan, Miss Myra
Jan. 5, Vernede, R. E. ae
Jan. 6, De Crespigny, Mrs. Champion
Jan. 6, Rankin, Miss F. M. . p
Jan. 7, Sneyd-Kynnesley, E. M.
Jan. 7, Lathbury, Miss Eva .
Jan. 7, Toplis, Miss Grace
Jan. 8, Palmer, G. Molyneaux
Jan. 9, Mackenzie, Miss J.
Jan. 10, Daniell, Mrs. E. H..
Jan. 12, Avery, Harold
Jan. 12, Douglas, Mrs. F. A.
Jan. 15, Pullein, Miss Catherine
Jan. 15, Thomas, Mrs. Fanny
Jan. 16, James, Mrs. Romane
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THE AUTHOR.
Jan.
Jan.
Jan.
Jan.
Jan.
19, P. H. and M. K.
19, Greenstreet, W. J. .
19, Gibbs, F. Leonard A. :
23, Campbell, Mrs. L. A. R. .
23, Cameron, Mrs. Charlotte,
F.R.GS. . :
28, Blunt, Reginald i
24, Raphael, Mrs. Mary.
25, Plouman, Miss Mary
30, Gibson, Miss L. S. .
5, Brooker, Lt.-Col. E. P.
6, Buchrose, J. E.
7, Smith, Herbert W.
20, Eden Guy : :
21, Mayne, Miss Ethel
bourn :
21K. : s
25, Aspinall, Algernon
2, Dalziell, J.
2 SFG, . ‘
5, Saies, Mrs. F. H. :
5, Thorne, Mrs. Isabel .
5, Haviland, Miss M. D.
5, Todd, Miss Margaret,
13, Cabourn, John ;
Mar. 20, Fenwick Miss S. F.. :
Mar. 26, Prendergast, Mrs. J. W. .
May 6, Ward, W. J. . ; :
May 7, Crosse, Gordon. : :
May 8, Williamson, Cc. N. and Mrs.
C. N. j ; ; ; '
May 21, Colebroke, Miss H. E.
May 21, Munro, Neil . :
May 21, O'Higgins, Harvey
May 25, Broadbent, D. R.
May 27, Hallam, F. V.
June 6, Blake, Miss Agnes
June 6, Peacock, Mrs. F. M.
June 9, Schleussner, Miss Ellie.
June 10, Jones, Miss Mary Whit-
more : :
June 17, Muir Ward
SCOSOKH
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Jan.
Jan.
Jan.
Feb.
Feb.
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Feb.
Feb.
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—_—____+—> + ______
COUNCIL MEETINGS.
oe
T the suggestion of the Composers’
A Committee the Committee of Manage-
ment decided to change the name of the
Society from the Society of Authors (Incor-
porated) to the Incorporated Society of Authors,
iohts and Composers. :
Pe eraingly) onder the clauses of the Com-
panies Acts, an extraordinary general mecting
266
of the company was held on May 4, 1914,
when the following resolution was passed :—
“That the name of the company be changed
to the Incorporated Socicty of Authors, Play-
wrights and Composers.”
The second mecting necessary to confirm this
resolution was held on Monday, May 25, when
the resolution passed at the previous mecting
was duly confirmed.
—————__+—~<+>__
COMMITTEE NOTES.
— 1 —
WING to the fact that the first Monday in
June fell on Whit Monday, the June
meeting of the committee was held on
Monday, May 25, at the Society’s offices.
Twenty-five members and associates were
elected, bringing the total elections for the
current year up to the satisfactory figure of 195.
Three further resignations had to be added to
the list, bringing the total resignations up to
seventy-two.
The solicitor then put before the committee
the cases he had dealt with during the month.
In three cases, two against a magazine and a
third for non-payment of theatrical dues, the
solicitor reported that the matters had been
settled by the payment of the debt and costs.
A dispute arising out of non-publication of a
book had now been satisfactorily settled, as
under an order of. the Court the book had been
published and the costs paid. In a case of
dispute between one of the members and a
cinematograph reproducer, the matter had
been settled as far as England was concerned ;
but, as the company’s main business was in
France, the solicitor had made a full statement
which had been forwarded to the lawyer of
the Society in Paris with instructions to take
action if necessary. A question of alleged
infringement of dramatic copyright had been
settled, as the party against whom the com-
plaint was made was able to show that the
member’s rights had not really been tampered
with. The solicitor gave his report in a case
of dispute between a member and a publisher,
and the committee instructed the secretary to
send a statement of the conclusion arrived at
to the publisher and to the member.
The next point arose out of a question raised
by one of the members as to the acceptance or
non-acceptance of articles sent to reviews.
The solicitor gave his legal opinion, confirming
the view already expressed by the secretary,
and the secretary was instructed to write to
THE AUTHOR.
[JULY, 1914.
the member concerned indicating the line the
committee were willing to adopt in the matter.
The secretary then reported certain cases he
had been dealing with during the month. A
question relating to copyright infringement in
Canada was adjourned for further information.
The secretary reported that immediate action
had been taken, with the sanction of the chair—
man, in a case arising in the United States
under a dramatic contract. The authority
given by the chairman was confirmed. In
another case of dispute between one of the
members of the Society, which was in the hands.
of the member’s own solicitor, the solicitor
appeared before the committee and explained
the circumstances. The committee indicated
the lines along which, in their view, a possible
settlement might be negotiated. In a case of
infringement in Denmark, which depended:
upon the intricacies of international law, it
was decided to obtain the opinion of the
Society’s Danish lawyer.
In a dispute respecting a dramatic contract
it was decided to adjourn the matter for
further information.
It was decided to take up on behalf of the,
member a claim in connection with the pay-
ment of mechanical instrument fees. It was.
decided to request the solicitors of the Society
to make inquiries of a cinematograph firm
respecting the rights of one of the members.
The committee decided to investigate the
accounts of a company engaged in the market--
ing of a film of one of the members.
The secretary then laid before the com-
mittee a letter received from the Kinemato-
graph Educational Association, in which the
committee were asked to nominate a repre-
sentative to serve on the council of that body.
Mr. Bernard Shaw was appointed to represent
the Society of Authors, and the committee.
instructed the secretary to communicate
accordingly with the chairman of the associa-
tion.
Owing to the enormous increase of cinemato-
graph representations, and the importance of.
this new industry to members of the Society,
whether dramatic authors, novelists or other
writers, at the suggestion of the Dramatic.
Sub-Committee the Committee of Management .
agreed to the formation of a separate sub-
committee to deal with cinematograph matters.
It was agreed to invite the Dramatic Sub-
Committee to nominate candidates for the
consideration of the Committec of Management.
The difficulties which had arisen owing to.
the present situation in Canada in regard to
imperial copyright were mentioned by the
JULY, 1914.]
ssecretary, and it was decided to obtain a
memorandum from counsel setting out, in
detail, the present difficulties and a possible
remedy, which memorandum was to be placed
in the hands of influential parties in Canada to
‘use when occasion should arise.
The question of foreign lawyers appointed
by the Society to hold powers of attorney was
adjourned.
An important matter dealing with the forms
of receipts and endorsements on cheques
raised by members of the Society, in regard to
contributions to a well-known weekly journal,
was considered. It was understood that the
-editor would be ready to consider any reason-
able form suggested by the committee, and the
secretary was instructed to refer the matter
to the Society’s solicitors in order that such a
form might be drafted.
A letter from the secretary of a well-known
publishing house was laid before the com-
mittee, and the secretary of the Society was
instructed to make an appointment to see the
secretary of the publishing house to discuss
matters between that house and the Society.
A letter from the National Union of Book-
binders was laid before the committee, and the
‘secretary was instructed to reply. In a matter
referring to the advertisements in The Author,
it was decided to instruct the Society’s lawyers.
a
Dramatic SuB-COMMITTEE.
Tur June mecting of the Dramatic Sub-
Committee—the last before the vacation—
was held on the 19th at the offices of the
Society, at three o’clock in the afternoon.
‘The minutes of the previous meeting were
read and signed. The question of agents,
which came up again for discussion, was
adjourned again till the autumn, and the
‘question of the special agency contract was
also adjourned, as the sub-committee was
unable to get through the clauses before the
end of the meeting. The secretary also made
a report in regard to American agents generally.
The nomination of candidates to serve on the.
Cinematograph Sub-Committee had been left
by the Committee of Management to the
Dramatic Sub-Committee, and that body agreed
upon a list of possible members. This list will
be submitted to the Committee of Management
in due course. oS :
The question of establishing a special
fighting fund for the fighting of dramatic cases
was, owing to the absence of members of the
THE AUTHOR.
267
sub-committee specially interested, adjourned
till the autumn.
The secretary then laid before the sub-com-
mittee facts referring to the collection of fees
due on an English play produced in Paris,
and the question of the power of attorney
which the Société des Auteurs et Compositeurs
Dramatiques had asked the member to sign
before consenting to pay over the amount
collected. The secretary pointed out that
there were certain circumstances which made
it impossible for the member to sign the power,
and that the French society had refused to pay
over the money due until the power was signed.
The matter was referred to the Committee of
Management with the suggestion that an
official letter should be written to the Société
des Auteurs et Compositeurs Dramatiques.
The present position of the Managerial
Treaty was considered, and certain steps were
decided upon in order to try and get the matter
through by the autumn. The secretary was
instructed to report to the next meeting. The
consideration of a play production contract
was also adjourned.
The secretary reported the following cases :
(1) A case of copyright infringement in
Canada. He was instructed to obtain the
fullest information from the Canadian lawyers,
so that, if possible, action should be taken to
stop the general infringement which was
proceeding throughout the Dominion : (2) and
(3) cases of collection of fees which were over-
due. The sub-committee confirmed the sanc-
tion of the chairman which had been giver
during the past month. The chairman was
then granted full powers to act during the
vacation on behalf of the committee in cases
of urgent necessity.
1
Composers’ SUB-COMMITTEE.
Tur June meeting of the Composers’
Sub-Committee took place at the Society’s
office on Saturday, June 6. After the minutes
of the previous meeting had, been read the
seeretary drew the sub-committee’s attention
to a paragraph that had appeared in one of
the American papers dealing with a combina-
tion which had been formed in America for
the purpose of obtaining satisfactory payment
to composers from performing rights. He
further drew the attention of the sub-committee
to the prospectus of the Performing Rights
Socicty, Ltd., which had been sent to various
members of the Society of Authors, The
268
details of the document were very carefully
considered and discussed as, also, a letter
which had been received by some members
of the Society from a publishing firm referring
to the same company. In addition to many
minor points, the chief objection to the new
society was that the composer placed himself
entirely in the society’s hands as to the people
with whom contracts should be made for per-
forming rights, and the amounts to be paid
for these rights. Finally, there was no clear
statement as to the charge that would be made
for collection of the fees. After careful
consideration a course to be taken by the
sub-committee to warn composers was agreed
upon.
Correspondence which had taken place
between the secretary and a member of a big
publishing firm in regard to some important
points of contract was then read.
The next question that arose had reference
to accounts.
The secretary reported that in a case where
a publisher had been sharing mechanical
instrument fees with a composer, the publisher
had deducted the commission charged by his
agents for collection. This deduction the
member had repudiated and the committee
were taking action. It was decided also,
where on the collection of fees indefinite charges
were made for such collection, to investigate
any accounts that should be rendered, so that
the method of collection might be fully
established for the benefit of composers.
In another case of accounts which came
before the sub-committee, it was decided to
recommend the Committee of Management to
authorise an accountant to investigate the
firm’s books. :
In a question arising from the use of words
for songs, the sub-committee approved the
action of the secretary acting on behalf of
the authors concerned.
The secretary then drew the attention of
the sub-committee to the increase in royalties
under clause 19 of the Act, on and after
July 1, 1914, and warned composers of some
of the difficulties that might arise in this
connection.
The attention of the sub-committee was
drawn also to a case which had been in the
Courts, viz., Chappell v. Columbia Gramo-
phone Co., a report of which appears else-
where in The Author.
He also reported that the Society’s name
had now been definitely changed, at the
suggestion of the Composers’ Sub-Committee,
to the Incorporated Society of Authors,
THE AUTHOR.
(JULY, 1914.
Playwrights and Composers, and that the
new name would appear on all printed matter
from the Society in future.
—___—-op-o~e
Cases.
—
Durine the past month the secretary has
dealt with the average number of cases. They
can be catalogued as follows :—
Return of MSS. : :
Money and accounts ; :
Money . : :
Settlement of contract
Accounts : : : :
Of the seven claims for the return of MSS.
three have been successful. One of the
remaining four is in the United States, and
therefore will take some further time, and of
the three others two have only recently come
to the office and the last one is in course of
negotiation.
Of the five claims for money and accounts,
three have been successfully settled and the
money has been handed over to the members.
One of the two that are left is in France and
the other only came into the office just before
going to press.
Of the two claims for money, one has been
successful and the other has had to be placed
into the hands of the Society’s solicitors. This
latter course has also had to be adopted with
regard to the settlement of contract. The
claim for accounts has only recently come in.
There are eight cases still remaining over
from last month and of these only two are in
Great Britain and they are both for the return
of MSS. It is impossible to say whether they
will be successfully settled, because, as has
been pointed out in the case of lost MSS.,
the evidence is often deficient. It is not only
necessary to prove that the MSS. came into
the hands of responsible parties in the office,
but also that these parties have dealt with
them negligently.
There remain six cases; three of these are in
the United States, two being for infringements
of copyright and one for the settlement of a
contract ; two are in South Africa, one a claim
of money and another a question of accounts.
The last case is a question of money and lies.
in France. All the other cases have been closed
up satisfactorily or handed over to the solicitors.
of the Society whose report will appear in &
later number of The Author.
et pet BO OY
JULY, 1914.}
THE AUTHOR.
June Elections.
Allhusen, Mrs. W. H. .
Aston, Colonel = Sir
George, K.C.B.
Avery, Miss Anne 4
Beesley, George G. :
Blake, Mrs. R. . :
Briggs, William, LL.D.,
D.C.L., M.A., B.Sc.
Cockran, Miss B. A.
Bruen.
East, Mrs.
. Clayton.
Edghill, Mary. A
George
Flemming, Leonard .
‘Hallam, Frank Vincent
(“ Charles Hessel-
ton ’’)
Jones, Mary Whitmore
iKing, Charles :
Knowles, Miss Joseph-
ine.
Krayl, Stan Harding
Macdonald, J. Ramsay
McKay, Herbert, B.Sc.
Manners, Sir William
John, Earl of Dysart
Mainwaring, Colonel H.
G., F.R.G.S.
Reeks, H. Caulton ‘
“Smith, Mrs. Adéle
Crafton
Smith, Cicely Fox
‘Smith, Mrs. Elizabeth
Sinclair
a Zimmern, Alfred KE. .
15,
Palace
W.
94, Piccadilly, W.
Kensington
Gardens,
Grosvenor
Aldershot.
96, Stoney Stanton
Road, Coventry.
129. . Him Park
Mansions, Chelsea,
S.W.
Owlbrigg,
bridge.
St. John’s Cottage,
Bovey Tracey,
Devon.
20, Lower Sloane
Street, S.W.
Soulby, Clarence
Park, Weston-
super-Mare.
63, Wellington Road,
N.W.
55, Adolphus Road,
Finsbury Park, N.
Road,
Cam-
Magdalen Lodge,
Hook Norton.
36, Golders Way,
Golders Green.
Via della Scala 1,
Florence, Italy.
8. lincoln's Inn
Fields, W.C.
338, Park Parade,
Harlesden, N.W.
Ham House, Rich-
mond, Surrey.
Army & Navy Club,
Pall Mall, S.W.
Spalding.
Elmhurst, Bradford-
on-Avon.
54, Harper’s Lane,
Bolton-le-Moors.
Trevone, Ennerdale
Road, Richmond,
S.W.
14, Great Russell
Mansions, W.C.
—__———_+->*——___
269
BOOKS PUBLISHED BY MEMBERS.
<4
While every effort is made by the compilers to keep
this list as accurate and exhaustive as: possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the office
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
ARCHAZOLOGY.
AMULETS. Illustrated by the Egyptian Collection in
University College, London. By Wiu1am FLINDERS
Perrin. 124 x 10. 58 pp. text. liv. Plates. Con-
stable. 21s. n.
ARCHITECTURE.
SMALL Country Hovsss: their Repair and Enlargement.
By L. Weaver. 114 x 83. xxxii+ 204pp. Country
Life. 15s. n.
ART.
THE Sport oF COLLECTING.
81 x 54. 147 pp. Unwin.
By Sir Martin Conway
5s. ne
BIOGRAPHY.
Memoriats oF Henry Forses JULIAN.
Institution of Mining and Metallurgy.
edited by his wife, Husrer JunIaAN. 9 X 53.
310 pp. C. Griffin. 6s. n.
BOOKS OF REFERENCE.
THE STATESMAN’S YEAR Book, 1914. Edited by J. Scorr
Keitin. 7} x 4%. Ixxix + 1,500 pp. Macmillan.
10s. 6d. n.
Member of the
Written and
xix +
DRAMA.
Tae Maker or Dreams. By O. Down. 5} X 4.
Gowans and Gray. 6d. n.
Cuartey’s Unciz. A Farcical Comedy in three acts. By
Waurer STEPHENS. 7} x 43. 64 pp. F. Griffiths.
1s. 6d. n.
FICTION.
By Nem Monro.
Tue New Roan. 7k x 5. 374 pp
Blackwood. 6s. Z
Lovers’ Meptinas. By Katuartne TYNAN.
314 pp. Werner Laurie. 6s.
Freepom. By Attce and CLAUDE ASKEW.
316 pp. Hurst and Blackett. 6s.
Srmmon Hurtot. By Parricta WENTWORTH.
331 pp. Melrose. 6s.
A SaAMNOEL Innerrrance. By KarHartne Tynan. 7}
% 5. 324 pp. Cassell. 6s.
From AN Istineron WINDow. 3 i
Romance. By M. Bernam-Epwaxps. 72 x 5.
. Smith Elder. 6s.
Tat SILVER Star. By Marre Connor LEIGHTON. 73x
5. 352pp. Ward, Lock. 638.
THe LIFE a Lena. By W. N. WILLIS. 320
. Long. 1. n.
ous Aury. By M. E. Francis. 6} x 4.
7d. n. ; 8
Pun Stony or AmanpA. By F. R. M. Furspon, 74 Xx
5. 328 pp. Simpkin, Marshall. 6s.
7% x 43.
7k x 43.
7k x 42.
Pages of Reminiscent
307
7k x 42.
254 pp. Long.
270
FOLKLORE.
Tur LANGUAGE OF THE Nawar or Zurr, THE Nomap
Smirus oF PaLesTINy. By R. A. STEWART MACALISTER’
9% x 6}. xii + 216 pp. Quaritch. 5s.
LAW.
Tue Lonpon Burpine Acts,
FESSOR BANISTER FLETCHER.
rer F. Fuercuer and H. P. FLETCHER.
xviii + 697 pp. Batsford. 10s. n.
LITERARY.
Love’s Cominc or Acz. By Epwarp CARPENTER. Le
41. 189 pp. Methuen. Is. n.
A Wak IN Orner Wortps with Dante. By Marian
S, Barnpricce. 8 X 5}. 255 pp. Eight full-page
1894—1909. By Pro-
Fifth Edition by Banis-
7k Xx 4}.
illustrations. Kegan Paul, Trench, Tiiibner & Co.,
Ltd. 6s. n. :
MUSIC.
ORcHESTRATION. By Ceci ForsytH. 9 x 5. 517 pp.
(The Musician’s Library.) Macmillan and Stainer and
Bell. 21s. n. :
SrortEs FROM WaGNER’S OpERAs. Told by GLapys
Davipson. 7} x 5. 106 pp. Werner Laurie. ls. n.
PAMPHLETS.
Roger Bacon. By Sm J. E. Sanpys. (From the Pro-
ceedings of the British Academy. Vol. V1.) Oxford
University Press. 1s. n. 2
POETRY.
Berowvutr. A Metrical Translation into Modern English.
By J. R. Crark Hatt. 7} x 5. 114 pp. Cambridge
University Press. 2s. 6d. n.
Unto tur Hitts. By Dovcias W. FRESHFIELD.
Edward Arnold.
7 x 44.
REPRINTS.
With English Rendering. By
IsraEL GoLtancz. Limited Edition, 550 copies. 8} x
7. 56 pp. Chatto. 6s. n.
Tue PorricaL WoRKS oF GEORGE CRABBE.
A. J. and R. M. Caruyuzg. 7} x 5.
H. Milford. 1s. 6d. n.
Tue Sua’s ANTHOLOGY. From the Earliest Times down
to the Middle of the 19th Century. Compiled and
Edited, with Notes, Introduction, and an Appendix, by
J. E. Parrerson. 7X 44. xxxvi+ 383 pp. Heine-
mann. 25. n.
SOCIOLOGY.
THE PROBLEM OF THE Nations. A Study in the Causes,
Symptoms, and Effects of Sexual Disease and the
Education of the Individual therein. By A. Corperr-
Smiru, M.A., Oxon., barrister-at-law ; Captain (formerly
R.F.A.); F.R.G.S.; Officier de L’ Instruction Publique ;
Editor of the Journal of State Medicine ; Lecturer in
Public Health Law at the Royal Institute of Public
Health. 9} x 6}. ix+ 107 pp. Bale. Ils. 9d. n.
SPORT. Be
THE Hovsz on Wueets. By Evizapern SLOAN CuusseEr,
74x 5. 150 pp. Chapmanand Hall. 2s. n.
TRAVEL.
Tue MAINspringes oF RvsSrA.
. x E . pp. Nelson, 2s.
‘HE REAL ALGERIA. By M.D.Srorr. 83 x 54.
Hurst and Blackett. "10s. 6d. n. oe
Boccaccto’s OLYMPIA.
Edited by
xxii + 600 pp.
By Maurice Barina. 74
THE AUTHOR.
(JULY, 1914
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
er
HE Oxford edition of ‘‘ The Poetical
Works of George Crabbe” is edited,
with an introduction, by A. J. and
R. M. Carlyle, who base their text on the
author’s own edition, except in the case of
the poems omitted by him and subsequently
reprinted by his son. The only notes are those
made by Crabbe himself (Humphrey Milford,
Oxford University Press).
“Urto the Hills,’ is the title of a little
book of verse by Mr. Douglas W. Freshfield,
former chairman of the Committee of Manage-
ment. The poems include Sonnets, Rhymes,
and Leviora, the last not the least good, if the
least ambitious, section of the book (Edward
Arnold).
Mrs. Russell Barrington’s ‘“‘ Life of Walter
Bagehot,” announced in the last issue of these
notes, has now been published by Longmans,
Green & Co. at 12s. 6d. net.
Mr. Israel Zangwill’s play “ Plaster Saints ”
is now published in book form (Heinemann,
2s. 6d. net).
Another play which lras just appeared in
book form is Mr. John Galsworthy’s ‘ The
Mob ” (Duckworth, 1s. 6d.).
Mr. Eden Philpotts’s new novel “The
Judge’s Chair ” appeared last month through
the firm of John Murray.
Mrs. Hester Julian has written a life of her
husband, under the title of ‘‘ Memorials of
Henry Forbes Julian ” (Charles Griffin & Co.,.
6s.). The late Mr, Julian was one of the victims
of the Titanic disaster. The loss thereby
occasioned to metallurgy is dealt with in an
introduction contributed to the book by Mr.
H. L. Sulman, President of the Institution of
Mining and Metallurgy.
“The Problem of the Nations ” is the name
of a book by Mr. A. Corbett-Smith, M.A.,
F.R.G.S., on the effect of sexual disease on.
national life (John Bale, Sons & Danielsson,
1s. 6d.).
Mr. Cecil Forsyth contributes to the
Musician’s Library a book upon “ Orchestra-
tion,” which is published by Macmillan & Co,
and Stainer & Bell at one guinea net.
Miss M. Betham-Edwards has brought out
“From an Islington Window,” described in
the sub-title as ‘“‘ pages of reminiscent
romance ” (Smith, Elder & Co., 6s.).
The correct title of Mrs. Annette S.
Beveridge’s book is ‘“‘ Baburnima, or Memories
of Babur, a new translation made from the
JULY, 1914.]
original Turki text,’ fasciculus 5
section (Luzac & Co.). 7 oe
Mr. Gilbert Coleridge has an article upon
“* Sir Thomas Browne ” in the current number
of the Fortnightly Review.
A Chinese version of Leiut.-Colonel W. H.
Turton’s work, “ The Truth of Christianity,” is
about to be published in Shanghai by the
Christian Literature Society for China. A
Japanese version appeared some years ago.
Mrs. Ellis Chadwick’s recent book, ‘‘ In the
Footsteps of the Brontes,” is to be published
in the United States by Brentano.
Miss Bainbrigge’s book, ‘‘ A Walk in other
Worlds with Dante,” is written specially for
those who think the Divina Commedia is too
deep for them, and yet desire to know more
about it without long and deep study (Kegan
Paul, Trench, Tribner & Co., 6s. net).
**A Saunter through Kent with Pen and
Pencil,” by Mr. Charles Igglesden, has now
reached its cleventh volume, and describes
Nettlestead, Whitstable, Seasalter, Swalecliffe,
Graveney, Monks Horton, and Harrietsham
(Kentish Eapress Office, 2s. 6d.).
In “Caravan Days” Mr. Bertram Smith
records the continuance of his devotion to
caravanning after sixteen years’ experience
of it (Nisbet & Co., 5s. net).
‘* Love’s Responsibilities ” is a book of essays
by Mrs. Stuart Menzies upon “‘ the most cruel,
the most tragic, the most vengeful of life’s
problems, that of sex ” (Holden and Harding-
ham, 6s.).
“ Justice of the Peace” is a novel by Mr.
Frederick Niven, in which he has attempted to
give a family history without making the book
as long as Gibbon’s “‘ Decline and Fall ”’—as
he tells us in his preface (Eveleigh Nash).
Mr. S. Sproston has published, through the
Year Book Press, ‘The Pudding made of
Plum: a Tragic-Comedy for Children,” “* Mid-
summer Fairies: a Fantastic Sketch,” and
“The Sword in the Stone: a Legend ”?__the
two first 6d. each ; the last-named 9d. net.
Miss Amy M'‘Laren’s novel, “ The Yoke of
Silence,” which has already appeared in both
serial and book form, is to be published early
this month by Messrs. Collins. .
Derek Vane’s new novel, ‘“‘ Lady Varley,
will be published by Stanley Paul & Co. early
in August. It is a character study of two men
and two women brought together in a lonely
country house by the mysterious death of
another man in a London flat. a
Mr. Archibald Marshall’s “ Exton Hall 1s
now in its fourth edition. The same author's
new novel is ‘‘ Roding Rectory” (Stanley Paul).
THE AUTHOR.
271
_ Mr. Henry Bruce has a new novel of Eurasian
life, entitled “The Residency.” The
publishers are John Long, Ltd.
Mrs. Bell, who writes under the name of
John Travers, is publishing her third novel
of Anglo-Indian life through Duckworth & Co.
Miss Helen C. Roberts makes the hero of her
novel, ‘‘ A Free Hand,” a dentist—though he
does not remain a dentist to the end (Duck-
worth). {
M. Georges Bazle has translated into French
Mrs. Irene Osgood’s ‘‘ Where Pharaoh Dreams,”
and the translation has been published in the
Comedia, Paris, together with a biographical
sketch of the author. A copy of “ Where
Pharaoh Dreams” has been accepted by His
Highness the Khedive. ®
“A Fallen Star,” a sketch by Mrs. Herbert
Cohen, appeared in the June number of the
Magpie.
Mr. Harry Wynne’s poem, “ The Plumber,”
recently published in book form, with other
recitations, by Joseph Williams, Ltd., has been
recorded on the Columbia and Pathé gramo-
phones by Mr. Bransby Williams.
‘“‘ Karth with Her Bars: and other Poems ”
is the title of a book of verse by Miss Edith
Dart, some of which has already been seen in
the Westminster Gazette, Pall Mall Gazette, etc.
(Longmans, Green & Co., 1s. paper covers, 2s.
cloth).
DRAMATIC.
“Dido and Aeneas,” a four-act tragedy by
A. von Herder (Mrs. Grantham-Williams) was
presented for the first time by the Drama.
Society at the Ambassador’s Theatre on
May 26.
On June 11 Mr. Israel Zangwill’s one-act
play ‘“‘ Six Persons,” originally seen at the
Haymarket eleven years ago, was revived, to
precede Mr. Zangwill’s “ Plaster Saints
at the Comedy Theatre.
On June 16 “A Scrap of Paper,” a new
adaptation by Mr. F rederick Fenn of the well-
known “ Pattes de Mouche,” was seen at the
iterion Theatre.
“os June 17 “ Driven,” Mr. E. Temple
Thurston’s new play, was seen for the first
time at the Haymarket Theatre.
Mr. EH. V. Esmond has arranged for an exten-
sion of his season with ‘‘ The Dangerous Age
at the Vaudeville Theatre.
Mr. Bernard Shaw’s “ Pygmalion ” was:
performed for the seventy-fifth time at His.
‘esty’s Theatre on June 15. :
o Fons 97 “The Heritage of Hate” Mr.
of the novel
Arthur Shirley’s dramatic version
272
by Mr. Charles Garvice, was put on at the
Aldwych Theatre.
Sir James Barrie has a new play, which is to
be produced in London by Mr. Granville
Barker and in the United States by Mr.
Charles Frohman.
The German translation rights of Mr. Henry
Arthur Jones’s plays, ‘‘ The Liars,” “‘ The Silver
King,” ‘‘ Mrs. Dane’s Defence,” and ‘‘ Michael
and his Lost Angel,’? have been granted by the
author to Dr. Max Meyerfeld.
MUSICAL.
Two songs from the masque “‘ Love and the
Dryad,”’ by Agnes H. Lambert, entitled “ The
Flower Song” and ‘‘ My Ladye’s Singing.”
have been just published separately by Boosey
& Co. The former song (which has the flute
accompaniment attached) is that which was
sung by Miss Evangeline Florence when the
masque was produced in April, 1913, at the
King’s Hall Theatre, Covent Garden. :
“The Halo: the Story of a Chelsea Studio ”
is the title of a new musical monologue which
Reynolds & Co., are publishing. The poem
is written by Mr. Harry Wynne and the musical
setting is by Mr. Cuthbert Clarke. Bransby
Williams and other well-known reciters are
performing the number.
“‘OQur Red Cross Nurses,” words by T. A.
Bennett, and music by J. W. Bampfylde, is a
patriotic song published by the Walsingham
Voluntary Aid Detachment. Copies may be
obtained (post free) from the commandant,
Miss Violet Parry Okeden, Walsingham Abbey,
Norfolk. MS. band parts may be hired.
+>
PARIS NOTES.
ee
12 a French literary paper published in
Paris last month, a short article is
devoted to the memory of the late Mr.
Marston of the firm of Sampson, Low, Marston
& Co. The writer reminds his readers that
after the reverses of 1870 Mr. Marston was one
of those who appealed to the English book-
sellers in favour of their French colleagues.
A sum of 24,574 franes was sent over from
England, and provisions were distributed
among the Parisian booksellers. In 1896,
when the first International Congress of Pub-
lishers took place, Mr. Marston was one of the
vice-presidents. The article concludes with a
message of sympathy to the family of Mr.
Marston.
_“Le Baptéme de Pauline Ardel” is the
title of the third novel by Emile Baumann.
THE AUTHOR.
[JULY, 1914.
‘““L’Immolé,” the first novel by this writer,
had great success, and was followed soon after-
wards by ‘‘ La Fosse aux Lions.”” The author
gives us in this third story a psychological
study of a girl brought up by a father who is a
free-thinker. Her greatest friends are ex-
tremely religious people and the man who wins
her love a staunch Catholic. With this theme
the author has written an excellent book,
extremely human, with characters well defined
and very living.
“La Flamme”’ is the title of Paul Mar-
gueritte’s new novel.
“Les Tétes baissées,”’ by Cyril Berger, is the
volume which has been chosen for the annual
prize awarded by the Committee of the paper
entitled La Vie heureuse.
‘*La Maison sur la Rive ”
by André Lafon, whose former volume
“L’Eléve Gilles’? won for its author the
Grand Prix of the French Academy in 1912.
** Alaric,” by Jacques de Morgan, is, like
George Gissing’s ‘‘ Veranilda,’’a novel based on
the historical episodes of the fall of Rome.
‘*Napoléon délivré,”’ by Albéric Cahuet,
tells us, among other things, of the funeral
of Napoleon, the coup de thédtre of 1840. It
is the reconstitution of an epoch well told by
the author of ‘‘ Aprés la mort de l’Empéreur.”
“Au jeune Royaume d’Albanie’”’ (ce qu’il
a été=ce qu'il est), by G. L. Jaray, one of the
few Europeans knowing this country and
able to explain to us clearly the problems
and difficulties of the new kingdom.
‘** Paris sous Louis XV.,’”’ by Camille Piton.
This writer has given us some curious volumes
on various historical subjects. In this book
we have a number of reports by the king’s
police inspectors, showing the manners and
customs of the times. This volume is the
fifth of the series, and is carefuily annotated
by the author.
‘“‘ A travers Shakespeare ” is the title of a
volume containing a series of lectures given
during the past season by Jean Richepin at the
university of Les Annales.
‘** Dans le Cloaque ”’ is the title of the latest
volume by Maurice Barrés.
A book, entitled ‘“‘La Politique de la
Prévoyance Sociale,’’ by Léon Bourgeois, will
be read with interest. The first volume treats
of ‘‘ La Doctrine et la Methode.”
In a volume entitled ‘‘ Maitres d’hier et
daujourd’hui,” Roger Marx tells us much
that is interesting about Les Goncourt et
VArt, J. K. Huysmans, Anatole France,
Daniel Vierge, Jean-Francois Millet, Hugéne
Carriére, Jongkind, Puvis de Chavannes,
is another novel
JULY, 1914.]
Constantin Guys, Degas,
Théodore Chassériau,
Claude Monet.
** Vieux dossiers, petits papiers,’’ by the
Marquis de Ségur, is now in its fifth edition.
La Transmission télégraphique des Images
et des Photographies,” by Jacques Boyer,
gives us information and illustrations concern-
ing this new miracle of science.
In “ La Route del’Orient,” by Noelle Roger,
we have a chapter entitled ‘‘ Premier contact
avec l’A4me turque”’; and others on Bosnia,
on Roumania and Constantinople. The
volume is illustrated from photographs belong-
ing to the author.
‘“* Comment conserver sa santé” is the title
of an excellent book by Dr. Toulouse, who has
also written ‘‘ Comment former un esprit”
and ‘‘ Comment se condiure dans la vic.”
The play ‘Les Affranchis,” by Marie
Lénéru, has obtained the Emile Augier prize,
as the best play produced within the last three
years.
“Ce quil faut taire,” the play by Arthur
Meyer, editor of the Gaulois, is now published.
It was produced quite recently, and M. Meyer
has explained in several newspapers his reasons
for writing it. M. Adolphe Brisson has
written the preface. :
Shakespeare has been very much in favour
during the past month. “ Twelfth Night ”
had been produced in French and it was
so well received that it was impossible to book a
place the last three evenings. It has also been
played in English under the direction of Mr.
Philip Carr, with Mr. Ben Field and Miss
Cathleen Nesbitt. The general opinion was
that it was as near as possible to perfection.
The ensemble was excellent and the whole
performance a remarkable success. At the
Frangais, ‘‘ Macbeth ” has been given in an
adaptation by Jean Richepin.
ee *
Auguste Rodin,
Auguste Renoir and
‘‘ Le Baptéme de Pauline Ardel”” (Granet).
“La Flamme ” (Flammarion).
“Leg Tétes baissées ” (Ollendorff).
‘La Maison sur la Rive” (Perrin).
“ Alaric ” (Plon).
Napoléon délivré” (Emile Paul).
“ Au jeune Royaume d’Albanie (Hachette).
¢ Paris sous Louis XV.” (Mercure de France).
“A travers Shakespeare” (Fayard).
« Dans le Cloaque” (Emile Paul). — . .
. “Ta Politique de la Prévoyance Sociale (Fasquel e).
“ Maitres d’hier et d’aujourd’hui ” (Calmann Lévy).
“ Vieux dossiers, petits papiers ” (Calmann Lévy). _.
“La Transmission télégraphique des Images et des
Photographies ” (Mendel). :
«a Route de l’Orient” (Perrin).
Comment conserver sa santé” (Hachette).
“ Ce quil faut taire » (Plon).
THE AUTHOR.
273
CHAPPELL v. COLUMBIA GRAMOPHONE CoO.
—_-——+—__
A CASE of some interest to composers and
ae to copyright owners of musical works
_ 2 wae heard recently before Mr. Justice
Neville, in the Chancery Division, when Messrs.
Chappell & Co. applied for an injunction to
restrain the defendants, the Columbia Gramo-
phone Co. from infringing the copyright of a
song by Mr. Herman Lohr of which they, the
plaintiffs, were the copyright holders.
The circumstances were that the defendant
company had made a contrivance by means of
which the composition might be mechanically
reproduced. It was admitted by the plaintiffs
that the defendants were perfectly entitled to
do this as they had given the requisite notice
and complied with all the conditions laid down
in the Board of Trade Regulations issued under
section 19 of the Copyright Act, 1911. But it
was submitted for the plaintiffs that the
defendants had gone beyond their powers, in-
asmuch as they had made a manuscript
orchestral accompaniment of the song, and
that this was a clear infringement of the
plaintiffs’ rights.
On behalf of the defendants it was submitted
that what they had done was reasonably
necessary for the manufacture of their record
and was not an infringement of the copyright
of the plaintiffs.
Mr. Justice Neville, in giving judgment for
the plaintiffs, held that what the defendants
had done was an infringement of the copyright
of the plaintiffs, and that it was immaterial for
what purpose the copy may have been made.
Therefore, there must be judgment for the
plaintiffs, with the costs of the action.
———__+- <>
THE CRITICISM OF FICTION.
i
By One or THE YouNGER NOVELISTS.
URELY no earnest worker in the profes-
sion of letters should miss the way,
recently opened by Mr. Henry, James
in the Literary Supplement of the Times, to
claim more competent and wider criticism of
fiction. The obviousness of our need is un-
doubtedly crying. That branch of the literary
art which, either from the public’s surfeit, or
the reviewers’ weariness, OF the publishers
instinct of self-preservation, has been reduced
from what was once a respectable calling to the
level of a prize-fight, deserves fairer play.
Obviously what we all require 18 a critic like
Francisque Sarcey, who criticised his French
272
by Mr. Charles Garvice, was put on at the
Aldwych Theatre. : a
Sir James Barrie has a new play, which 1s to
be produced in London by Mr. Granville
Barker and in the United States by Mr.
Charles Frohman.
The German translation rights of Mr. Henry
Arthur Jones’s plays, “‘ The Liars,” ‘* The Silver
King,” “ Mrs. Dane’s Defence,” and ‘‘ Michael
and his Lost Angel,” have been granted by the
author to Dr. Max Meyerfeld.
MUSICAL.
Two songs from the masque “ Love and the
Dryad,” by Agnes H. Lambert, entitled “ The
Flower Song” and ‘“‘ My Ladye’s Singing.”
have been just published separately by Boosey
& Co. The former song (which has the flute
accompaniment attached) is that which was
sung by Miss Evangeline Florence when the
masque was produced in April, 1913, at the
King’s Hall Theatre, Covent Garden. :
“The Halo: the Story of a Chelsea Studio ”
is the title of a new musical monologue which
Reynolds & Co., are publishing. ‘The poem
is written by Mr. Harry Wynne and the musical
setting is by Mr. Cuthbert Clarke. Bransby
Williams and other well-known reciters are
performing the number.
“Our Red Cross Nurses,’’ words by T. A.
Bennett, and music by J. W. Bampfylde, is a
patriotic song published by the Walsingham
Voluntary Aid Detachment. Copies may be
obtained (post free) from the commandant,
Miss Violet Parry Okeden, Walsingham Abbey,
Norfolk. MS. band parts may be hired.
Oe
PARIS NOTES.
A
oe a French literary paper published in
Paris last month, a short article is
devoted to the memory of the late Mr.
Marston of the firm of Sampson, Low, Marston
& Co. The writer reminds his readers that
after the reverses of 1870 Mr. Marston was one
of those who appealed to the English book-
sellers in favour of their French colleagues.
A sum of 24,574 frances was sent over from
England, and provisions were distributed
among the Parisian booksellers. In 1896,
when the first International Congress of Pub-
lishers took place, Mr. Marston was one of the
vice-presidents. The article concludes with a
message of sympathy to the family of Mr.
Marston.
“Le Baptéme de Pauline Ardel’’ is the
title of the third novel by Emile Baumann.
THE AUTHOR.
[JULY, 1914.
““L’Immolé,” the first novel by this writer,
had great success, and was followed soon after-
wards by ‘‘ La Fosse aux Lions.’”? The author
gives us in this third story a psychological
study of a girl brought up by a father who is a
free-thinker. Her greatest friends are ex-
tremely religious people and the man who wins
her love a staunch Catholic. With this theme
the author has written an excellent book,
extremely human, with characters well defined
and very living.
“La Flamme”’ is the title of Paul Mar-
gueritte’s new novel.
“Les Tétes baissées,” by Cyril Berger, is the
volume which has been chosen for the annual
prize awarded by the Committee of the paper
entitled La Vie heureuse.
‘*La Maison sur la Rive ”’ is another novel
by André Lafon, whose former volume
‘“L’Eléve Gilles’? won for its author the
Grand Prix of the French Academy in 1912.
** Alaric,”” by Jacques de Morgan, is, like
George Gissing’s ‘‘ Veranilda,’’a novel based on
the historical episodes of the fall of Rome.
‘*Napoléon délivré,” by Albéric Cahuet,
tells us, among other things, of the funeral
of Napoleon, the coup de thédtre of 1840. It
is the reconstitution of an epoch well told by
the author of ‘‘ Aprés la mort de ’ Empéreur.”’
‘**Au jeune Royaume d’Albanie”’ (ce qu’il
a été=ce qu’il est), by G. L. Jaray, one of the
few Europeans knowing this country and
able to explain to us clearly the problems
and difficulties of the new kingdom.
‘* Paris sous Louis XV.,”’ by Camille Piton.
This writer has given us some curious volumes
on various historical subjects. In this book
we have a number of reports by the king’s
police inspectors, showing the manners and
customs of the times. This volume is the
fifth of the series, and is carefully annotated
by the author.
‘** A travers Shakespeare ”’ is the title of a
volume containing a series of lectures given
during the past season by Jean Richepin at the
university of Les Annales.
‘** Dans le Cloaque ”’ is the title of the latest
volume by Maurice Barrés.
A book, entitled “La Politique de la
Prévoyance Sociale,’’ by Léon Bourgeois, will
be read with interest. The first volume treats
of ‘‘ La Doctrine et la Methode.”’
In a volume entitled ‘‘ Maitres d’hier et
d’aujourd’hui,” Roger Marx tells us much
that is interesting about Les Goncourt et
lYArt, J. K. Huysmans, Anatole France,
Daniel Vierge, Jean-Francois Millet, Eugéne
Carriére, Jongkind, Puvis de Chavannes,
>
JULY, 1914.]
Constantin Guys, Degas, Auguste Rodin,
Théodore Chassériau, Auguste Renoir and
Claude Monet.
** Vieux dossiers, petits papiers,” by the
Marquis de Ségur, is now in its fifth edition.
La Transmission télégraphique des Images
et des Photographies,” by Jacques Boyer,
gives us information and illustrations concern-
ing this new miracle of science.
In ‘‘ La Route del’Orient,” by Noélle Roger,
we have a chapter entitled ‘‘ Premier contact
avec l’Ame turque’’; and others on Bosnia,
on Roumania and _ Constantinople. ihe
volume is illustrated from photographs belong-
ing to the author.
‘** Comment conserver sa santé” is the title
of an excellent book by Dr. Toulouse, who has
also written ‘‘Comment former un esprit ”
and ‘“‘ Comment se condiure dans la vic.”
The play ‘Les Affranchis,” by Marie
Lénéru, has obtained the Emile Augier prize,
as the best play produced within the last three
years.
“Ce quil faut taire,” the play by Arthur
Meyer, editor of the Gaulois, is now published.
It was produced quite recently, and M. Meyer
has explained in several newspapers his reasons
for writing it. M. Adolphe Brisson has
written the preface. :
Shakespeare has been very much in favour
during the past month. “ Twelfth Night ”
had been produced in French and it was
so well received that it was impossible to book a
place the last three evenings. It has also been
played in English under the direction of Mr.
Philip Carr, with Mr. Ben Field and Miss
Cathleen Nesbitt. The general opinion was
that it was as near as possible to perfection.
The ensemble was excellent and the whole
performance a remarkable success. At the
Francais, ‘‘ Macbeth ” has been given in an
adaptation by Jean Richepin.
ee
“ Le Baptéme de Pauline Ardel” (Granet).
“La Flamme ” (Flammarion).
‘Les Tétes baissées ” (Ollendorff).
‘La Maison sur la Rive” (Perrin).
“ Alaric ” (Plon).
“ Napoléon délivré” (Emile Paul).
“ An jeune Royaume d’Albanie (Hachette).
Paris sous Louis XV.” (Mercure de France).
“A travers rT cy
Hf 3 le Gloaque’’ (Emile Paul).
ff © tiieore ae la oe Sociale ” (Fasquelle).
“ Maitres d’hier et @aujourd’hui ” (Calmann Lévy).
“Vieux dossiers, petits papiers » (Calmann Lévy). Ss
“La Transmission télégraphique des Images et des
Photographies ” (Mendel). :
«La Route de l’Orient” (Perrin).
« Comment conserver sa santé » (Hachette).
“ Ce quil faut taire ” (Plon).
THE AUTHOR.
273
CHAPPELL v. COLUMBIA GRAMOPHONE Co.
\ CASE of some interest to composers and
Zd to copyright owners of musical works
Was heard recently before Mr. Justice
Neville, in the Chancery Division, when Messrs.
Chappell & Co. applied for an injunction to
restrain the defendants, the Columbia Gramo-
phone Co. from infringing the copyright of a
song by Mr. Herman Léhr of which they, the
plaintiffs, were the copyright holders,
The circumstances were that the defendant
company had made a contrivance by means of
which the composition might be mechanically
reproduced. It was admitted by the plaintiffs
that the defendants were perfectly entitled to
do this as they had given the requisite notice
and complied with all the conditions laid down
in the Board of Trade Regulations issued under
section 19 of the Copyright Act, 1911. But it
was submitted for the plaintiffs that the
defendants had gone beyond their powers, in-
asmuch as they had made a manuscript
orchestral accompaniment of the song, and
that this was a clear infringement of the
plaintiffs’ rights.
On behalf of the defendants it was submitted
that what they had done was reasonably
necessary for the manufacture of their record
and was not an infringement of the copyright
of the plaintiffs.
Mr. Justice Neville, in giving judgment for
the plaintiffs, held that what the defendants
had done was an infringement of the copyright
of the plaintiffs, and that it was immaterial for
what purpose the copy may have been made.
Therefore, there must be judgment for the
plaintiffs, with the costs of the action.
————_ <> __———_
THE CRITICISM OF FICTION.
———
By One or THE YounGeR NoveLisTs.
URELY no earnest worker in the profes-
S sion of letters should miss the way,
recently opened by Mr. Henry James
in the Literary Supplement of the Times, to
claim more competent and wider criticism of
fiction. The obviousness of our need is un-
doubtedly crying. That branch of the literary
art which, either from the public’s surfeit, or
the reviewers’ weariness, or the publishers
instinct of self-preservation, has been reduced
from what was once a respectable calling to the
level of a prize-fight, deserves fairer play. |
Obviously what we all require 1s a critic like
Francisque Sarcey, who criticised his French
274
drama not as a duty but a privilege, and let
himself remain impoverished thereby if only
to prove his honesty of intention ; or a critic
with a given standard and a literary conscience
like Ferdinant Brunetiére ; or one like Jules
Lemaitre who, not content alone with pub-
lishing his own novels, essays, and plays,
followed it up by criticising them himself in the
famous Edition Rose of the Journal des Debats.
Those were critics, critics not averse but
eager to be critics in order to demonstrate their
unique—alas ! why should it be “ unique ?- o—
capacity for identity of impression learned
through genuine reverence for as well as apti-
tude in Letters as an Art !
The average English or American reviewer,
to those of us who are the helpless occasional
victims of his prowess (?), appears to be a
mixture of stale office-boy and languid clerk
underpaid to ‘skim trash,’”’—a résumé of
which he gets printed when it is “ sparkling,”’
but never if itis “longwinded.”’ For space, we
infer, is not to be procured in the literary
columns of the modern newspaper for serious
criticism of “‘ the ephemeral literature of the
day.” So he “turns out” only what has
“gripped” him in that “smart” cheap
style of his contemporaries, which slights all
but the “‘crudities ”’ which our critic cites as
“ glaring,” —leaving “‘ the lost art of reading ”
to those happy humble few who have pause in
the burden and heat even of to-day.
“Js it not perhaps in a subconscious effort
to rid himself altogether of this obnoxious pest
that to-day our pioneer par eacellence of original
forms, our champion stickler for testimony of
‘consciousness, clamours for a mightier right-of-
way ? Where no literary conscience in the
criticism of ‘contemporary fiction’ has as yet
been made evident; and no given standard
been, at least in words, established, one who
possesses the creative gift—which Mr. James
terms ‘the miracle of genius ’—to the extent
some possess it, is surely justified in ing
the bull by the horns in Ae sae hs
Mrs. Wharton writes: ‘“ There seem to be
but two primary questions to ask in estimating
any work of art: ‘‘ What has the author
tried to represent, and how far has he succeeded
—and a third which is dependent on them—
has it the quality of being what Balzac called
vrat dans V art.”
In plain English, Balzac preached verisimili-
tude ; but who of even those of us who love
him because we read him through and through
can maintain that Balzac practised invariabl
all he preached ? Moreover, given a need
worthy of the name, how does he know what
THE AUTHOR.
(JULY, 1914.
the author has tried to represent sufficiently,
z.e., to decide whether he has succeeded or
not—without the author telling him ?
It is at just this point we find that the
present-day so-called “ critics’ fail us—by
demonstrating their predisposition not to care
to understand us where we point our message
sharpest. Whereas if all critics were accom-
plished readers—only winning the right to
their claim as we do by writing—through
contemplation, and deduction, instead of
fiddling when Rome is burning, we authors
might get faster towards the main and off the
rocks.
What we younger writers need most and
first is readers.
Let the publishers provide them, instead
of supercilious underlings craving to be
‘* gripped.’ Let those readers cease relegating
fiction to “the side-track.’? Let him who is
practical make way more diligently and gener-
ously for that flame which licks up so percep-
tibly in a trice chacterisation, eloquence,
abundance, the interplay of the passions—
all the conflict in sum—until, like a coral reef,
the entire magic edifice shapes itself without
visible hands before our eyes.
In France fiction is acclaimed as legitimate
art where the critics discern in the result a
consecutive series of links each dependent
upon the other in an inevitable process of
forging into a chain the main idea.
Why not, and at once, make such a standard
for fiction clearer and possible on this side of
the channel ?
$$$
THE SIXTEENTH CONGRES INTER-
NATIONAL DE PRESSE.
HE sixteenth International Congress
of the Press, held at Copenhagen, has
been singularly _ successful. The
capricious weather of the North proved itself
by a tempestuous North Sea passage, but
Denmark greeted us with Mediterranean Sea
and blue sky. As M. Singer, the President,
stated at the final sitting, ‘‘ Melancholy
disappeared at the Danish frontier.” .
Having attended most of these inter-
national meetings, certainly none has been so
methodically and excellently organised. The
handsome portfolio contained all tickets,
information, and invitations, in our own
tongue; a booklet, described all events and
scenes to be visited. The traditional hospital-
ity of the North was intensely cordial; and
opportunities were given after the Congress
JULY, 1914.]
was closed for individual writers to study their
special subjects.
An historic badge was a passport in the
town, and a railway permis to the country
generally. The business sittings that were
to have been held in the House of Lords were,
owing to the domestic crisis, conducted in the
Hall of the University. As all the documents
were at the House of Parliament, the first
sitting was confined to reading the general
secretary’s, M. ‘Taunay’s, comprehensive
report.
Warm expressions of sympathy were ex-
pressed at M. Taunay’s absence, through
serious illness. The general treasurer, Dr.
Schweitzer, of Berlin, reported that there
-were twenty countries affiliated to the Associa-
tions de Presse, with a membership of over
17,000, and a substantial balance of over
5,000 marks was in hand.
As Dr. Stolz, of Germany, had retired from
the Comité de Direction owing to ill health, Dr.
Dresemann, of Cologne, had been elected to
his place.
The subject that caused the most animated
debate was the right of the journalist to with-
hold his source of information; a right
which, as Colonel Secretan, of Switzerland,
the introducer of the subject, stated, was
possessed by the doctor, the priest, and the
barrister. Especially was he emphatic that
this secrecy must ever be in the public interest,
and not exercised for purposes of blackmail or
seandal. Mr. J. R. Fisher, of Belfast, ex-
pressed the sympathy of the English associa-
tion with the efforts of the continental journal-
ists to secure definite legislation on this point.
So far as the English law was concerned, it was
the decided practice of the courts in civil cases
not to permit any inquiry into the sources
of an editor’s information. In every case the
editor or publisher was solely responsible
before the law for the contents of the news-
paper, and the court will support him in
refusing to give the names of his contributors.
In the case of extra-legal proceedings, however,
journalists had still to guard against the
attempts of such bodies as parliamentary and
other commissions to exercise pressure for
olitical or personal reasons.
Dr. Stoffers and Mr. James Baker acted as
"interpreters for this debate, and, on a division
on a wider embracing amendment, the vote
was equal, and the president adjourned the
sitting. At the next sitting Colonel Secretan's
motion was carried, which invited the Comite
de Direction to act jointly with the various
national associations, “that they take this
THE AUTHOR.
275
matter up with the legal authorities and work
towards procuring legislation that shall protect
the secrecy in journalism.”
Another subject that aroused discussion was
that of the right of reproduction in journalism.
Upon this there was a great division of opinion,
and the writer spoke of the advances made in
England in this matter since first debated by
the Associations de Presse. Many years ago
he had demanded at a meeting of the Society
of Authors, then under the chairmanship of
Sir Frederick Pollock, copyright protection
for the form in which news was related. By
the case of The Times against Steinkopf copy-
right had been assured to the writer of the
article or paragraph. A vote was passed that
the Bureau should formulate a firm resolution
on this matter.
The last sitting was held in the House of
Lords, when the questions came up of an annual
Card of Identité to be signed by the President
of each local association, free of cost to the
members; of Conseils de Prudhommes for
the Press, and of mutual international aid
societics. In closing the business of the
Congress, M. Singer thanked all in Denmark,
their Majesties the King and Queen, the
Ministers and the whole people, who had so
warmly received the journalists of all countries,
and the Minister of the Interior replied saying
that the journalists’ satisfaction fully recom-
pensed all for the trouble taken.
Their Majesties the King and Queen received
the delegates at a Court in the Amalienberg
Palace, and both chatted freely for some time
with the English delegates. The excursions
were on a most elaborate and delightful scale.
A visit to Malmo and lunch-on the largest
ferry boat in the world; a trip to Hamlet’s
Kronberg ; a marvellous pic-nic and open-air
performance of the great Danish drama
* Blvyerkoj ”; and a dozen other remarkable
events, all superbly organised, ended with
excursions to every part of Denmark.
James Baxer, F.R.G.S.
—————_+ >
MAGAZINE CONTENTS.
——+—
CONTEMPORARY.
Early Playhouses and the Drama. By Wilberforce
Jenkins.
The Shakesperean Angels and Devils. J. The Angels.
ForTNIGHTLY.
ini og of Tolstoy. By Count Tlya Tolstoy.
ie Danian. By Prof. M. A. Gerothwohl.
The Idea of Comedy, Il. By W. L. Courtney.
276
HOW TO USE THE SOCIETY.
——— <9
1: VERY member has a right to ask for and to receive
advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. | The
Secretary of the Society is a solicitor 3 but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion without
any cost to the member. Moreover, where counsel s
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
2. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination,
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers:
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
7, Many agents neglect to stamp agreements,
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
This
The
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society ; so
do some publishers. Members can make their own
deductions and act accordingly.
9. The subscription to the Society is £1 1s. per
annum, or £10 10s. for life membership.
So
WARNINGS TO THE PRODUCERS
OF BOOKS.
—_— 1
ERE are a few standing rules to be observed in an
agreement. There are four methods of dealing
with literary property :—
I. Selling it Outright,
This is sometimes satisfactory, ¢f a proper price can be
THE AUTHOR.
(JULY, 1914.
obtained. But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for ‘office expenses,”
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental}
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth, From time to time very important figures connected
with royalties are published in Zhe Author,
1¥Y. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means,
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
SESE SS SORE Th
WARNINGS TO DRAMATIC AUTHORS.
1
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
8. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
ne eagpead ae bi
JULY, 1914.)
(2.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts. Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system, Should
obtain a sum in advance of percentages, A fixed
date on or before which the play should be
performed.
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (i.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
‘paid in advance of such fees in any event, It is extremely
important that the amateur rights of one-act plays should
be reserved.
5. Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance.
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
‘holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘hey should never be included in English
agreements without the author obtaining a substantial
consideration.
9. Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
ds highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning,
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
‘is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
— > ——
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
ee
CENARIOS, typewritten in duplicate on foolscap paper
S forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
«of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the ee that a play will be charged for
at the price of 28, 6d. per act.
THE AUTHOR.
277
DRAMATIC AUTHORS AND AGENTS.
MEO ES
Le authors should seek the advice of the
Society before putting plays into the hands ef
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, de
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author’s rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
Se ee
WARNINGS TO MUSICAL COMPOSERS.
a
ITTLE can be added to the warnings given for the
1, assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
a
STAMPING MUSIC.
—
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society’s
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
<a
THE READING BRANCH.
——_-—— + —
EMBERS will greatly assist the Society in this
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach, The term
MSS. includes not only works of fiction, but poetry
and dramatic works, aud when it is possible, under
special arrangement, technical and scientific works, The
Readers are writers of competence and experience. The
fee is one guinea.
— >
REMITTANCES.
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only.
COLLECTION BUREAU.
—
due to authors, composers and dramatists.
fe Society undertakes to collect accounts and money
1. Under contracts for the publication of their
works. :
9. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs. Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
——___—__+—~>—
GENERAL NOTES.
“THE AUTHOR.”
Members are reminded that The Author is
not published in August or September. The
next issue will appear in October.
Str Witiram Anson, Barrt., P.C.
Str W. R. Anson, whose death was
announced early in June, was a member of
the Society, which he joined in 1904, and of
its council, to which he was elected in the
same year.
Sir William’s most important literary work
was “ The Law and Custom of the Constitu-
tion ’’—a subject on which he was a recognised
authority. In another branch of law, his
“Principles of the English Law of Contract,”
was recognised as a standard work and a very
lucid exposition of the subject.
In his public work, Sir William Anson was
notable chiefly as an authority on education,
and was Parliamentary Secretary to the Board
of Education in Mr. Balfour’s Ministry from
1902—1905.
THE AUTHOR.
(JULY, 1914,
AGENTS.
Durtinc the past few months many inquiries.
have been made by members, who have for-
warded the papers and prospectus of agencies.
claiming to place literary and dramatic works.
In the vast majority of these cases no names
are to be found on the notepaper of these
concerns, the principals preferring to hide their
dim lights under some such titles as ‘ The
International Placing Syndicate.”
We cannot emphasise too strongly how
dangerous it is for members to entrust their
works to unknown parties. The very fullest
inquiries should be made beforehand as to the
bona fides of the persons running them. In
not a few cases these agencies are little else
than typewriting offices whose principals find
that a pretence of literary agency enables them
to get from authors an amount of typewriting
which none of their competitors—i.e., type-
writing offices—could obtain in_ legitimate
business.
We have had occasion previously to point
out no special qualifications are needed for the
starting of a literary or dramatic agency, and
anyone, however slender his qualifications, or
however grave his disqualifications may be,
is enabled to engage in this form of industry.
We confess to some surprise that the genuine
literary agents in this country have not set
up some body charged with the duty of
formulating rules of professional etiquette for
the protection of their profession.
Tur INDIAN Copyricut Act, 1914.
WE have pleasure in providing readers of
The Author with the Indian Copyright Act of
1914, as a supplement to the current number.
There is very little to be said about it, as it
practically adopts the Act of 1911. The most
important difference lies in clause 4, Under
this clause, in the ease of works published in
British India, the arrangement with regard to
the rights of translation has been modelled on
the lines of the Berne Convention and the Act
of Paris, but not on the Convention of Berlin.
This arrangement will most probably only
affect those books that are published by natives
in British India and will not make any serious
difference with regard to the works of English
writers. Attention, however, should be drawn
to the fact that Mr. Rudyard Kipling’s first
efforts were published in India prior to publica-
tion in England, and it is possible, therefore,
that in exceptional cases the Act may interfere
with the writings of English authors. —
‘
t
JULY, 1914.]
MECHANICAL CONTRIVANCES AND ORCHESTRAL
ACCOMPANIMENTS.
WE invite the attention of composers to the
case of Chappell v. The Columbia Gramophone
Co., a report of which appears in another
column.
We do not claim to know the motives of
Messrs. Chappell & Co. in taking this action,
but the effect of the judgment delivered will
not, as far as we can see, be to help composers
who are anxious that their works should be
reproduced mechanically.
In effect, it amounts to this, that a composer
may assign his mechanical instrument rights
to the publisher, who may, if he chooses, make
it almost impossible for the mechanical instru-
ment trade to take up the work.
The publisher—if the composer foolishly
allows him to hold the copyright—has only to
refuse to allow the reproducer to make the
manuscript orchestral accompaniment which
is necessary for the manufacture of the record.
We believe that Messrs. Chappell & Co. are
now engaged in the manufacture and sale of
contrivances for the mechanical reproduction
of music, and if they have succeeded by this
action in abolishing the competition of their
rivals, we hope that composers will be wise
enough to see that they get for the transfer
of their rights to Messrs. Chappell something
much more substantial than the fees laid down
im the Act.
Those fees were fixed by the Legislature as
representing what—rightly or wrongly, we
think wrongly—-was regarded as a fair return
from the mechanical instrument trade for the
use of the composer’s work. It must be
remembered, however. that they were not
fixed as a fair return for the ewclusive use by
any one firm.
——————_+ —<—_+—_____—_
THE LAST OF THE PRE-RAPHAELITES,
THEODORE WATTS-DUNTON, 1832—1914.
N the death of Mr. Theodore Watts-
I Dunton, on June 6, the literary world
loses one of its greatest veterans and the
Society of Authors one of its oldest members.
In his study, where his old friend and secre-
tary, Mr. Thomas Hake, had left him for a few
minutes, he passed awayas hewould most, prob-
ably have wished to pass away, In the midst of
the work to which he was so devoted. His hours
of labour would have shamed a man of half his
eighty-two years. From seven in the ee
until nine at night he was always occupied, anc
until quite recently would sometimes accom-
THE AUTHOR.
279:
pany Ms charming and accomplished wit to
T ee nusement in the evening.
ae oe - Ais’ generation 1S perhaps the
, ate that can befall a man; but this
cannot tly be ad of Mr Watton, ho
s ‘ no generation in particular. His
interest in the life of to-day, a life so different
from that of his own youth and early manhood,
was strangely keen and insistent. Sometimes,
in talking of his great contemporaries, Tenny-
son, Meredith, Swinburne, Rossetti, Morris,
Borrow, there would creep into his voice a note
of retrospective sadness ; but it always seemed
poetic rather than personal. It may be said
that he never really grew up, his spirit never’
became tired. His laugh was as youthful as
was the hearty “‘ My dear fellow ” with which
he would address his friends. Good work he:
recognised and praised, no matter from what
source it came, and his punctilious courtesy in
dealing with a mass of letters from unknown
correspondents savoured of another century.
He possessed the true gift of conversation.
Every subject seemed to develop quite natur-
ally out of what had preceded it, and although
in a single hour he would have passed from
Aischylus and Sophocles to twentieth century
publishers, there was never any break or
suspicion of a change of subject.
Seated on the sofa in the middle of his study,
with reminders of his friendship with Rossetti
gazing down upon him from the walls, Mr.
Watts-Dunton received his friends with that
almost boyish cordiality that so endeared him
to their hearts. If they had been doing any-
thing of which the world knew, he would be
sure to have heard all about it. His mind
was as alert as his memory was remarkable ;
but above all he was possessed of a very real
charm of personality, a charm that did not
-anish before the on-coming years.
In literature and criticism he stood for
enthusiasm. His gospel as a critic was to seek
for the good that is to be found in most things,
literary or otherwise, and, what is perhaps most
remarkable in one who has known so many
great men, he never seemed to draw invidious
comparisons between the writers and. artists.
of to-day and those of the great Victorian era.
In addition to a number of articles hidden
away In periodicals, his long life produced a
romance (“Aylwin”), a sheaf of poems
(‘* The Coming of Love’’), two of the most
stimulating critical pronouncements eet ne
century has produced ( Poetry ” and e
Renascence of Wonder ”), and, what he per-
haps valued most of all, a host of friends ; for
he had a great capacity for friendship.
bo
80
I remember one day, when we were discuss-
wno his two essays © Poetry — and ‘ The
Renascence of Wonder,” I ventured to remark
that I considered the last-named in a way
the more remarkable of the two as
containing his own particular _battle-cry.
He was obviously pleased, and told me how
deplorably it had been cut down because only
a certain space had been left for it in “C hambers s
Cyclopedia of English Literature,” and how
prodigiously it had grown under his hand.
‘At the time of his death he was engaged upon
restoring the passages that he had been com-
pelled to sacrifice. =
During the last few weeks of his life he spoke
frequently in a way that seems now to suggest
that he saw the end was not far off. His
keenness for work was not so great, and he
slept a great deal. A tired body was gradually
quenching an almost indomitable spirit, which
one afternoon quietly slipped away, leaving
him to all appearances peacefully sleeping.
HERBERT JENKINS.
————_ + —~<—_+—_____—_-
UNITED STATES NOTES.
T the meeting of the American Library
Association in Washington, at the
end of May, the president, Mr. KE. H.
Anderson, vigorously denounced the shame of
the book tariff—‘‘ an imposition,” comments
the Dial, ‘‘ endured by only two of the great
Powers of the world, our own country and
Russia.”’ The Dial continues : ‘‘ Of course it
is an old story, but it is likely to be considerably
older before the disgrace is wiped out and we
are able to hold up our heads and claim a place
among the nations enlightened enough not to
lay a penalty on the acquisition of knowledge.
Fifty per cent. higher now than before the
Civil War, the present duty on imported
English books fails ridiculously to yield any
considerable revenue or to foster home industry
in the manufacture of books. . . . If, then, as
a tariff for revenue, the book tax yields only
a negligible return compared with our total
revenue, and if as a protective tariff it fails
to protect or, at most, furnishes ignoble shelter
to an unworthy few, why suffer it to remain
on the statute book ? ”
Why, indeed ? is a question which occurs to
-others besides Americans.
My list of new publications is somewhat
shorter than usual at this time of year, owing
to the late publication of the last instalment
of these notes. Fiction, which keeps up its
THE AUTHOR.
JULY, 1914]
numbers, may be left to the end. Biography
makes but a small show. Will Levington
Comfort calls his reminiscences ‘* Midstream.”
To the American Crisis Biographies the newest
addition is Daniel Webster, by F. A. Ogg.
Among _ historical works are * California
under Spain and Mexico,” by Irving Richman ;
“The Mexican People: Their Struggle for
Freedom,” by L. Gutierrez de Lara and
Edgecumb Pinchon: “Old Panama and
Castilla del Oro,”’ by Dr. C. L. G. Anderson ;
“The Negro in American History,” by J. W.
Cromwell; ‘‘ The Rise of the American People,”
by R. G. Usher; and “ The Reformation in
Germany,” by Professor H. C. Vedder. On
the borders of this class is ‘* The History of the
Soldiers’ Home in Washington,” by E. A.
Lawton.
‘* A History of Education in Modern Times ”
is by Professor F. P. Groves, of Pennsylvania
University. Another educational work is
‘“ The Backward Child,’ by Barbara Morgan.
C. and M. Beard write of ‘ American
Citizenship ’’?; W. E. Walling of * Progressiv-
ism—and After’; and E. D. Kenna of * Rail-
way Misrule.”
Travel and open air books include “ India,
Malaysia, and the Philippines,” by Bishop
W. F. Oldham ; ‘‘ Roughing It De Luxe,’ by
Irwin Cobb ; “‘ Europe after 8.15,” by H. L.
Mencken, G. J. Nathan, and W. H. Wright ;
‘“‘ Life Histories of African Game Animals,” by
Theodore Roosevelt and Edmund Heller ;
‘* A Stepdaughter of the Prairies,” by Margaret
Lynn; and ‘“‘ The Commuter’s Garden,” by
W. B. Hayward.
‘** Stellar Motions” is by Professor W. W.
Campbell, of Lick Observatory. A philoso-
phical work is ‘‘ The Ego and its Place in the
World,” by C. G. Shaw. The same classifica-
tion can hardly extend to ‘‘ The Message of New
Thought,”’ by Abel L. Allen, or ‘‘ Letters from
a Living Dead Man,” by Elsa Barker. “ The
Seen and the Unseen at Stratford-on-Avon,”
by W. D. Howells, is, of course, already
familiar to English readers. Perhaps the
most notable book of essays is ‘“* The Lawyer in
Literature,” by Judge J. M. Gest.
And now the plunge has to be made into
the novel class. This time, unlike the last
occasion that these notes were written, women
writers are not very numerous. Of those
who sign with feminine names I notice Mary
Vorse, author of ‘‘ The Heart’s Country” ;
Alice D. Miller, “‘ Things’?; Marian Keith,
‘“The End of the Rainbow ”’; Dorothy Dix,
‘“‘Mirandy ’’; Margaret Gerry, ‘“ The Masks
of Love”; Lucy Pratt, ‘ Ezekiel Expands ” ;
JULY, 1914.]
and Daisy Rhodes Campbell, “ The Fiddling
Girl.” ““Vandover and the Brute” is the
name of the curiously recovered novel by
the late Frank Norris, which disappeared
in the San Francisco earthquake. ‘ The
Hills o Hampshite’ is by W. M. Cressy
and Clarence Harvey; “ Cordelia Blossom ”’
by G. R. Chester; ~ The Boomers,’ by Roy
Norton ; “Glory of the Pines,” by Ww OC.
Covert ; “ Under Handi aps,” by J. Gregory ;
_ New Men for Old,” by HY. O’Bricn ;
The Professor and the Petticoat, by A. S.
Johnson ; ‘‘ Horacio,’ by R. W. Fenn 7“ The
Salamander,” by Owen Johnson ; “ Henry of
Navarre, Ohio,” by Holworthy Hall ; “The
Quarterbreed,”’ by BR. A. Bennet ; “ The
Green Seal,” by C. E. Walk; “Idle Wives,”
by James Oppenheim ; ‘** At Bay,” by George
Scarborough ; “‘ Captain Dan Richards,” by
E. T. Tomlinson; ‘On with Torchy,” by
Sewell Ford ; ‘“‘ Sweetapple Cove,”’ by G. van
Schaick; ‘The Marryers,” by Irving
Bacheller; ‘“‘ Keeping up Appearance,” by
M. Foster: and “ With the Best Intention,”
by Bruno Lessing.
The literary obituary of the past few months
is not very large. On April 2 died E. P.
Morton, a prominent student of English verse,
and a. professor at several American universities
in turn. On April 7 Cy Warman, often styled
“the poet of the Rockies,” died in Chicago.
He wrote. besides verse, many railroad stories
and edited more than one paper. The death
occurred at Capri on April 12 of Thomas
Spencer Jerome, known among scholars for his
studies of the Roman Empire, which led him
to take up his permanent residence on the
island where he died. On May 21 died Rudolf
Tombo, junior, associate professor of Germanic
languages at Columbia University, where he
was also registrar and editor of the quarterly
magazine. On May 26 died Jacob A. Riis, a
Dane bv birth, but since 1870 an American.
He wrote extensively about slum life in the
States and was one of ex-President Roosevelt's
en hers.
oe Pup WALSH.
—+— +
ARE NOVELS TOO CHEAP ?
— a1
DO not believe in the advisability of placing
artificial restrictions on the price of any
commodity. I believe that the price
arrived at by the haggling of the market, the
point of agreement between producer and con-
sumer reached by free bargaining, 15, if not
THE AUTHOR.
281
ally fair and just than that which
could be arrived at by any other means.
If instead of this natural price you want
something more ideally fair, you are faced by
two great difficulties. : ;
rhe first is that you have to find out who
are the proper people to decide it. The second
is that you have to find out how the decision
is to be made practical and effective.
If the price is decided by a representative
body of producers, it is almost certain, such
is human nature, to be a little unfair to the
consumers. If it is decided by a representa-
tive body of consumers it is likely to be a little
unfair to the producer. If you want it decided
by a body equally representative of producers
and consumers—well! how are you going to
find that body, and to make it act in accord,
and how are you going to make its decision
effective ?
That is the second difficulty. The arti-
ficially arranged price has to be maintained by
artificial means. It can be done when the
producers are sufficiently united and have
fixed on a price that is not quite fair to the
consumer. For example, the lawyer can
charge 6s. 8d. for an opinion that from a
purely outside point of view is often worth only
1s., and the doctor can charge 8s. 6d. for advice
and medicine that in many cases the chemist
would give for the odd 6d.
In the same way the consumers, when of
one mind, can put an end to a high-priced
product, as we have practically put an end
to the sale of English cheese because its price
is higher than that of the colonial article.
Now we novelists have not the doctors’
or the lawyers’ power of making a close
preserve of our business because, while nobody
would think of entrusting his legal interests
or his health to a tyro who had given a few
months only to the study of law or of medicine,
quite a large proportion of the reading public
show now and then that they prefer a school-
girl’s maiden effort to the latest expression of
a master novelist’s art.
If all the existing novelists and all the
existing publishers agreed together that no
novel should be issued at less than 6s. it
would merely throw open a rich field for the
new novelists and the new publishers who
would hasten forward to supply the undoubted
demand for cheaper editions. If all the
booksellers joined in the 6s. Meese their
place would quickly be taken by oe ee
agents and the drapers. The covena®.
would find themselves in the wilderness,
—_—_—a4
282
whilst the competition of the
neweomers and
of supply and demand would
the natural play ya
de the minimum price of the
continue to deci
novel. ae
For this reason I look upon any discussion
as to what the minimum price ought to be, and
whether novelists should not combine to fix
and maintain that minimum, as purely
academic.
But if no artificial restriction can be placed
on the minimum price at which novels should
be sold, if it is left to the free play of demand
and supply to decide what is the lowest price
at which a new or comparatively new novel
shall be placed on the market, IT think no
artificial restriction should be placed on the
maximum price at which such novels should be
sold.
And when we come to the maximum price,
we are on very different ground. We are no
longer considering the theoretical advisability
of an artificial restriction on prices which in
practice is impossible, we are considering an
artificial restriction which is in force; and it
is of the utmost practical pertinence to ask
whether the artificial restriction is a fair thing
and, if not, whether there are any means by
which it can be combated and removed.
We are not asking whether as novelists and
publishers we should be justified in combining
to maintain a certain arbitrary price for the
novel; we are asking whether we ought to
allow a combination of consumers to rob us
of the advantages of an open market while
they do nothing to protect us from its dis-
advantages.
That the 6s. decided upon by an adamant
tule as the maximum price at which a new
novel can be placed on the market is absolutely
arbitrary and artificial is, of course, proved
by the history of its inauguration. It was
not arrived at by any of that gradual bargain-
ing which enables buyer and seller to discover
the price which is fair to both. In a day
the price of the new novel was changed from
a guinea and a half to 6s., and I challenge
any individual concerned in that abrupt
change to give me any reason why the price
should not have been 1s. more or 1s. less.
Even if, by some miraculous means, the
librarians, booksellers, publishers and authors
who agreed on the sensational change did
arrive at the precise price that was equally
fair and advantageous to every interest con-
cerned at the moment, twenty years have
passed, and the price that was fair to every-
body then must surely have been affected by
the changing conditions which have given
THE AUTHOR.
[JULY, 1914.
us the flood of 6d. paperbacks and the nicely
bound and printed comparatively new novel
for 7d. As the value of the well-bound and
well-printed novel which one can place on
one’s bookshelf decreases so the one advan-
tage which the new novel has over these chaste
and cheap reprints, its newness, calls more
and more for proper recognition and valua-
tion.
Twenty years ago the market value of
newness was emphasised almost sensationally.
If you wanted the latest novel of Ouida or
Miss Braddon as soon as it was published,
you had to pay a guinea and a half, and got
the story in three volumes. If you were
content to wait a little while you could get it
in coloured boards for 2s.
That may have been an over-emphasis of
the value of newness, and the three volumes
were certainly very inconvenient for the lending
libraries to handle, but I imagine that it was
nearer the mark in its appreciation of the
value that readers place upon newness than
the present system, which fixes the value of
the absolutely new novel at a price so low that
it does not allow the actual valuations of the
reading public sufficient margin in which to
express itself. If, for instance, you can obtain
a new novel of Mr. Wells’ straight from his
brain, when everybody is discussing it, for
4s. 6d., then 44d. is quite enough to pay merely
for the pleasure of reading it in paper backs
when the excitement and novelty are over
and the discussion has ended, and 7d. is quite
enough to pay to put it on one’s shelves.
The prices are all dependent upon each other,
and if at any point the delicate process of
finding out true values by experiment in a
free market is obstructed by an arbitrary and
artificial restriction, the effect of that restric-
tion will be felt throughout the whole process.
Because the maximum price of the new
novel has not been arrived at by the haggling
of the market and does not represent any
natural value discovered by the free play of
supply and demand, that artificial and arbitrary
price stands as the dominant factor affecting
supply and demand.
Because the maximum price is too small to
give the publisher much return on the normal
sale of a normal novel the publisher puts out
as many books as possible in order to make a
fair income out of many small profits, and I
think he gives much less individual care to
each novel than a publisher used to do under
the old system.
Similarly the novelist is urged by the small-
ness of his return to increase his output,
-and as it easily m
JULY, 1914.]
especially when he realises that, having onee
obtained his entrée to the circulating libraries,
the quality of his work matters cee ae
and that his sales are unaffected by the praisc
or blame of the reviewers. This tendency is
so marked that the librarics in their own defence
have had to place an artificial restriction on
the supply.
And as the 6s. maximum has inereased the
supply of novels while lowering their quality,
so it has increased the demand while making
that demand less discriminating.
In the days of the high-priced new novel,
when a subscription to a good library cost
something, readers took some care in their
selection. They read and were influenced by
reviews. Now the subscription rate is so
small that people of quite moderate means will
save themselves the trouble by taking half
a dozen books at a time, more or less at random.
It is probable that out of the six a reader will
find only one to read and enjoy and will merely
glance at the others, but the transaction
gives no indication of the reader’s preference
to the librarian, who is supposed to gauge
the taste of his patrons from their selections
and to make his purchases accordingly.
Considering the important position which the
circulating library holds as a medium between
writer and reader, it would appear to me lacking
in sensitiveness—economical sensitiveness— to
the taste of its readers. And this through
a failure to graduate its subscription rate.
Some of the libraries have, I know, two
classes of subscription, the cheaper entitling
one to borrow books six or twelve months old.
But the differentiation is clumsily inadequate.
The value which many novel readers place upon
freshness is almost equal to that of the news-
paper reader and the magazine Yr sader, who
would rather pay 6d. for a current copy than
1d. for a copy a week old.
It is possible that the price which an active
novel reader would give to read a novel
which is being considerably discussed in the
first week of its appearance is double that which
he would be prepared to pay for the reading
a week later. It is certain in the case of a
great many readers that the value has gone
down to half after the first month.
And this quick change of actual value Is
in no way represented by change of prices,
as it would be in a free and sensitive market.
ight be if we were not under
cadening rule of uniformity
both as to the price at which new novels shall
be sold and the price at which they shall be
lent. No subscriber to a circulating library,
the thrall of this d
THE AUTHOR.
283
ae
week of the time whe i 2 7 ee
_ OF ( en he wants it. In the
provincial libraries at least, when one wants a
new book at all in demand, one puts one’s
name down on a list and waits until the other
readers who put their names down first have
taken their varying periods for perusing the
one or two copics bought to supply their needs.
One may have to wait several weeks for one’s
turn.
Now in a ease like this, where the demand is
greater than the supply, the economic way of
adjusting them is to make a competitive price.
The limited supply is doled out to the demanders
not in the order of their foresight or agility
in getting their names down, but in the order
of their eagerness as that eagerness is shown by
the price they are prepared to pay for its satis-
faction. Personally I should be prepared in
the case of many novels to pay considerably
more than the small fee demanded by my
provincial library for the privilege of reading
a book, if I could have the greater privilege
of having the first dip at it, and it seems to me
an economical blunder on the part of the
libraries that there is no method arranged by
which we could mutually oblige each other.
It is as clumsy as if the manager of a theatre
charged the same price for every seat and left
the boxes and the stalls to be seized by the
first-comers.
But it is the natural result of a system which
while it gives full play to competition in cheap-
jal restriction on any
ness places an artific
by practice the actual
attempt to discover
value of newness.
I think myself that
combination which,
the iron edict of a strong
while it has no power
and makes no attempt to put a bar on the
too-cheap novel insists on a maximum that
has no logical relationship cither with supply
or demand, is at the root of all the evils of
which novelists, publishers and booksellers, as
well as the librarians themselves, complain
of to-day, and ought to be broken down if
the trade in novels is to remain anything more
than an unhealthy gamble for big sales.
. HerBertT FLOWERDEW.-
ao
MATILDE SERAO.
—— 1
ATILDE SERAO’S father — was. the
editor of the Giornale di Napoli, and
in consequence she was brought up
in a literary atmosphere. It would have been
an easy matter for her to have contributed to
284
her father’s paper, but she preferred to find
recognition on the merits of her writings alone,
and at the age of seventeen, under the pseu-
donyme of “‘ Tuffolina,” she sent out a sketch,
“ Fanciullo biondo ” (fair youth), which found
a ready publisher; this encouraged her to
write another, “ Il Cristo d’Altamura,” which
was immediately accepted for publication, the
editor writing to ask her for a story at her
own fee. She wrote it in two days, and asked
30 lire (about 24s.) for it, which she received
by return of post. So she began. Soon all
local papers wanted contributions from her
able pen, and she wrote many articles and
stories, which were subsequently collected in
book form, her earliest efforts appearing in a
little volume called: ‘‘ Dal vero.” She also
helped her father in his editorial work until
she went to Rome in 1885 and married Edoardo
Searfoglio, and published with him a paper
called Il Corriere di Roma, so becoming a
journalist as well as an author. She wrote so
much, her books were reprinted so often, that
it is difficult to get a complete and chrono-
logical list of her works ; the following are the
most important :—
= Opale” (a novel) (1878), ~ Leggende
napoletane ” (1881), “‘ Piccole anime ”’ (1883),
“T] ventre di Napoli” (1884), “La virti. di
Ceechina”’ (1884), “‘ Il romanzo della Fan-
ciulla ” (1885), ‘‘ La conquista di Roma”
(1885), “Pagina azzurra”’ (1885), “ Vita e
avventure di Riccardo Joanna ” (1887), “ Fior
di Passione’”’ (tales) (1888), “ All’erta senti-
nella!” **Terno secco,” “Trenta per cento,”
ete. (stories) (1889), ‘‘ Addio amore !”’ (1890),
“Tl paese di Cuccagna’’ (1891), ‘‘ Piccolo
Romanzo’”’ (1891), ‘‘ Fantasia”’ (1892),
* Castigo ’’ (1893), ‘Gli amanti’’ (pastels)
(1894), “ Le amanti ”’ (stories) (1894), “ L’in-
‘differente *” (1896), “‘ Donna Paola’’ (1897),
“ Storia di una Monaca ”’ (1898), ‘‘ Nel paese
‘di Gesu’”’(1900),**Animasemplice,” ‘ Ballerina”
(1901), “‘Lettere d’amore”’ (1901), ‘‘Madonna e
Santi nella fede e nella vita ”’ (1902), ‘ Storia
di due anime ” (1904), “* Dal vero ” (sketches)
(1905), “Dopo il perdono”’ (1906), “‘ Ster-
minator Vesevo ”’ (1906), ‘‘ Cristina,” ‘ Sacri-
legio ” (two stories) (1908), ‘* Cuore Infermo ”’
(1908), San Gennaro nella leggenda e nella
vita ’* (1909), ‘* Capelli di Sansone” (1909),
Pellegrino appassionato ” (1911), ‘‘ Evviva
la vita !’ (1911), “ Evviva la guerra ! ”’ (1912),
La mano tagliata *» (1912).
ie ee ay have coe published in Eng-
- okid ae Love! (translated by Mrs.
eo leinemann (1894); ‘* The Land
“ockayne,”’ Heinemann (1901) ; “ Fantasy ”’
THE AUTHOR.
[JULY, 1914.
(translated by H. Harland and P. Sylvester),
Heinemann; ‘‘The Ballet Dancer” and
“On Guard,” Heinemann (1901); “ The
Conquest of Rome,’’? Heinemann (1902); ** In
the Country of Jesus ” (translated by Richard
Davey), Heinemann (1905) ; ** After the
Pardon,” Eveleigh Nash (1909) ; ‘‘ The Desire
of Life”? (translated by William Collinge),
Stanley Paul & Co. (1911); “ Dopo il Perdono ”
was written in dramatic form in collaboration
with Pierre Decourcelle and acted as a four-act
drama in Naples in 1908. Matilde Serao’s
novels have been translated into many foreign
languages, and she is the foremost woman
writer in Italy to-day, yet I do not think she
is sufficiently known, or widely read, in
England; maybe the choice of the works which
have been so far translated are not those which
show her insight into human passions to the
best advantage. In Italy, as a writer, she does
not excel for style or choice of subject, she does
not use beautiful language, nor does she
display great originality in her plots or dénoue-
ments; but she is intimate with “love” in
all its phases, in all its shades, in all its triumph,
but, most of all, in all its tragedy. Most of her
novels are enlarged snapshots of life with
variations on the love theme, which runs
through all her books, though the “ Conquest
of Rome” is a tale of parliamentary life, the
““ Avventure di Riccardo Joanna” is meant
as a warning to would-be writers as to thorny
path which awaits aspirants of the pen, tl
paese della Cuceagna” is a romance of Nea-
politan life, and the “Paese di Gesu” is a book
of reminiscences of a trip to Palestine, as
‘“* Evviva la guerra!’ is an echo of the Italian
war in Tripoli, and ‘‘ Sterminator Vesevo ” is
a diary of the eruption of Vesuvius in April,
1906.
Though Matilde Serao has written many and
lengthy volumes, I am going to make no
apology for dwelling on three tiny books of
hers which are not known generally, on account
of the fact that, as yet, they have not been
translated into English; they are: “Gli
amanti,” ‘‘ Le amanti,” ‘‘ Lettere d’amore ”—
Lovers (masculine), Beloved (feminine), and
Love letters. Matilde Serao describes every
form of love, but her own conviction is that
in love there are more sufferers than sinners,
more sorrow than joy; yet she believes the
world is well lost for the sake of love. She
goes even further in her analysis of this
absorbing human passion, and compares it to
a devouring flame which gives no respite, which
knows no mercy, which does not reason and
which cannot be conquered, for even virtueis
JULY, 1914.]
powerless against the devastating power of
passionate love. In “Gli amanti” we en-
counter the various forms of love, we are led
into the intimacy of many hearts and are
shown how the various souls of lovers feel
love ; in this little book some love sensually,
others idealise passion, some arc true till death
and even die for their love, others only find
pleasure in change; some love with their
heads, some with their hearts, others merely
with their senses ; but they are all true to life
not overdrawn nor toned down.
‘** Le amanti ”’ introduces us to various types
of women in love. From these sketches I will
quote a dialogue the directness of which is
most appealing. It is summer, and a moon-
light night, Massimo makes love to Luisa
because he feels sentimental, and she falls
desperately in love with him. He is her first
love, but has to tell her he is in love with
another, and this is what they say :—
‘“* Do you love her very much ? ”
‘“*T love her. When one loves, one loves-
“* Have you loved her a long time ? ”
*“ A very long time.”
** Since when ? ”’
** Since always.”
‘“* Have you never loved any other ?’
“No—never. There is a love that admits
of no other.”
Yet the woman whom he loved did not love
him, as the following dialogue shows :—
‘** Does she love you? ”
“No.”
‘6
2
She does not love you?’
No, not at all.”
“‘ Did she ever love you?”
Never.”
“Have you any hope?”
None.”’
“‘ Why does she not love you? ”
‘Because there are some people who never
do love.”
He knows he is only a toy, a slave, yet he
cannot tear himself away for—such is love.
“Tettere di amore” (Love letters) has a
sub-title which explains their object, : I
perché della morte,” or ‘“ Why love dies.’
Matilde Serao thinks that to love completely
it is necessary to love with heart, senses,
nerves, and sentiments, therefore to logically
love is to give oneself up entirely and_be
consumed by an overwhelming passion. Yet
to do this is inevitably to give love its death-
blow, for, having reached ecstasy, one can get
no higher, nor stand still, therefore only by an
eternal parting can one prevent love's dissolu-
tion. Matilde Scrao thinks that it is better to
°
‘
.
THE AUTHOR.
285
suffer cruelly through the disappearance of the
beloved than to be tortured by lies and secret
and vulgar betrayals of a dead love that vainly
tries to keep alive only for pity’s sake. It is
best for lovers to separate, to end the romance
whilst still the rapture lasts, so that at least
remembrance may survive of glorious days
gone by, undimmed by the tepidity of the
penultimate or the icy coldness of the last days.
_ Matilde Serao gives us lovers and loves that
linger on in our mind, and make us think ;
they are all so real, we get to know them so:
intimately that our very heart beats with
theirs. Matilde Serao should be read if only
for this, that she has the gift of creating
visions. On the tree of Love many flowers
blossom, some sweetly perfumed, others scent-
less, some brilliantly hued, others almost
colourless, some exotic and intoxicating, others.
appealing by their serene simplicity. In our
hours of rest the flowers of remembrance
blossom, and we can see again the faces we
once loved, the radiant sunshine that long ago
did play on our well-beloved’s tresses entwining
them round our hearts, or, maybe, some
cherished name written in letters of gold on a
cloudless sky. The heritage of past raptures
is an after-glow which warms the most lonely,
the darkest places of our soul shedding a great
light—for this, in the heyday of our lives, we
should cultivate Love.
E. S. Romero-TopEsco.
> oe
MEMORIES OF MY YOUTH, 4844—1865.*
HERE are few literary forms in reality
more difficult than autobiography. This
is not the opinion of the generality of
people, and the familiar assertion that every
man has one book in him is usually understood
to mean that the book in question would be
a record of the writer’s personal feelings and
experiences. In fact, however, that would be
very seldom likely to be the case ; for any able
representation of a man’s self invariably
presents formidable problems, and to arrive at
any becoming solution of them demands no
ordinary skill. For this reason Dr. Putnam's.
“Memories of my Youth” deserves high
praise, and should mect with a wide welcome
as a work in which the serious difficulties of
autobiography have been most happily sur-
2 eS
* By George Haven Putnam. G. Putnam’s Sons, New
York and London. 1914.
284
her father’s paper, but she preferred to find
recognition on the merits of her writings alone,
and at the age of seventeen, under the pseu-
donvme of “‘ Tuffolina,” she sent out a sketch,
“ Fanciullo biondo ”’ (fair youth), which found
a ready publisher ; this encouraged her to
write another, “ Il Cristo d’Altamura,”’ which
was immediately accepted for publication, the
editor writing to ask her for a story at her
own fee. She wrote it in two days, and asked
30 lire (about 24s.) for it, which she received
by return of post. So she began. Soon all
local papers wanted contributions from her
able pen, and she wrote many articles and
stories, which were subsequently collected in
book form, her earliest efforts appearing in a
little volume called: ‘Dal vero.” She also
helped her father in his editorial work until
she went to Rome in 1885 and married Edoardo
Scarfoglio, and published with him a paper
ealled Il Corriere di Roma, so becoming a
journalist as well as an author. She wrote so
much, her books were reprinted so often, that
it is difficult to get a complete and chrono-
logical list of her works ; the following are the
most important :—
‘““Opale”? (a novel) (1878), “‘ Leggende
napoletane ” (1881), “ Piccole anime ” (1883),
“ I] ventre di Napoli” (1884), “La virti di
Cecchina ”’ (1884), ‘Il romanzo della Fan-
ciulla’”’? (1885), ‘‘ La conquista di Roma”
(1885), ‘Pagina azzurra’’ (1885), “ Vita e
avventure di Riccardo Joanna ”’ (1887), ** Fior
di Passione ’’ (tales) (1888), ‘‘ All’erta senti-
nella !’’ **Terno secco,”’ “Trenta per cento,”
ete. (stories) (1889), ““ Addio amore !” (1890),
“Tl paese di Cuccagna’’ (1891), ‘* Piccolo
Romanzo”’ (1891), “ Fantasia” (1892),
“ Castigo” (1893), “Gli amanti’”’ (pastels)
(1894), “ Le amanti ” (stories) (1894), “ L’in-
diferente ” (1896), “ Donna Paola” (1897),
“ Storia di una Monaca ”’ (1898), “ Nel paese
di Gesu : (1900),**Animasemplice,” ‘ Ballerina”
(1901), ““Lettere d’amore”’ (1901), ‘‘Madonna e
Santi nella fede e nella vita ”’ (1902), ‘‘ Storia
di due anime ”’ (1904), ‘‘ Dal vero ” (sketches)
(1905), “Dopo il perdono” (1906), ‘‘ Ster-
minator Vesevo ” (1906), ‘‘ Cristina,’ ‘ Sacri-
legio ”’ (two stories) (1908), ‘‘ Cuore Infermo ”
(1908), San Gennaro nella leggenda e nella
vita ” (1909), ‘Capelli di Sansone *’ (1909),
“ Pellegrino appassionato ” (1911), “ Evviva
la vita !”” (1911), ‘‘ Evviva la guerra ! ’’ (1912)
La mano tagliata ” (1912).
ce oe Sigh published in Eng-
Hi. Harland) Hei a ao 2
Ca einemann (1894); ‘‘ The Land
ayne,’’ Heinemann (1901) ; ‘‘ Fantasy ”’
3
THE AUTHOR.
[JULY, 1914.
(translated by H. Harland and P. Sylvester),
Heinemann; ‘‘The Ballet Dancer” and
“On Guard,’ Heinemann (1901); ‘ The
Conquest of Rome,”? Heinemann (1902); “ In
the Country of Jesus ” (translated by Richard
Davey), Heinemann (1905); “After the
Pardon,” Eveleigh Nash (1909) ; “* The Desire
of Life’ (translated by William Collinge),
Stanley Paul & Co. (1911); ** Dopo il Perdono ”
was written in dramatic form in collaboration
with Pierre Decourcelle and acted as a four-act
drama in Naples in 1908. Matilde Serao’s
novels have been translated into many foreign
languages, and she is the foremost woman
writer in Italy to-day, yet I do not think she
is sufficiently known, or widely read, in
England; maybe the choice of the works which
have been so far translated are not those which
show her insight into human passions to the
best advantage. In Italy, as a writer, she does
not excel for style or choice of subject, she does
not use beautiful language, nor does she
display great originality in her plots or dénoue-
ments; but she is intimate with “love” in
all its phases, in all its shades, in all its triumph,
but, most of all, in all its tragedy. Most of her
novels are enlarged snapshots of life with
variations on the love theme, which runs
through all her books, though the “* Conquest
of Rome” is a tale of parliamentary life, the
“ Avventure di Riccardo Joanna” is meant
as a warning to would-be writers as to thorny
path which awaits aspirants of the pen, “ Ul
pacse della Cuccagna ” is a romance of Nea-
politan life, and the “Paese di Gesu” is a book
of reminiscences of a trip to Palestine, as
‘“‘ Evviva la guerra!’ is an echo of the Italian
war in Tripoli, and ‘‘ Sterminator Vesevo ” is
a diary of the eruption of Vesuvius in April,
1906.
Though Matilde Serao has written many and
lengthy volumes, I am going to make no
apology for dwelling on three tiny books of
hers which are not known generally, on account
of the fact that, as yet, they have not been
translated into English; they are: “ Ghi
amanti,”’ ‘* Le amanti,”’ ‘‘ Lettere d’amore ”—
Lovers (masculine), Beloved (feminine), and
Love letters. Matilde Serao describes every
form of love, but her own conviction is that
in love there are more sufferers than sinners,
more sorrow than joy; yet she believes the
world is well lost for the sake of love. She
goes even further in her analysis of this
absorbing human passion, and compares it to
a devouring flame which gives no respite, which
knows no merey, which does not reason and
which cannot be conquered, for even virtue+s
JULY, 1914.]
powerless against the devastating power of
passionate love. In ‘Gli amanti” we en-
counter the various forms of love, we are led
into the intimacy of many hearts and are
shown how the various souls of lovers feel
love ; in this little book some love sensually.
others idealise passion, some are true till death
and even die for their love, others only find
pleasure in change; some love with their
heads, some with their hearts, others merely
with their senses ; but they are all true to life
not overdrawn nor toned down. :
** Le amanti ”’ introduces us to various types
of women in love. From these sketches I will
quote a dialogue the directness of which is
most appealing. It is summer, and a moon-
light night, Massimo makes love to Luisa
because he feels sentimental, and she falls
desperately in love with him. He is her first
love, but has to tell her he is in love with
another, and this is what they say :—
** Do you love her very much ? ”’
“*Tlove her. When one loves, one loves
‘** Have you loved her a long time ?”
** A very long time.”
“* Since when ? ”’
“* Since always.”’
“* Have you never loved any other ?
“ No—never. There is a love that admits
of no other.”
Yet the woman whom he loved did not love
him, as the following dialogue shows :—
** Does she love you? ”
ee No.”’
“* She does not love you ?’
*“ No, not at all.”
“‘ Did she ever love you ?”’
Never.”’
“* Have you any hope ?’
** None.”’
‘““ Why does she not love you?”
“‘ Because there are some people who never
do love.”
He knows he is only a toy, a slave, yet he
cannot tear himself away for—such is love.
‘““Tettere di amore” (Love letters) has a
sub-title which explains their object, . I
perché della morte,”” or ““Why love dies.’
Matilde Serao thinks that to love completely
it is necessary to love with heart, senses,
nerves, and sentiments, therefore to logically
love is to give oneself up entirely and be
consumed by an overwhelming passion. Yet
to do this is inevitably to give love its death-
blow, for, having reached ecstasy, one can get
no higher, nor stand still, therefore only by an
eternal parting can one prevent love s dissolu-
tion. Matilde Serao thinks that it 1s better to
9
.
oe
THE AUTHOR.
285
suffer cruelly through the disappearance of the
beloved than to be tortured by lies and secret
and vulgar betrayals of a dead love that vainly
tries to keep alive only for pity’s sake. It is
best for lovers to separate, to end the romance
whilst still the rapture lasts, so that at least
remembrance may survive of glorious days
gone by, undimmed by the tepidity of the
penultimate or the icy coldness of the last days.
_ Matilde Serao gives us lovers and loves that
linger on in our mind, and make us think ;
they are all so real, we get to know them so
intimately that our very heart beats with
theirs. Matilde Serao should be read if only
for this, that she has the gift of creating
visions. On the tree of Love many flowers
blossom, some sweetly perfumed, others seent-
less, some brilliantly hued, others almost
colourless, some exotic and intoxicating, others:
appealing by their serene simplicity. In our
hours of rest the flowers of remembrance
blossom, and we can see again the faces we
once loved, the radiant sunshine that long ago
did play on our well-beloved’s tresses entwining
them round our hearts, or, maybe, some
cherished name written in letters of gold on a
cloudless sky. The heritage of past raptures
is an after-glow which warms the most lonely,
the darkest places of our soul shedding a great
light—for this, in the heyday of our lives, we
should cultivate Love.
E. S. Romero-TopEsco.
——_
MEMORIES OF MY YOUTH, 1844—1865.*
—
HERE are few literary forms in reality
more difficult than autobiography. This
is not the opinion of the generality of
people, and the familiar assertion that every
man has one book in him is usually understood
to mean that the book in question would be
a record of the writer’s personal feelings and
experiences. In fact, however, that would be:
very seldom likely to be the case ; for any able
representation of a man’s self invariably
presents formidable problems, and to arrive at
any becoming solution of them demands no
ordinary skill. For this reason Dr. Putnam's
“Memories of my Youth” deserves high
praise, and should meet with a wide welcome
as a work in which the serious difficulties of
autobiography have been most happily sur-
Ce ee
* By George Haven Putnam. G. Putnam’s Sons, New
York and London. 1914.
286
mounted. Whilst the book is essentially
autobiographical, its varied interests are very
many, and will command the attention of
numerous readers besides those actually and
principally attracted by the story—a_ vivid
one—of the earlier years of the writer's life.
Ultimately it seems that the work will take
the position of a middle volume of three,
whereof the first will be Dr. Putnam's memoirs
of his father (“‘ A Memoir of George Palmer
Putnam”), and the third Dr. Putnam's
promised ‘* Memoirs ofa Publisher.” :
The present work is a record of Dr. Putnam's
life from the date of his earliest recollections
until the close of the Civil War into which the
United States were plunged by differences of
opinion about slavery. About one half of the
book is devoted to the earlier years, the
author’s sojourn in England in 1844, 1851 and
1860, and his experiences as a student at Paris,
Berlin, and Gottingen ; and about one half to
the period of his service in the Civil War from
September, 1862, to September, 1865. Those
whose memories can extend to the earlier
years of the narrative will, as they read, find
long-ago recollections awakened by Dr. Put-
nam’s allusions to such subjects as the Bloomer
Movement, the Chartists, strange opinions
regarding the possibilities of steamships and
railways, the estimation in which the citizens
of the United States were held in England
sixty years ago; and not a few similar things
that will recall impressions of years now—
alas!—far away. The appeal of these pages of
the work to the constantly diminishing few to
whom they can appeal is so strong that it may
be doubted whether they will read with equal
interest any other part of the volume. Those,
however, will be certainly more numerous who
will be attracted by the pages next following,
recording student’s experiences of a wide and
varied kind. Of the latter half of the book the
interest is mainly historical ; and the historical
matter here contained will have an indelible
interest, as that contemporary evidence of
an. eye-witness which is the virgin gold of
history. Dr. Putnam seems to think that
from the purely intellectual point of view he
was by no means altogether a gainer by his
experiences in the Civil War. ‘I had lost,”’
he writes, “‘ and was never to be in a position
to regain, the opportunity for a college training.
With a keen interest in literary and scholarly
matters, I was obliged to do my later reading
without the all-important foundation of the
routine knowledge of Latin, of literary history,
a Boneples of science, ete., which any
youngster who has made a fair use of college
THE AUTHOR.
(JULY, 1914.
facilities has ensured.’’ Nor does he consider
these the only losses which his part in the war
entailed. It would have been interesting to
hear his opinion of the actual results of the
settlement after the war, those problems which
the emancipation of a prolific population of a
lower grade of humanity has brought upon the
United States. Of this, however, Dr. Putnam
says nothing. The book contains also, quite
naturally, but few and almost incidental
allusions to the history of the well-known
publishing house with which his name is
associated. For information on that head we
must await the ‘‘ Memoirs of a Publisher,”
which Dr. Putnam promises ; which we most
earnestly hope that he may find himself able
to produce. The appearance of the work will
be awaited with eager expectation.
——___+_>_—____—_-
J. M. SYNGE.*
——~<> +
MAURICE BOURGEOIS has
NY / pro-
A . duced a book upon John Milling-
ton Synge which will, we fancy,
remain for years to come an authoritative work
upon the Irish dramatist’s life and art. There
might, perhaps, with advantage—or, at least,
with added pleasure to the reader—have been
a little more about the personality of the man ;
at the end of the book we feel that we have not
penetrated far into that. There are, however,
personalities which it is very hard to bring out
upon paper, and it may be that Synge’s was
one of these. Anyhow, great praise is due to
M. Bourgeois for this “‘ essay ” (as he modestly
calls it), and not the least for the excellent
English in which it is written. Instinctively
the reader looks for the translator’s name upon
the title-page, so hard is it to realise that it is
not an Englishman who handles the language
so well.
The plan of the book has been to take Synge
in his early life—though he was not yet thirty-
cight when he died—and trace the formative
influences under which he passed, first in
Ireland and then on the Continent of Europe,
particularly in Paris ; next, to see how he came
to write the works which made him famous ;
and, finally, to deal with the works themselves
in detail and to estimate their lasting value.
We do not know that we can do fuller
* “John Millington Synge and the Irish Theatre,” by
Maurice Bourgeois (Constable & Co.).
JULY, 1914.] THE AUTHOR.
justice to the book than by quoting some of
the passages in which the author tries to show
how the subject of his biography developed and
into what he developed. We might quote
much, but will restrict ourselves to four
excerpts.
Synge, says M. Bourgeois, ‘“‘ began by seeking
self-expression in music and painting; but he
found the fine arts too difficult or too vague.
Next he turned to journalistic criticism ; again,
he wandered over Ireland and wrote descriptive
essays ; but these remained external attitudes.
Synge, despite his intuitive methods, saw life
through the often distorting prison of literature,
or pictured his countrymen’s ways and doings
necessarily from without. At last he placed
himself at the core of existence by writing of
himself in a few of his poems; and this inner
mental development, always nearing life as it
advanced, found its natural terminus in the
drama.”
Again, “his dramatic instinct he owed
partly to the racial talent of the Irish, partly
to his continental training, and partly to the
environment which he found in Dublin. Yet,
despite Mr. Yeats’s asseveration that * Mr.
Synge is a young writer and a creation of our
movement,’ he was not a product of the Abbey
Theatre. It did not create him as it created
others; nor did he create it. Personally he
loathed the idea of ‘movements’ and of
‘schools’; and in this, as in other cases, his
individual independence may be safely vindi-
cated.”
It is a mistake to look upon Synge as a
reformer. He revolted against dramatic
didacticism. ‘‘ He compares the drama with
the symphony—an analogy significant in a
musician like him. Synge is not a man with
a message who believes that the theatre 1s a
‘criticism of life. He avowedly repudiates
the ethical or sociological problem-play in-
augurated by ‘ Ibsen and the Germans,’ who,
it may be recalled, had found a few disciples
among the early Abbey Theatre dramatists.
He also, we think, implicitly alludes to the
danger which threatens a self-styled national
theatre: that of confusing the literary with
the political standard, nationalist logic-chop-
ping and propaganda with elgees Se
Synge has no wish to change or re orm al
thing ; his contention 1s that the oe ev =
in a land of controversy like Irelan , mus
remain in its purely artistic sphere. oe
Finally, M. Bourgeois has no or t * ti
Synge’s place in the front rank. re oo.
confidently urged,” he says, tha y ae
name is one of the chosen few that are bounc
287
to survive. Of course his body of work is a
ere ou Sc Synge, after all, may be
grudg palm given to the unique, meteoric
geniuses that do mankind honour. . . . Yet no
one will seriously contest that his writings
bear the hall-mark of a signal literary ability
and of an almost unprecedented temperament.
. . . Whether he is to have actual literary
disciples in English-speaking countries and
elsewhere, the future will decide. As his case
stands, however, with his strong, all-pervading
personal note, he is not likely to find many
imitators. . . . Synge’s mental and artistic
idiosynerasy was almost exclusively his own
while he lived ; now he is dead it will not, in
all probability, become anyone else’s.”’
It should be added that the book has a very
full bibliography and other appendices of
value to the student ; and that it has a number
of illustrations. In a few cases the reproduc-
tion of the photographs is not very good, but
the portraits are mostly excellent.
————_or-e<e—__-
CORRESPONDENCE.
———1+ ——
COLONIAL SALES.
Srr,—As I have just returned from a some-
what prolonged visit to Australia and South
Africa, I found the article headed “ Australian
Book Rights,’ in the June number of The
Author, particularly interesting. While in the
Commonwealth I made a special point of going
through all the principal book shops in such
cities as Melbourne, Sydney, Adelaide, and
Perth. In each one of them I gathered
precisely the same impression : books issued
by English publishing houses were | being
steadily ousted by books published in the
United States.
Now, while it is true, of course, that Austra-
lians are a highly democratic people, and much
hods and progress,
interested in American metl
it is, in my opinion, also true that consideration
of the matter contained in American
English books has but very slightly S05 L
Australia’s exceedingly marked preference fox
the former. It may seem far-fetched, but it
is, I believe, a fact that American pee are
selling mainly upon their covers 11 — .
to-day ; and, by that token, Bnei a
are going unsold, chiefly by reason 0 ” . in
Australian eyes, must be admitted to be their
unattractive get-up-
288
It was pointed out to me by a dozen well-
established booksellers in Australia that
American books were a notable asset in
“ window-dressing’”’; and that the reverse
was true of most books issued by English
publishers. In considering this it would, of
course, be highly absurd for an author to apply
the standards of his own individual taste. He
may very properly prefer a quiet, neat cover
for his book, paper with a dull surface, and no
illustrations or decorations. Quite so, Well,
Australian book buyers, and—mark this point
_—Australian booksellers, prefer gaily coloured
picture covers, highly glazed paper, plentiful
decoration and illustrations, and, it may be,
gilt tops. The American publisher provides
all this, whilst the English publisher in very
many cases prefers to supply in his “ Colonial
edition ’—Australians detest that phrase—a
format somewhat more drab and unexciting
than he uses for his English editions.
In these circumstances I have not the
smallest doubt that if a given novel, say, were
issued in Australia in two forms simultaneously,
one the typical English production, the other
the typical American production, one hundred
copies of the latter would be sold for every
single copy sold of the former. The one
would be prominently displayed; the other,
if stocked at all, hidden away on a top shelf.
All this is not very pleasant for those of us who
endeavour to live by means of our work as
English writers. It is, I believe, strictly true.
Here is another point which should have
some interest for English novelists. While in
Australia, I happened upon a sixpenny edition
(published in London) of a book of Mr. Arnold
Bennett’s which I had never read. I bought it
and enjoyed it immensely. It is a delightful
piece of satire, having special interest for
novelists. Since my return I have asked for
that book in fully twenty large book shops, in
London, Brighton, Eastbourne, ete., always
without success. The other day I asked for it
in a large Holborn shop, and having received
the accustomed reply, I ventured upon an
expression of surprise. The assistant politely
told me he thought I was mistaken. He could
not remember any work of fiction by Mr.
Arnold Bennett having that title. I asked
him to look it up in a catalogue. He did so,
and found the title. Then he explained his
ignorance of the book in this way: ‘‘ Ah, yes
here itis. But I see it is published by Messrs.
The terms they give booksellers are so
very poor that we only obtain their books
Noon ao ordered. i shall be glad to get
you and post it on.”” And he did. But
THE AUTHOR.
|
/author who lunches with his publisher is a
(JULY, 1914,
if that is the position in the case of a novelist
with a big vogue, what of the selling chances
for lesser known men ?
I am, Sir, yours faithfully,
A. J. Dawson.
a a a ae
AutHuors AND AGREEMENTS.
Srr,—Mr. Shaw has, I believe, said that any
nincompoop, and the general trend of your
advices in The Author is to the effect that, if
authors will simply be businesslike, all will
be simple for them; if they will not be, they
deserve a miserable fate. But life is not so
simple and clear-cut, especially for a young
author. His first play or his great novel may
be appreciated by a producer or a publisher
with whom he has been previously brought
into friendly contact through artistic sympathy,
for there are producers and publishers with
artistic sympathy. Directly this friend says
he will risk the work, is the author to retire
into his shell, to pore over his agreements
with a lynx-eye, to keep the friendly and the
practical parts of his nature severely separate ?
No doubt he ought to. But, in the first place,
the artistic nature, of all natures, is least able
to do this, and, secondly, art is the sphere in
which it is least easy as yet for anybody at all
to do this. Business men can carry through
keen transactions and not offend each other,
because to them the atmosphere is natural,
and because they have behind them all the
tradition summed up in “‘ Business is business.”
The keenest of caution is not taken by the other
party as a reflection on his honesty. But the
artist, just because he hates the job, imparts
an air of distrust to his suggestions, and, in
his turn, the editor, publisher, or producer,
likes the personal relationship. To show how
partially literary business houses have absorbed
the business tradition, I once went over from
the publisher of a play of mine to a most
highly respected establishment which I had
asked to become agents for the amateur rights.
In their previous letter accepting this agency
they had penned some wording which did not
look to me sound, and, on the advice of a pub-
lisher, I asked for an alteration of the wording
and for a stamped agreement. I got both,
but I learnt afterwards that the representative
of the firm thought I had been accusing him
of the intention to steal. He thought the
whole matter was so trivial that he did not
think it worth business crispness, and the
personal element had entered, since a mutual
friend had recommended me to ask this firm
JULY, 1914.]
to be my agent. I am no business man. It
would be a nice point in psychology to deter-
mine what I did actually think when this
gentleman was unwilling to bother about
an agreement over my trifling play. But in
real business, men have conveniently invented
the convention by which neither party is
supposed to be thinking of the likelihood of
the other cheating, the convention of merely
being “ businesslike.’’ In fact, my agent had
no right at all to wonder what I ‘‘ was at ”’ in
demanding an agreement.
Another case which happened to me was
in regard to the editor of a newspaper. I
wrote saying that as I contributed articles
fairly often I should like an agreement
according to which I should be paid the regular
sum for each article. He wrote back intro-
ducing the personal element, and leaving me
with nothing to do but to apologise for having
east reflections on his honour. And what
was the result? Not six months later an
article commissioned by him and written by
me appeared in a part of his paper not usually
devoted to articles and I was paid _ half
price. I protested, and he told me, quite
friendly, that he understood that the higher
price was for articles printed on the regular
page. Perhaps, even with my agreement,
this contention would have held good ; never-
theless it was to avoid this sort of occurrence
that I had asked for the agreement. To
conclude the story, he said that next month
he would make good the sum—at least his
vague wording seemed to imply this—and
would also pay for a second article for which
he had as yet paid nothing at all, and he made
out that I should thus be getting “ twice as
much as I ought to get.” And in the result
he paid full price for the second article and
did not pay the extra for the first, and no
doubt he still thinks that he overpaid me,
whereas I think I am owed money by him.
If I had written again he would probably
have been so irritated as to take less articles
than before, and yet the whole thing might
have been avoided by strict business on his
part. Editors drive one mad by insisting on
one’s interpreting what business wishes they
have ; they themselves tear their hair at us
unpractical authors; yet they introduce
muddle themselves by insisting on retaining
a patronising, personal position. At least this
particular editor does. : : e
Writing as a business 1s only just cing
born; its etiquette is not yet formed; an
so procedure is difficult. I have no intention
whatever of casting the slightest imputation
THE AUTHOR.
289
on the credit of my editor; yet, generally
speaking, one’s caution is born of a fear of
rogues, and when one applies it to a particular
case, the particular case thinks he is being
feared as arogue. Of course one can sometimes
explain that his business may pass into other
hands, but this is not universally so, and so
long as business keenness is thought unnatural
between literary friends, I for one shall never be
comfortable in applying it to some men who are
among my closest and most intimate friends.
Lronarp INKSTER.
THE Price oF PAPER.
L
Dear Srr,—I have consulted an expert in
paper re C. F. Moxon’s query. The answer is:
It is difficult to pronounce absolutely without
seeing the paper. Thinner paper is often
better because more calendered. Thicker may
be loaded, but some of the thick used is of good
quality. Thin paper is often the dearest.
One knows the quality of paper by handling it,
and good paper makes a clear tear, not jagged.
M. Montgomery CAMPBELL.
i
Dear S1r,—In reply to Mr. C. F. Moxon’s
letter re the above subject in your last issue,
this is a somewhat disturbing factor in the
present, production of books. Paper nowadays
has not the strength or enduring quality that
it formerly possessed, for there are now so
many substitutes for linen or cotton, which
were practically the only materials then
used, and which were naturally more
expensive to manufacture. The craving for
cheap literature has necessitated the employ-
ment of cheaper substitutes—grass, wood and
‘what not which are usually of a so-called
*‘ antique”? character as regards finish. The
public will sometimes appraise & volume by its
bulk rather than by its literary contents, and
unfortunately a few publishers have been
guided by this demand for quantity rather ae
quality by issuing books printed on this thick,
soft, and spongy paper which is objectionable
in more than one respect. a
For proofs printers usually employ a thinnis
paper of a closer texture so that postage may
be saved but sufficiently hard to carry
pen and ink in correcting the proof. The
actual difference in cost between such paper
and the thicker and softer paper complained
290
of is probably little, if any, but it depends
on the precise weight and not substance.
Your correspondent may, however, take it
that the market value per pound may be about
the same, but by varying the material and
especially by regulating the finish it is possible
that one kind may be made to bulk at least
50 per cent. more, although the two papers In
the ream may be of equal weight.
Perhaps later on I may be allowed to deal
with this subject more fully.
I am, yours faithfully,
~ Cuas. T. JAcoBi.
PUBLISHERS’ REFUSALS.
Srr,—We hear from successful writers that
publishers and editors are anxious to receive
good work, that introductions are unnecessary,
and that there is a market for the writer who
has some show of power.
I should like to ask the opinion of your
readers upon this, stating my own case in
order to contradict this idea.
My first book found a publisher after a
weary round, it was a failure in ‘six shilling
form,” but as a shilling book sold fairly well.
It had received more than ordinarily good and
lengthy reviews. The net gain to me has been
nil. This for various causes.
The second book, still unpublished, is “ full
of power,” according to the publishers, ** but
not suitable for the reading fare of young girls,”
therefore, since apparently young girls are
the sole public, the book has failed to find a
home.
The third book, also refused many times, is
still more puzzling. A well-known publisher
states: ‘‘It has merit, but I doubt its selling pro-
perties.” A still better known firm returns it,
together with its reader’s opinion, in which
the reader states: “‘A clever sort of tale,
characters rather unusual, considerable merit
and cleverness, yet I cannot recommend it as
a promising financial venture.” With sensa-
tional fiction it is the same. One story has
been returned to me as ‘‘ Too dramatic, will
I write something milder?’ a second is de-
seribed as, “ Plot very interesting, the story
very well handled, but not quite the type of
story required, will I write something else ? ”’
a third is, “* Good of its sort but too fantastic,”
Se ie ere
ne my work with any
greater success, although each agent states
that the work is good.
THE AUTHOR.
(JULY, 1914.
Of course, publisher’s, editor’s and agent's
may be soothing rejections, but, as a rule,
they are not so careful of the lacerated feeling
of authors, and I am coming to the conclusion
that chance has more to do with mild success
than even merit.
Yours truly,
“A Very UnsuccessFUL WRITER.”
—+——
Humours oF Lirerary JUDGMENT.
Dear Str,—In a spirit of exploration, and
perhaps a hope of nobbling the prize, I recently
entered a competition in connection with a
magazine which was offering £50 for the best
short story. Along with your MS. you had
to send up 2s. 6d. for which, in case you were
unsuccessful, you received expert literary
advice on your failure. I did not win anything,
and along with my returned MS. I gota letter
which was well worth the half-crown, though
perhaps not in the sense in which the sapient
critic meant it should be. The fun of it lies
in the fact that the literary adviser says my
‘‘ English is a little shaky . . . there is room
for improvement in style,” and proceeds to
teach me by writing his letter in English of this
sort, the following being faithful quotations,
‘The heroine is presented, as perhaps you
intend she to be, as rather vain,” ete. ~ Select
some more elaborate plot that will give you
better opportunities for elaboration.” (The
italics are not in the original.)
There, in one short letter, the literary adviser
commits one glaring instance of awful grammar
and repeats one word,—and a elumsy and
inadequate word at that—in two lines.
And all the while setting up as one who is
qualified to instruct the young author how to
write English !
Truly yours,
SMILER.
— ++ —
Tuatr Baker’s DozEN AGAIN.
Str,—If English publishers will retain that
absurd “13 to count as 12,” so far as sales are
concerned, ought they not in common justice
to adopt a lke enumeration so far as the
author’s “rights to purchase copies at trade
price ’’ are concerned ?
It is trivial ; but the trivialities seem always
to rebound to the benefit of one side.
Yours faithfully, :
ARNOLD HAULTAIN.
SI6T
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13.
14,
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16.
17.
18.
19.
20.
21.
22.
23.
" Provisions as to Government p
NEW
ZHALAND.
COPY RIGHE,
ANALYSIS.
Title.
Short title and commencement.
Interpretation.
PART L
CopyRigHt.
Rights.
Copyright.
. No copyright except as provided by this Act.
Infringement of copyright.
Term of copyright.
. Compulsory licenses.
Ownership of copyright, &c.
Civil Remedies.
Civil remedies for infringement of copyright.
Rights of owner against persons possessing
or dealing with infringing copies, &c.
Exemption of innocent infringer from liability
to pay damages, &c.
Restriction on remedies in the case of archi-
tecture.
Limitation of actions.
Summary Remedies.
Summary offences.
Permitting unauthorized performances.
Search-warrant. .
Owner of performing-right may forbid per-
formance in infringement of right.
Application of fines. :
Limitation of summary proceedings.
Certain provisions not to apply to works of
architecture.
Importation of Copies.
Importation of infringing copies. Repeal.
Special Provisions a8 to certain Works.
Works of joint authors.
Posthumous works.
ublications.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
Si
38.
39.
40.
41.
42.
43.
44,
45.
46.
47.
48.
49.
50.
51.
52.
53.
54, Repeals.
Provisions as to mechanical instruments.
Provision as to political speeches.
Provisions as to photographs.
Reciprocal protection of copyright.
Provisions as to Orders in Council.
Provisions as to designs registrable under the
Patents, Designs, and Trade-marks Act.
Works of foreign authors first published in
New Zealand.
Existing works.
PART II.
INTERNATIONAL COPYRIGHT.
Power to extend Act to foreign works.
PART III.
CoryRiaut OFFICE.
Registrar of Copyright. Copyright Office.
Deputy Registrar.
Seal.
Fees.
Registration optional.
Copyright Registers.
Mode of registration.
Registration of assignments, &c.
How registration is to be effected.
Registration of work published in a series.
Trusts not registered.
Register to be evidence.
Certified copies.
Public inspection of registers.
Correction of register.
Rectification of register by the Court.
Copies to be delivered on registration.
False representation to Registrar.
Copies to be delivered to General Assembly
Library.
Power to make regulations.
Schedules.
No. 4 oF 1913.
AN ACT RELATING TO COPYRIGHT.
[22nd November, 1913.]
Be 1 ENACTED by the General Assembly of New Zealand in Parliament
assembled, and by the authority of the same, as follows :—
Short title 1. This Act may be cited as the Copyright Act, 1918, and shall commence
and com: ,, on the first day of April, nineteen hundred and fourteen.
Interpreta- 2.—(1.) In this Act, unless the context otherwise requires,—
tion. “ Literary work ” includes maps, charts, plans, tables, and compilations :
“Dramatic work” includes any piece for recitation, choreographic
work or entertainment in dumb show, the scenic arrangement or
acting-form of which is fixed in writing or otherwise, and any cine-
matograph production where the arrangement or acting-form or
the combination of incidents represented gives the work an original
character :
“ Artistic work ” includes works of painting, drawing, sculpture, and
artistic craftsmanship, and architectural works of art, and engravings,
and photographs :
‘Work of sculpture ” includes casts and models :
“ Architectural work of art ’? means any building or structure having an
artistic character or design, in respect of such character or design,
or any model for such building or structure; provided that the
protection afforded by this Act shall be confined to the artistic
character and design, and shall not extend to processes or methods
of construction :
‘“‘Engravings ”’ include etchings, lithographs, woodcuts, prints, and
other similar works not being photographs :
‘Photograph ” includes photo-lithograph and any work produced by
any process analogous to photography :
‘* Cinematograph ” includes any work produced by any process analogous
to cinematography :
“ Collective work ’”? means—
(a) An encyclopedia, dictionary, year-book, or similar work ;
(b) A newspaper, review, magazine, or similar periodical ; and
(c) Any work written in distinet parts by different authors,
or in which works or parts of works of different authors are
incorporated :
‘‘ Infringing,’’ when applied to a copy of a work in which copyright
subsists, means any copy, including any colourable imitation, made
or imported in contravention of the provisions of this Act :
“* Performance ’’ means any acoustic representation of a work, and any
visual representation of any dramatic action in a work, including
such a representation made by means of any mechanical instrument :
I
ve
fe)
““ Delivery,” in relation to a lecture, includes delivery by means of any
mechanical instrument :
** Plate” includes any stereotype or other plate, stone, block, mould,
matrix, transfer, or negative used or intended to be used for printing
or reproducing copies of any work, and any matrix or other appliance
by which records, perforated rolls, or other contrivances for the
acoustic representation of the work are or are intended to be made:
** Lecture ’’ includes address, speech, and sermon :
“* Court of summary jurisdiction ’> means a Magistrate or two or more
Justices exercising jurisdiction under the Justices of the Peace
Act, 1908.
(2.) Except for the purposes of infringement of copyright, a work shall not be
deemed to be published or performed in public, and a lecture shall not be deemed
to be delivered in public, if published, performed in public, or delivered in public
without the consent or acquiescence of the author, his executors, administrators,
or assigns.
(3.) For the purposes of this Act a work shall be deemed to be first published
in New Zealand notwithstanding that it has been published simultaneously in
some other place, unless the publication in New Zealand is colourable only and
is not intended to satisfy the reasonable requirements of the public ; and a work
shall be deemed to be published simultaneously in two places if the time between
the publication in one such place and the publication in the other place does not
exceed fourteen days, or such longer period as may for the time being be fixed by the
Governor in Council.
(4.) Where, in the case of an unpublished work, the making of a work has
extended over a considerable period the conditions of this Act conferring copyright
shall be deemed to have been complied with if the author was during any substantial
part of that period a British subject or resident in New Zone.
(5.) For the purposes of the provisions of this Act as to residence, an author
of a work shall be deemed to be a resident in New Zealand if he is domiciled
therein.
PART I.—CopyricuHt.
Rights.
f this Act, copyright shall subsist in New
3.—(1.) Subject to the provisions © ee
Zealand for the term hereinafter mentioned in every original literary,
musical, and artistic work if—
(a) In the case of a publishe
eee lished k, the autho
b) In the case of an unpublished work, th oe’ ee de oat
. making of the work a British subject or resident in New ok o
but in no other works, except so far as the protection conferred by this Act 1s
extended by the Governor in Council pursuant to this Act. . sa
(2.) For the purposes of this Act “‘ copyright *’ means the sole right to produ
Pp y cl pe
or re roduce the Ww rk or an substantial art
Ww
d work, the work was first published in New
r was at the date of the
the case of a lecture
Copyright.
and if the work is unpublished, to publish the work or any
and shall include the sole right—
e, perform, or publish any translation of the work ;
atie work, to convert it into a novel or other non-
part thereof in public ;
substantial part thereof ;
(a) To produce, reproduc
(b) In the case of a dram
dramatic work ;
(c) In the case of a nove
to convert it into a dramatic work by way of performance In public
1 or other non-dramatic work, or of an artistic work,
or otherwise ;
(d) In the case of a literary, dramatic, or musical work, to make any record,
perforated roll, cinematograph film, or other contrivance by means
of which the work may be mechanically performed or delivered ;
and to authorize any such acts as aforesaid.
(3.) For the purposes of this Act “ publication ” in relation to any work means
the issue of copies of the work to the public, and does not include the performance
in public of a dramatic or musical work, the delivery in public of a lecture, the
exhibition in public of an artistic work, or the construction of an architectural
work of art, but for the purposes of this provision the issue of photographs and
engravings of works of sculpture and architectural works of art shall not be deemed
to be publication of such works.
No copyright 4. No person shall be entitled to copyright or any similar right in any literary,
eed “ dramatic, musical, or artistic work, whether published or unpublished, otherwise
this Act. than under and in accordance with the provisions of this Act or of any other
statutory enactment for the time being in force ; but nothing in this section
shall be construed as abrogating any right or jurisdiction to restrain a breach of
trust or confidence.
Infringement 5,—(1.) Copyright in a work shall be deemed to be infringed by any person
ae aoe who, without the consent of the owner of the copyright, does anything the sole
right to do which is by this Act conferred on the owner of the copyright :
Provided that the following acts shall not constitute an infringement of
copyright :—
(a) Any fair dealing with any work for the purposes of private study, research,
criticism, review, or newspaper summary :
(b) Where the author of an artistic work is not the owner of the copyright
therein, the use by the author of any mould, cast, sketch, plan, model,
or study made by him for the purpose of the work, provided that he
does not thereby repeat or imitate the main design of that work :
(c) The making or publishing of paintings, drawings, engravings, or photo-
graphs of a work of sculpture or artistic craftsmanship, if permanently
situate in a public place or building, or the making or publishing of
paintings, drawings, engravings, or photographs (which are not in the
nature of architectural drawings or plans) of any architectural work of
art :
(d) The publication in a collection, mainly composed of non-copyright
matter, bond fide intended for the use of schools, and so described in
the title and in any advertisements issued by the publisher, of short
passages from published literary works not themselves published for
the use of schools in which copyright subsists :
(¥)
Provided that not more than two of such passages from works by the
same author are published by the same publisher within five years,
and that the source from which such passages are taken is acknowledged :
(e) The publication in a newspaper of a report of a lecture delivered in
public, unless the report is prohibited by conspicuous written or printed
notice affixed before and maintained during the lecture at or about
the main entrance of the building in which the lecture is given, and,
except whilst the building is being used for public worship, in a position
near the lecturer; but nothing in this paragraph shall affect the pro-
visions in paragraph (a) as to newspaper summaries :
(f) The reading or recitation in public by one person of any reasonable extract
from any published work.
(2.) Copyright in a work shall also be deemed to be infringed by any person
who—
(a) Sells or lets for hire, or by way of trade exposes or offers for sale or
hire; or
(b) Distributes either for the purposes of trade or to such an extent as to
affect prejudicially the owner of the copyright ; or
(c) By way of trade exhibits in public ; or
(d) Imports for sale or hire into New Zealand,
any work which to his knowledge infringes copyright or would infringe copyright
if it had been made in New Zealand.
(3.) Copyright in a work shall also be deemed to be infringed by any person
who for his private profits permits a theatre or other place of entertainment to
be used for the performance in public of the work without the consent of the owner
of the copyright, unless he was not aware, and had no reasonable ground for
suspecting, that the performance would be an infringement of copyright.
6. The term for which copyright shall subsist shall, except as otherwise
expressly provided by this Act, be the life of the author and a period of fifty
years after his death: . a
Provided that at any time after the expiration of twenty-five years, or in
the case of a work in which copyright subsists at the commencement of this >
thirty years, from the death of the author of a published work, od idee
emed to be infringed by the reproduction of the work for sale i
ing the work proves that he has given the prescribed notice
oduce the work, and that he has paid in the pre-
refit of the owner of the copyright, royalties in
calculated at the rate of ten per centum
and for the purposes of this proviso
work shall not be de
the person reproduc
in writing of his intention to repr
scribed manner, to or for the ber i
respect of all copies of the work sold by him,
i rhie 2 ishes the work ; ey
on the price at w hich he publish . ee a
the Governor ma b Order in Council gazetted, make regulations p g
. y, DY
the mode in which notices are to be given, and the particulars to : given : os
i i é quency of the payment of royalties, including
notices, and the mode, time, and frequency ~~
(if he thinks fit) regulations requiring payment in advance or otherwise securing
the payment of royalties. | :
” Tf at any time after the death of the author of a literary, eoree! or
. 4 vy : : .
musical work Guick has been published or performed in public a gt aint i
rit ie the Judicial Committee of the Privy Council that the owner of the copy
Term of
copyright.
Compulsory
licenses.
Ownership of
copyright,
&e.
publish or to allow the republication of the work,
ance in public of the work, and that by reason
of such refusal the work is withheld from the public, the owner of the copyright
may be ordered to grant a license to reproduce the work or perform the work in
public, as the case may be, on such terms and subject to such conditions as the
said Court may think fit.
right in the work has refused to re
or has refused to allow the perform
8.—(1.) Subject to the provisions of this Act the author of a work shall be
the first owner of the copyright therein :
Provided that—
(a) Where, in the case of an engraving, photograph, or portrait, the plate
or other original was ordered by some other person, and was made
for valuable consideration in pursuance of that order, then, in the
absence of any agreement to the contrary, the person by whom such
plate or other original was ordered shall be the first owner of the
copyright ; and
(b) Where the author was in the employment of some other person under
a contract of service or apprenticeship, and the work was made in
the course of his employment by that person, the person by whom the
author was employed shall, in the absence of any agreement to the
contrary, be the first owner of the copyright ; but where the work is
an article or other contribution to a newspaper, magazine, or similar
periodical, there shall, in the absence of any agreement to the contrary,
be deemed to be reserved to the author a right to restrain the publication
of the work, otherwise than as part of a newspaper, magazine, or
similar periodical.
(2.) The owner of the copyright in any work may assign the right, either
wholly or partially, and cither for the whole term of the copyright or for any part
thereof, and may grant any interest in the right by license ; but no such assignment
or grant shall be valid unless it is in writing signed by the owner of the right in
respect of which the assignment or grant is made, or by his duly authorized
agent :
Provided that where the author of a work is the first owner of the copyright
therein no assignment of the copyright, and no grant of any interest therein
made by him (otherwise than by will) after the commencement of this Act, shall
be operative to vest in the assignee or grantee any rights with respect to the copy-
‘right in the work beyond the expiration of twenty-five years from the death
of the author, and the reversionary interest in the copyright expectant on the
termination of that period shall, on the death of the author, notwithstanding
any agreement to the contrary, devolve on his legal personal representatives
as part of his estate, and any agreement entered into by him as to the disposition
of such reversionary interest shall be null and void; but nothing in this proviso
shall be construed as applying to the assignment of the copyright in a collective
work, or a license to publish a work or part of a work as part of a collective work.
(3.) Where, under any partial assignment of copyright, the assignee becomes
entitled to any right comprised in copyright, the assignee as respects the right so
assigned, and the assignor as respects the rights not assigned, shall be treated
[ e)
for the purposes of this A
ses s Act as the owner of the copyri e provisi
of this Act shall have effect accordingly. a
Civil Remedies.
ae loaded been infringed the owner of the
remedies by Wey of fnninetion agit a nee: ee _ ee
a, ot Seect 8 S, a es and otherwise, as are or may be
J gement of a right.
(2.) The costs of all parties in any proceedings in respect of the infringement
of copyright shall be in the absolute discretion of the Court. |
(3.) In any action for infringement of copyright in any work the work shall
be presumed to be a work in which copyright subsists, and the plaintiff shall be
presumed to be the owner of the copyright unless the defendant puts in issue the
existence of the copyright or, as the case may be, the title of the plaintiff; and
where any such question is in issue, then—
(a) If a name purporting to be that of the author of the work is printed
or otherwise indicated thereon in the usual manner, the person whose
name is so printed or indicated shall, unless the contrary is proved, be
presumed to be the author of the work :
(b) If no name is so printed or indicated, or if the name so printed or indicated
is not the author’s true name or the name by which he is commonly
known, and a name purporting to be that of the publisher or proprietor
of the work is printed or otherwise indicated thereon in the usual
manner, the person whose name is so printed or indicated shall, unless
the contrary is proved, be presumed to be the owner of the copyright
in the work for the purposes of proceedings in respect of the infringe-
ment of copyright therein.
10. All infringing copies of any work in which copyright subsists, or of any
substantial part thereof, and all plates used or intended to be used for the pro-
duction of such infringing copies, shall be deemed to be the property of the owner
of the copyright, who accordingly may take proceedings for the recovery of the
possession thereof or in respect of the conversion thereof.
11. Where proceedings are taken in respect of the infringement of the
copyright in any work, and the defendant in his defence alleges that he was not
aware of the existence of the copyright in the work, the plaintiff shall not be ent itled
to any remedy other than an injunction in respect of the infringement if the
defendant proves that at the date of the infringement he was not aware and
had no reasonable ground for suspecting that copyright subsisted in the work.
building or other structure which
ich if completed would infringe, the copyright in some other —_
d, the owner of the copyright shall not be entitled to obtain
construction of such building or structure oF to order
Where the construction of a
12.—(1.)
infringes, or wh
has been commence
an injunction to restrain the
its demolition.
(2.) Such of the other provisions of this
ll be deemed to be the property of the owner of the
Act as provide that an infringing
copyright,
copy of a work sha
Civil remedies
for infringe-
ment of copy-
right.
Rights of
owner against
persons
possessing or
dealing with
infringing
copies, &c.
Exemption
of innocent
infringer
from liability
to pay
damages, &¢.
Restriction
remedies in
the case of
architecture.
ew.
or as impose summary penalties, shall not apply in any case to which this section
applies.
Limitation of 13. An action in respect of infringement of copyright shall not be commenced
oor after the expiration of three years next after the infringement.
Summary Remedies.
Summary 14.—(1.) Every person who knowingly—
offences. (a) Makes for sale or hire any infringing copy of a work in which copyright
subsists ; or
(b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire,
any infringing copy of any such work ; or
(c) Distributes infringing copies of any such work either for the purposes
of trade or to such an extent as to affect prejudicially the owner of
the copyright ; or
(d) By way of trade exhibits in public any infringing copy of any such
work ; or
(e) Imports for sale or hire into New Zealand any infringing copy of any
such work,
is liable on summary conviction to a fine not exceeding two pounds for every copy
dealt with in contravention of this section, but not exceeding fifty pounds in respect
of the same transaction, or, in the case of a second or subsequent offence, either
to such fine or to two months’ imprisonment.
(2.) Every person who knowingly makes or has in his possession any plate
for the purpose of making infringing copies of any work in which copyright
subsists, or who knowingly and for his private profit causes any such work to be
performed in public without the consent of the owner of the copyright, is liable
on summary conviction to a fine of fifty pounds, or, in the case of a second or
subsequent offence, either to such fine or to two months’ imprisonment.
(8.) The Court before which any such proceedings are taken may, whether the
alleged offender is convicted or not, order that all copies of the work, or all plates in
possession of the alleged offender which appear to it to be infringing copies or plates
for the purpose of making infringing copies, be destroyed, or delivered up to the
owner of the copyright, or otherwise dealt with as the Court may think fit.
Pormitt’ng 15. Every person who for his private profit permits any theatre or other
ee. place of entertainment to be used for the performance in public of any musical
or dramatic work without the consent of the registered owner of the sole right
to perform or authorize the performance of the work in New Zealand, or any part
of New Zealand where the theatre or place is situated, is liable on summary
conviction to a fine of ten pounds, unless he was not aware and had no reasonable
ground for suspecting that the performance would be an infringement of the right
to perform or authorize the performance of the work.
Sarohe 16.—(1.) Any Justice may, on the application of the registered owner of the
warrant. copyright in any literary, dramatic, musical, or artistic work, or of the agent
of such owner appointed in writing,—
(a) If satisfied by evidence that there is reasonable ground for believing
that infringing copies of the work are being sold or offered for sale,
(i
issue a warrant in accordance with the form prescribed authorizing
any constable to seize the infringing copies and to bring them before a
Court of summary jurisdiction :
(b) If satisfied by evidence that there is reasonable ground for believing
that infringing copies of the work are to be found in any house, shop,
or other place, issue a warrant in accordance with the form prescribed
authorizing any constable to search, between sunrise and sunset, the
place where the infringing copies are supposed to be, and to seize and
bring them or any copies reasonably suspected to be infringing copies
of the work before a Court of summary jurisdiction.
(2.) A Court of summary jurisdiction may, on proof that any copies brought
before it in pursuance of this section are infringing copies of the work, order them
to be destroyed, or to be delivered up, subject to such conditions, if any, as the
Court thinks fit, to the owner of the copyright in the work.
17.—(1.) The registered owner of the sole right to perform or authorize
the performance of a musical or dramatic work in New Zealand or any part
thereof, or the agent of such owner appointed in writing, may, by notice in writing
in the prescribed form, forbid the performance in public of the work in infringement
of his right, and require any person to refrain from performing or taking part in
the performance in public of the work in infringement of his right ; and every
as been given in accordance with this section who
rformance in public of the work in infringement
fine not exceeding
person to whom a notice h
performs or takes part in the pe
of the right of such owner is liable on summary conviction to a
ten pounds.
(2.) Every person who give
cause is liable on summary convicti
(3.) In any prosecution under the |
s notice in pursuance of this section without just
on to a fine of twenty pounds.
ast preceding sub-section the defendant
shall be deemed to have given the notice without just cause unless he proves :
the satisfaction of the Court that at the time of giving the notice he _ .
registered owner of the sole right to perform or authorize the oo 0 :
work in New Zealand or any part thereof, or the agent of such owner gee
in writing, and had reasonable ground for believing that nae Pees ae
notice was given was about to perform or take part in the performance of the
in infringement of the right of such owner.
yurt of summary jurisdiction,
work or the owner of the sole
k, in respect of any offence
18. Where proceedings are instituted in any Cc
by or on behalf of the owner of the copyright in any
i orf se of any wor
right to perform or authorize the performance gues | :
a ew of his right, any fine imposed shall be paid to him by way ©
i i in ¢ ase any fine
compensation for the injury sustained by him, but in any ee c - Le
imposed in respect of any offence against this Act shall be paid in
solidated Fund.
19.—(1.) No proceedi
in respect of any offence @ gainst this
the date of the offence.
(2.) An appeal to the Supr
(ineluding any dismissal of any 1
a Court of summary jurisdiction
; shall be instituted in
TS e expiration of six months from
Act after th
vietion or order
ion) of a Court
eme Court shall lie from any con
nformation, complaint, or applicat
Owner of
performing-
right
may forbid
performance
in infringe-
ment of right.
Application
of fines.
Limitation of
summary
proceedings.
Certain
provisions
not to apply
to works of
architecture.
Importation
of infringing
copies.
Repeal.
Works of
“At t b . .
joint authors. during the life of the author who first dies and for a term of fifty years after his
(aa
of summary jurisdiction in respect of any offence or matter under this Act, and
such appeal shall be made within the time and in the manner provided by
regulations.
90. Sections fourteen to eighteen hereof shall not apply to any case to which
section twelve hereof, relating to infringement of copyright in the case of a work
of architecture, applies.
Importation of Copies.
21,—(1.) Copies made out of New Zealand of any work in which copyright
subsists which if made in New Zealand would infringe copyright, and as to which
the owner of the copyright gives notice in writing by himself or his agent to the
Minister of Customs that he is desirous that such copies should not be imported
into New Zealand, shall not be so imported, and shall, subject to the provisions
of this section, be deemed to be prohibited imports within the meaning of the
Customs Law Act, 1908. For the purposes of this section notices given to the
Commissioners of Customs and Excise of the United Kingdom, and communicated
by them to the Minister of Customs, shall be deemed to have been given by the
owner to the Minister of Customs.
(2.) Before detaining any such copies, or taking any further proceedings
with a view to the forfeiture thereof, the Minister of Customs may require the
regulations under this section, whether as to information, conditions, or other
matters, to be complied with, and may satisfy himself in accordance with those
regulations that the copies are such as are prohibited by this section to be imported.
(3.) There shall be publicly exposed in the office of the Collector of Customs
at every portin New Zealand lists of all works in which copyright subsists and as to
which the owner of the copyright, by himself or his agent, has duly given a notice to
the Minister of Customs pursuant to sub-section (1.) hereof.
(4.) The Governor may, by Order in Council gazetted, make regulations,
either general or special, respecting the detention and forfeiture of copies the
importation of which is prohibited by this section ; and may by such regulations
determine the information, notices, and security to be given, and the evidence
requisite, for any of the purposes of this section, and the mode of verification of
such evidence.
(5.) The regulations may apply to copies of all works the importation of copies
of which is prohibited by this section, or different regulations may be made
respecting different classes of such works.
(6.) The regulations may provide for the informant reimbursing the Minister
of Customs all expenses and damages incurred in respect of any detention made on
his information, and of any proceedings consequent on such detention ; and may
provide for notices under any enactment repealed by this Act being treated as
notices given under this section.
(7.) Section ninety-two of the Customs Law Act, 1908, and the first paragraph
of the Third Schedule to the said Act (relating to the importation of prohibited
books) are hereby repealed.
Special Provisions as to certain Works.
22.—(1.) In the case of a work of joint authorship, copyright shall subsist
(
death, or during the life of the author who dies last, whichever period is the longer ;
and references in this Act to the period after the expiration of any specified
number of years from the death of the author shall be construed as references to
the period after the expiration of the like number of years from the death of the
author who dies first or after the death of the author who dies last, whichever period
may be the shorter; and in the provisions of this Act with respect to the grant
of compulsory licenses a reference to the date of the death of the author who dies
last shall be substituted for the reference to the date of the death of the author.
(2.) Where, in. the case of a work of joint authorship, some one or more of the
joint authors do not satisfy the conditions conferring copyright laid down by this
Act, the work shall be treated for the purposes of this Act as if the other author
or authors had been the sole author or authors thereof :
Provided that the term of the copyright shall be the same as it would have been
if all the authors had satisfied such conditions as aforesaid.
(3.) For the purposes of this Act ‘“‘a work of joint authorship ’’ means a
work produced by the collaboration of two or more authors, in which the con-
tribution of one author is not distinct from the contribution of the other author
or authors.
(4.) Where a married woman and her husband are joint authors of a work
the interest of such married woman therein shall be her separate property.
>
23.—(1.) In the case of a literary, dramatic, or musical work, or an engraving,
in which copyright subsists at the date of the death of the author or, in the cee of
a work of joint authorship, at or immediately before the date of the death of the
author who dies last, but which has not been published, nor, in the case of a dramatic
or musical work, been performed in public, nor, in the case of a lecture, been
delivered in public, before that date, copyright shall subsist till publication, or
performance or delivery in public, whichever may first happen, and 2h Ss
of fifty years thereafter; and the proviso to seetion six hoe shall a . and
of such a work, apply as if the author had died at the date of such publicat
performance or delivery in public as aforesaid. : a
(2.) The ownership of an author’s manuscript after his oe ee a
ownership has been acquired under a testamentary disposition made by ae :
and the manuscript is of a work which has not been ee nor ae a,
public, nor delivered in public, shall be prima facie proof of the copyrig sing
with the owner of the manuscript.
24, Without prejudice to any rights or privileges of the eR
work has, whether before or after the commencement - ae we pn aoe
or published by or under the direction or control of His Majesty of - . aa
Department, the copyright in the work shall, subject to sa ae as
author, belong to His Majesty, and in such panes shall — inue
fifty years from the date of the first publication of the work.
perforated rolls, and other
lly reproduced, in like
term of copyright
25.—(1.) Copyright shall subsist in records, pe
contrivances by means of which sounds may be ae oe
manner as if such contrivances were musical works : : os
shall be fifty years from the making of the a ele a :
trivance was directly or indirectly derived, and the perso
from which the con-
as the owner of
Posthumous
works.
Provisions as
to Govern-
ment publica-
tions.
Provisions as
to mechanical
instruments.
(ae
such original plate at the time when such plate was made shall be deemed to be
the author of the work, and, where such owner is a body corporate, the body
corporate shall be deemed for the purposes of this Act to reside in New Zealand
if it has established a place of business in New Zealand.
(2.) It shall not be deemed to be an infringement of copyright in any musical
work for any person to make in New Zealand records, perforated rolls, or other
contrivances by means of which the work may be mechanically performed, if
such person proves—
(a) That such contrivances have previously been made by, or with the consent
or acquiescence of, the owner of the copyright in the work; and
(b) That he has given the prescribed notice of his intention to make the
contrivances, and has paid in the prescribed manner to, or for the benefit
of, the owner of the copyright in the work royalties in respect of all such
contrivances sold by him, calculated at the rate hereinafter mentioned :
Provided that—
(i.) Nothing herein shall authorize any alterations in or omissions
from the work reproduced, unless contrivances reproducing the work
subject to similar alterations and omissions have been previously made
by, or with the consent or acquiescence of, the owner of the copyright,
or unless such alterations or omissions are reasonably necessary for the
adaptation of the work to the contrivances in question ; and
(ii.) For the purposes of this provision a musical work shall be
deemed to include any words so closely associated therewith as to form
part of the same work, but shall not be deemed to include a contrivance
by means of which sounds may be mechanically reproduced.
(3.) The rate at which such royalties as aforesaid are to be calculated shall—
(a) In the case of contrivances sold within two years after the commencement
of this Act by the person making the same, be two.and one-half per
centum; and
(b) In the case of contrivances sold as aforesaid after the expiration of that
period, five per centum,
on the ordinary retail selling-price of the contrivance calculated in the prescribed
manner, so, however, that the royalty payable in respect of a contrivance shall
in no ease be less than a halfpenny for each separate musical work in which
copyright subsists reproduced thereon, and, where the royalty calculated as afore-
said includes a fraction of a farthing, such fraction shall be reckoned as a farthing :
Provided that, if at any time after the expiration of seven years from the
commencement of this Act it appears to the Governor in Council that such rate as
aforesaid is no longer equitable, he may, after such public inquiry as he may direct,
make an Order either decreasing or increasing that rate to such extent as under the
circumstances may seem just ; but any Order so made shall be provisional only,
and shall not have any effect unless and until confirmed by Parliament ; but, where
an Order revising the rate has been so made and confirmed, no further revision
shall be made before the expiration of fourteen years from the date of the last
revision.
: (4.) If any such contrivance is made reproducing two or more different works
in which copyright subsists, and the owners of the copyright therein are different
( Ww)
.. the sums payable by way of royalties under this section shall
tioned amongst the several owners of the copyright in such ee be BP POT
agreement, may be determined by arbitration. - vor ce ala ersaveena
(5.) When any such contrive ; by means ae :
mechanically Sas have ieee po eR - ey : a He ean
ni owner of the copyright in the work shall, in relation - ee pees
oe eer ee
a ree ol i > ‘ — within the Peer time.
regulations prescribing niche a. a : a ce ae a a. a ae
prescribing the dein ick actioss i. - oe ae pees oa
de s are to be given, and the particulars to be
given in such notices, and the mode, time, and frequency of the payment of
royalties ; and any such regulations may include regulations requiring payment
in advance or otherwise securing the payment of royalties.
(7.) In the case of musical works published before the commencement of this
Act the foregoing provisions shall have effect, subject to the following modifications
and additions :—
(a) The conditions as to the previous making by, or with the consent or
acquiescence of, the owner of the copyright in the work, and the restric-
tions as to alterations in or omissions from the work, shall not apply.
(b) The rate of two and one-half per centum shall be substituted for the rate
of five per centum as the rate at which royalties are to be calculated ;
but no royalties shall be payable in respect of contrivances sold before
the first day of April, nineteen hundred and fifteen, if contrivances
reproducing the same work had been lawfully made or placed on sale
in New Zealand before the commencement of this Act.
(c) Notwithstanding any assignment made before the commencement of this
Act of the copyright in a musical work, any rights conferred by this Act
in respect of the making, or authorizing the making, of contrivances
by means of which the work may be mechanically performed shall
belong to the author or his legal personal representatives, and not to
the assignee, and the royalties aforesaid shall be payable to and for the
benefit of the author of the work or his legal personal representatives.
(d) The saving contained in this Act of the rights and interests arising from
or in connection with action taken before the commencement of this
Act shall not be construed as authorizing any person who has made
eans of which the work may be mechanically performed
hether made before or after the com-
and subject to the conditions
contrivances by m
to sell any such contrivances, W
mencement of this Act, except on the terms
laid down in this section.
(e) Where the work is a work on which copyright is conferred by an Order in
Council relating to a foreign country, the copyright so conferred shall
t as may be provided by the Order, include
not, except to such exten
any rights with respect to the making of records, perforated rolls, or
other contrivances by means of which the work may be mechanically
performed.
(8.) Notwithstandin
-or other contrivance by mea
here a record, perforated roll,
y be mechanically reproduced
g anything in this Act, w
ns of which sounds ma
La
has been made before the commencement of this Act, copyright shall, as from the
commencement of this Act, subsist therein in like manner and for the like term as
if this Act had been in force at the date of the making of the original plate from
which the contrivance was directly or indirectly derived :
Provided that— ‘
(a) The person who at the commencement of this Act is the owner of such
original plate shall be the first owner of such copyright ; and
(b) Nothing herein shall be construed as conferring copyright in any such
contrivance if the making thereof would have infringed copyright in
some other such contrivance if this provision had been in force at the
time of the making of the first-mentioned contrivance,
Provision as 26. Notwithstanding anything in this Act, it shall not be an infringement
pele ag of copyright in an address of a political nature delivered at a public meeting to
publish a report thereof in a newspaper.
Provisions as 27. The term for which copyright shall subsist in photographs shall be fifty
near years from the making of the original negative from which the photograph was
directly or indirectly derived ; and the person who was the owner of such negative
at the time when such negative was made shall be deemed to be the author of the
work, and, where such owner is a body corporate, the body corporate shall be
deemed for the purposes of this Act to reside in New Zealand if it has established
a place of business in New Zealand.
Reciprocal 28.—(1.) The Governor may by Order in Council direct that this Act shall
protection of extend—
copyright.
(a2) To works first published in any part of the British dominions to which the
Order relates in like manner as if such works were first published in
New Zealand; and
(b) In respect of residence in any part of the British dominions to which the
Order relates, in like manner as if such residence were residence in New
Zealand ;
and thereupon, subject to the provisions of this section and of the Order, this
Act shall apply accordingly.
(2.) Any Order made in pursuance of this section may provide—
(a) That the term of copyright shall not exceed that conferred by the law of
the part of the British dominions to which the Order relates ;
(b) That the enjoyment of the rights conferred by virtue of the Order shall
extend to New Zealand only, and shall be subject to the accomplishment
of such conditions and formalities as are prescribed by the Order ;
(c) For the modification of any provision of this Act as to ownership of copy-
right or otherwise, having regard to the law of the part of the British
dominions to which the Order relates ; and
(d) That this Act may extend to existing works in which copyright subsists
in the part of the British dominions to which the Order relates, but
subject to such modifications, restrictions, and provisions as are set
out in the Order.
(8.) An Order in pursuance of this section shall be made only if the Governor
in Council is satisfied that the part of the British dominions in relation to which the
( Ww)
Order is proposed to be made has
propos: 1 to be made has made, or has undertaken to make. s isi
if any, as he thinks sufficient for the protection of work 6 soe
if my . of works first prod ishec
in New Zealand, and entitled to copyright therein ae
29.—(1 > Governor may in ¢
( =) The Governor may by Order in Council alter, revok
‘Order in Council made by him in pursuance of ee ferr Bi pice fos be
' J ance of any power conferred
a ene n) erred upon him b
” A i: but any Order made under this section shall not affect pe adieally
y rights or interests acquired or accrued at the date when the Order comes es
i. € ~ € ri > +4 , .
operation, and shall provide for the protection of such rights and interests
g sts.
Te J Ov 7 1 7
: (2.) Every Order in Council made by the Governor in Council in pursuance
a : < i . ms ; .
of any power conferred upon him by this Act shall be published in the Gazette
and shall be laid before Parliament as soon as may be after it is made 3
x a .
30.—(1.) This Act shall not apply to designs capable of being registered
under the Patents, Designs, and Trade-marks Act, 1911, except gas wach
though capable of being so registered, are not used or intended to be used - motels
or patterns to be multiplied by any industrial process.
(2.) Regulations may be made under section one hundred and twenty-three
of the Patents, Designs, and Trade-marks Act, 1911, for determining the conditions
under which a design shall be deemed to be used for such purposes as aforesaid
31. If it appears to the Governor in Council that a foreign country does
not give or has not undertaken to give adequate protection to the works of New
Zealand authors, he may by Order in Council direct that such of the provisions of
this Act as confer copyright on works first published in New Zealand shall not
apply to works published after the date specified in the Order the authors whereof
are subjects or citizens of such foreign country and are not resident in New Zealand,
and thereupon those provisions shall not apply to such works.
32.—(1.) Where any person is immediately before the commencement of
this Act entitled to any such right in any work as is specified in the first column
of the First Schedule to this Act, or to any interest in such a right, he shall as from
that date be entitled to the substituted right set forth in the second column of
that Schedule, or to the same interest in such a substituted right, and to no other
right or interest ; and such substituted right shall subsist for the term for which
it would have subsisted if this Act had been in force at the date when the work
was made and the work had been one entitled to copyright thereunder :
Provided that—
(a) If the author of any work in which
first column of the First Schedule to this Act subsists
ment of this Act has be
interest therein for the who
put for the passing of this Act the ri
tuted right conferred b
ass to the author of the wor.
t of this Act
any such right as is specified in the
agreement, Pp
ated before the commencemen
put the person who imme
ld so have expired was the
at his option, either—
cre
shall determine ;
at which the right wou
interest shall be entitled,
at the commence-
fore that date assigned the right, or granted any
le term of the right, then at the date when
ght would have expired the substi-
y this section shall, in the absence of express
k, and any interest therein
and then subsisting
diately before the date
owner of the right or
Provisions as
to Orders in
Council.
Provisions as
to designs
registrable
under the
Patents,
Designs, and,
Trade-marks
Act.
Works of
foreign
authors first
published in
New Zealand.
Existing
works.
Power to
extend Act
to foreign
works,
(i.) On giving such notice as hereinafter mentioned, to an assign-
ment of the right or the grant of a similar interest therein for the
remainder of the term of the right for such consideration as, failing
agreement, may be determined by arbitration ; or
(ii.) Without any such assignment or grant, to continue to reproduce
or perform the work in like manner as theretofore, subject to the
payment, if demanded by the author within three years after the date
at which the right would have so expired, of such royalties to the author
as, failing agreement, may be determined by arbitration ; or, where
the work is incorporated in a collective work and the owner of the right
or interest is the proprietor of that collective work, without any such
payment.
The notice above referred to must be given not more than one
year nor less than six months before the date at which the right would
have so expired, and must be sent by registered post to the author,
or, if he cannot with reasonable diligence be found, must be advertised
in the Gazette and in the Patent Office Journal, and in one newspaper
published in each of the Cities of Wellington, Auckland, Christchurch,
and Dunedin. .
(b) Where any person has, before the first day of July, nineteen hundred
and thirteen, taken any action whereby he has incurred any expenditure
or liability in connection with the reproduction or performance of any
work in a manner which at the time was lawful, or for the purpose
of or with a view to the reproduction or performance of a work at a
time when such reproduction or performance would but for the passing
of this Act have been lawful, nothing in this section shall diminish
or prejudice any rights or interest arising from or in connection with
such action which are subsisting and valuable at the said date, unless
the person who by virtue of this section becomes entitled to restrain
such reproduction or performance agrees to pay such compensation
as, failing agreement, may be determined by arbitration.
(2.) For the purposes of this section the expression “ author” includes
the legal personal representatives of a deceased author.
(3.) Subject to the provisions of sub-sections (7.) and (8.) of section twenty-
five hereof, copyright shall not subsist in any work made before the commence-
ment of this Act otherwise than under and in accordance with the provisions of
this section.
PART II.—InTERNATIONAL COPYRIGHT.
33.—(1.) The Governor may by Order in Council direct that this Act (except
such of the provisions thereof, if any, as may be specified in the Order) shall
extend—
(a) To works first published in a foreign country to which the Order relates,
in like manner as if they were first published in New Zealand ;
(b) To literary, dramatic, musical, and artistic works, or any class thereof,
the authors whereof were at the time of the making of the work subjects
or citizens of a foreign country to which the Order relates, in like manner
as if the authors were British subjects ;
(c) In respect of residence in a foreign country to which the Order relates,
in like manner as if such residence were residence in New Zealand ;
and thereupon, subject to the provisions of this Part of this Act and of the Order,
this Act shall apply accordingly :
Provided that—
(a) Before making an Order in Council under this section in respect of any
foreign country (other than a country with which His Majesty has
entered into a convention relating to copyright), the Governor shall be
satisfied that that foreign country has made or has undertaken to:
make such provisions, if any, as it appears to the Governor expedient
to require for the protection of works entitled to copyright under the
provisions of Part I. of this Act:
(b) The Order in Council may provide that the term of copyright in New
Zealand shall not exceed that conferred by the law of the country
to which the Order relates :
(c) The provisions of section fifty hereof (relating to the delivery of copies
of books to the Registrar) shall not apply to works first published in
such country, except so far as is provided by the Order :
(d) The Order in Council may provide that the enjoyment of the rights
conferred by this Act shall be subject to the accomplishment of such
conditions and formalities, if any, as may be prescribed by the Order :
(e) In applying the provisions of this Act as to ownership of copyright, the
Order in Council may make such modifications as appear necessary
having regard to the law of the foreign country :
(f) In applying the provisions of this Act as to existing works, the Order
in Council may make such modifications as appear necessary, and may
provide that nothing in those provisions as so applied shall be construed
as reviving any right of preventing the production or importation of
any translation in any case where the right has ceased.
(2.) An Order in Council under this section may extend to all the several
countries named or described therein.
PART III.—CopyricutT OFFICE.
34.—(1.) The Governor may from time to time appoint such person as he
thinks fit to be Registrar of Copyright, and in like manner may appoint a place
to be the Copyright Office.
(2.) The person who at the co
Registrar under the Copyright Act, 1908, shall be and act as
this Act.
(3.) The place at the commencement of this Act used as the Copyright
Office shall be deemed to have been appointed under this Act.
mmencement of this Act holds the office of
Registrar under
time appoint a fit and proper person
of the illness, incapacity, or absence of
istrar ; and while
35.—(1.) The Governor may at any
Registre act in the case
to be Deputy Registrar to act in t
the Resatrar, or in the case of any vacancy 1n the office of Reg A pad
so acting such Deputy shall have all the powers and. privileges, and shall perform
all the duties, and be subject to the responsibilities, of the Registrar.
Registrar of
Copyright.
Copyright
Office.
Deputy
Registrar.
Seal.
Fees.
Registration
optional.
Copyright
Registers.
Mode of
registration.
Registration
of assign-
ments, &e.
How registra-
tion is to be
effected.
Registration
of work
published ina
series.
Trusts not
registered.
Register to
be evidence,
Certified
copies,
( 20 )
(2.) The fact of the Deputy Registrar acting as aforesaid shall be conclusive
evidence of his authority so to do, and no person shall be concerned to inquire
whether the occasion has arisen requiring or authorizing him so to act.
36. There shall be a seal of the Copyright Office, and impressions thereof
shall be judicially noticed and admitted in evidence.
3%, There shall be paid in respect of application for the registration of copy-
rights and in respect of other matters with relation to copyrights such fees as may
from time to time be prescribed by the Governor in Council, and those fees shall
be paid into the Public Account and form part of the Consolidated Fund.
38. Registration of copyright shall be optional, but the special remedies
provided for by sections fifteen, sixteen, and seventeen of this Act may be taken
advantage of only by registered owners.
39. The following Registers of Copyright shall be kept by the Registrar at
the Copyright Office :—
(a) The Register of Literary (including Dramatic and Musical) Copyright.
(b) The Register of Fine Arts Copyrights.
40. The owner of any copyright under this Act, or of the sole right to perform
or authorize the performance of any musical or dramatic work in New Zealand
or any part thereof, may obtain registration of his right in the manner prescribed.
41. When any person becomes entitled to any registered copyright or any
other right under this Act by virtue of any assignment or transmission, or to any
interest therein by license, he may obtain registration of the assignment, trans-
mission, or license in the manner prescribed.
42. The registration of any copyright or other right under this Act, or of any
assignment or transmission thereof, or of any interest therein by license, shall be
effected by entering in the proper register the prescribed particulars relating to.
the right, assignment, transmission, or license.
48. In the case of an encyclopedia, newspaper, review, magazine, or other
periodical work, or a work published in a series of books or parts, a single registra-
tion for the whole work may be made.
' 44,—(1.) No notice of any trust (expressed, implied, or constructive) shall
be entered in any Register of Copyrights under this Act or be receivable by the
Registrar.
(2.) Subject to this section, equities in respect of any copyright under this
Act may be enforced in the same manner as equities in respect of other personal
property. :
45, Every Register of Copyrights under this Act shall be prima facie evidence
of the particulars entered therein; and documents purporting to be copies of
any entry therein or extracts therefrom certified by the Registrar and sealed
with the seal of the Copyright Office shall be judicially noticed and admitted in
evidence without further proof or production of the originals.
46. Certified copies of entries in any register under this Act or of extracts
( @ }
therefrom shall, on payment of the p i
‘ £ 5 zi tT > Yr oO 2, > ; 7
. prescribed fee, be given to any person applying
47. Each register under this Act shall be open to public inspection at all
convenient times on payment of the prescribed fee.
— The Registrar may, in prescribed cases and subject to the prescribed
conditions, amend or alter any register under this Act by—
(a) Correcting any error in any name, address, or particular; and
(b) Entering any prescribed memorandum or particular relating to copyright
or other right under this Act.
' 49.—(1.) Subject to this Act the Supreme Court may, on the application
of the Registrar or of any person aggrieved, order the rectification of any register
under this Act by—
(a) The making of any entry wrongly omitted to be made in the register ;
or
(b) The expunging of any entry wrongly made in or remaining on the register ;
or
(c) The correction of any error or defect in the register.
(2.) An appeal shall lie to the Court of Appeal from any order for the recti-
fication of any register made by the Supreme Court or a Judge thereof under
this section.
50.—(1.) Every person who makes application for the registration of a
copyright in a book shall deliver to the Registrar one copy of the whole book,
with all maps and illustrations belonging thereto, finished and coloured in the same
manner as the best copies of the book are published, and bound, sewed, or stitched
together, and on the best paper on which the book is printed.
s an application for the registration of the
(2.) Every person who make
liver to the Registrar one copy of the work of
copyright in a work of art shall de
art or a representation of it.
(3.) The Registrar shall refuse to register the copyright in any book until
sub-section (1.) of this section has been complied with, or the copyright in a work
of art until sub-section (2.) of this section has been complied with.
(4.) Each copy or representation delivered to the Registrar in pursuance
of this section shall be retained at the Copyright Office.
wilfully makes any false statement or representation
to deceive the Registrar or any officer in the execution of this Act, or to procure
or influence the doing or omission of anything in relation to this Act or any matter
thereunder, is liable on summary conviction to imprisonment for a term not exceed-
ing two years.
52,—(1.) The publisher of book which is first published in New
“Zealand after the commencement of this Act, and in which copyright subsists
under this Act, shall within one month after the publication deliver at his own
pies of the book to the Librarian of the General Assembly Library,
a written receipt for them.
delivered to the Librarian of the General Assembly Library
hole book, with all maps and illustrations belonging thereto,
51. Every person who
every
expense two co
who shall give
(2.) The copies
shall be copies of the w.
Public
inspection of
registers.
Correction of
register.
Rectification
of register by
the Court.
Copies to be
delivered on
registration.
False repre-
sentation to
Registrar.
Copies to be
delivered to
General
Assembly
Library.
Power to
make regula-
tions.
Repeals.
Schedules.
( 22 )
finished, and coloured in the same manner as the best copies of the book are pub-
lished, and bound, sewed, or stitched together, and on the best paper on which
the book is printed.
(3.) If a publisher fails to comply with this section he shall be liable on
summary conviction to a fine not exceeding five pounds and the value of the copies.
(4.) For the purpose of this section the expression “ book” includes every
part or division of a book, pamphlet, sheet of letterpress, map, plan, chart, or table,
but shall not include any second or subsequent edition of a book unless that
edition contains additions or alterations either in the letterpress or in the maps,
prints, or other engravings belonging thereto.
53. The Governor in Council may make regulations, not inconsistent with
this Act, prescribing all matters which by this Act are required or permitted to be
prescribed, or which are necessary or convenient to be prescribed, for giving effect
to this Act or for the conduct of any business relating to the Copyright Office.
54,—(1.) The Copyright Act, 1908, and section one hundred and thirty-two
of the Patents, Designs, and Trade-marks Act, 1911, are hereby repealed.
(2.) The Imperial enactments referred to in the Second Schedule hereto
shall, as from the commencement of this Act, cease to have any force or effect
in New Zealand.
SCHEDULES.
FIRST SCHEDULE.
Existing Ricuts.
Existing Right. Substituted Right.
(a) In the case of Works other than Dramatic and Musical Works.
Copyright .. a ss a a .. | Copyright as defined by this Act.*
(6) In the case of Musical and Dramatic Works.
Both copyright and performing-right .. — .. | Copyright as defined by this Act.*
Copyright, but not performing-right ae .. | Copyright as defined by this Act, except the sole
right to perform or authorize the performance of
the work or any substantial part thereof in
ee public.
Performing-right, but not copyright se .. | The sole right to perform or authorize the per-
formance of the work in public, but ‘none
of the other rights comprised in copyright as
defined by this Act.
For the purposes of this Schedule the following expressions, where used in the first column thereof,
have the following meanings :—
“ Copyright,” in the case of a work which according to the law in force immediately before
the commencement of this Act has not been published before that date, and statutory
copyright wherein depends on publication, includes the right at common law, if any, to
restrain publication or other dealing with the work :
“ Performing-right,” in the case of a work which has not been performed in public before
the commencement of this Act, includes the right at common law, if any, to restrain the
performance thereof in public.
_* In the case of an essay, article, or portion forming part of and first published in a
review, magazine, or other periodical or work of a like nature, the right shall be subject to any right of
publishing the essay, article, or portion in a separate form to which the author is entitled at the com-
mencement of this Act, or would, if this Act had not been passed, have become entitled under section
eighteen of the Imperial Copyright Act, 1842.
(
SECOND SCHEDULE.
ImprriaL ENACTMENTS.
8 Geo. IT. c. 13.—The Engraving Copyright Act, 1734.
7 Geo. III. c. 38.—The Engraving Copyright Act, 1767.
17 Geo. IIL. c. 57.—The Prints Copyright Act, 1777.
54 Geo. III. c. 56.—The Sculpture Copyright Act, 1814.
& 4 Will. IV. c. 15.—The Dramatic Copyright Act, 1833.
& 6 Will. IV. c. 65.—The Lectures Copyright Act, 1835.
& 7 Will. IV. c. 59.—The Prints and Engravings Copyright Act, 1836.
& 6 Vict. c. 45.—The Copyright Act, 1842.
& 8 Vict. ec. 12.—The International Copyright Act, 1844.
1 Vict. c. 95.—The Colonial Copyright Act, 1847.
6 ce. 12.—The International Copyright Act, 1852.
6 Vict. c. 68.—The Fine Arts Copyright Act, 1862.
9 c. 12.—The International Copyright Act, 1875.
c. 36.—The Customs Consolidation Act, 1876: Section 152 (prohibiting the importation
of foreign reprints of books under copyright).
46 Vict. c. 40.—The Copyright (Musical Compositions) Act, 1882.
50 Vict. c. 33.—The International Copyright Act, 1886.
52 Vict. c. 17.—The Copyright (Musical Compositions) Act, 1888.
NDON AND TONBRIDGE.
[D., PRINTERS, LO
BRADBUKY, AGNEW, & CO,
‘SHTOW AYOLOLVIS
‘CL6T
OV LHDTYAdOOD NVIIVULSNV
STATUTORY RULES.
1913. No. 338.
REGULATIONS UNDER THE COPYRIGHT ACT, 1912.
I, THE GovERNOR-GENERAL in and over the Commonwealth of Australia
ae os ee advice of the Federal Executive Council, do hereby make the
ollowing Regulations under the Copyright i i
aL pyright Act, 1912, to come into operation
Dated this nineteenth day of December, One thousand nine hundred and
thirteen.
DENMAN,
‘ G Sean ar
By His Excellency’s Command, oyemor Generel:
W. H. Irvine,
Attorney-General.
THE COPYRIGHT REGULATIONS, 1913.
PART I.—GENERAL.
1. These Regulations may be cited as the Copyright Regulations, 1918. Short title.
2, These Regulations are divided into Parts, as follows :— Part
Tts.
Part I.—General.
Part Il.—Royalty System (General).
Part III.—Royalty System (Mechanical Musical Contrivances).
Part IV.—Repeal.
Interpreta-
3.—(1.) In these Regulations—
“The Act ” means the Copyright Act, 1912 ; tion.
“¢ Mechanical musical contrivances > means records, perforated rolls, and
other contrivances by means of which sounds may be mechanically
reproduced ;
“‘ Published work
‘ Unpublished. work
to the public.
4, All letters should be addressed to
wealth Offices, Treasury Place, Melbourne.”
ider these Regulations shall be those specified in the Fees.
aid at the Copyright Office. All remittances sent by
and shall be made payable to the
losed in a letter will be sent at the
> means work which is printed and issued to the public ;
> means work which has not been printed and issued
“The Registrar of Copyrights, Common- Address,
5. The fees to be paid ut
First Schedule, and shall be p
post shall be by money order or postal note,
Registrar of Copyrights. Coin or currency ene
remitter’s risk.
Registrar may
refuse to act
until fee paid.
Forms.
Where no
forms pro-
vided.
Hours of
business.
Applications.
Signature of
applicants.
Published
work.
Photographs.
Unpublished
work,
Published
mechanical
musical con-
trivance.
Unpublished
mechanical ;
musical
contrivance.
Performing
right in
musical or
dramatic
work.
Choreographic
works.
Variations.
Cinemato-
graph pro-
ductions.
6. Where any fee is payable in respect of any act or document, the Registrar
may refuse to permit or perform the act, or to receive or issue the document, as
the case requires, until the fee payable is paid.
",—(1.) Where in these Regulations any Form is referred to, the reference is
to the Form in the Second Schedule.
(2.) The Forms contained in the Second Schedule may, as far as they are
applicable, be used in any proceeding under the Act or these Regulations to which
they are appropriate.
8. As regards proceedings not specifically provided for in the Forms in the
Second Schedule, any appropriate Form will be accepted.
9. Except in case of holidays observed under the Commonwealth Public
Service Act, the Copyright Office shall be open to the public on week days (other
than Saturdays) from 10 a.m. to 4 p.m., and on Saturdays from 10 a.m. to noon.
10. Every application for the registration of copyright or performing right
must be left at, or sent to, the Copyright Office, and may be sent by prepaid letter
through the post, and must, in every case, be accompanied by the prescribed fee.
11. Every application for the registration of copyright or performing right
must be signed by all applicants.
12, An application for the registration of copyright in a published literary,
dramatic, musical, or artistic work may be in accordance with Form A, Al, A2
or A3 as the case requires.
18. An application for the registration of copyright in a photograph may be
in accordance with Form C or Cl as the case requires.
14, An application for the registration of copyright in an unpublished literary,
dramatic, musical, or artistic work may be in accordance with Form D.
15. An application for the registration of copyright in a published mechanical
musical contrivance may be in accordance with Form E.
16. An application for the registration of copyright in an unpublished
mechanical musical contrivance may be in accordance with Form F.
17. An application for the registration of the sole right to perform or authorise
the performance of a musical or dramatic work may be in accordance with Form G
and shall be accompanied by a copy of the work.
18. An application for the registration of copyright in an unpublished dramatic
work, consisting of a choreographic work or entertainment in dumb show, must
be accompanied by a description thereof, either type-written or written in a fair
legible hand on one side only of the paper, and without interlineations or erasures.
19. Any variation in the arrangement or acting form of a choreographic work
or entertainment in dumb show must be made the subject of a separate application
for copyright registration.
20. An application for the registration of copyright in an unpublished dramatic
work, consisting of a cinematograph production, must be accompanied by a
description of the work, preferably typewritten, and by a photograph taken from
each scene represented. If after registration the work is printed or reproduced
(2
for sale, a complete copy of the work must be filed, and, if the
E BO Registrar so desires,
an amended description thereof.
21. An application for the registration of copyright in
other than a work specified in Regulations
by a copy of the work.
an unpublished work,
Nos. 19 and 21, must be accompanied
22. The title of a literary work should be given exactly as on the title page
of the book, or on the work, and the other particulars required to be specified
should be exactly as indicated in the work itself.
28. An application for the registration of copyright in a published book must
be accompanied by a copy of the book, with all maps and illustrations belonging
. , oS
thereto, finished and coloured in the same manner as the best copies of the books
are published, and bound, sewed, or stitched together and on the best paper on
which the book is printed.
24, An application for the registration of copyright in an artistic work must
be accompanied by a copy thereof, or a representation of it.
25. An application for the registration of copyright in an interchangeable
part of a mechanical instrument for mechanically reproducing musical works must
be accompanied by the dise, cylinder, or music roll, by means of which the music
is reproduced.
26. Where an application for registration of copyright is made by a person,
other than the author of the work, he shall in his application trace his title from
the author, and shall attach to his application each assignment or instrument by
virtue of which he derives his title, with an attested copy thereof.
27. In the case of new editions of works containing material additions or
alterations either in the letterpress or in the maps, prints, or other oo
: + oes » resistrati f ight me made in
belonging thereto, applications for registration of copyright may be 1
respect of the new edition as if it were an independent work.
. . . . ae a a r * a " 7 Ie 7 . ul 1
28. If it is desired to register the words only of a song, the application sho lc
be made as for a literary work ; if it is desired to register both words and music,
application should be made as for a musical work.
29. In the case of music published in different editions arranged - cae :
: . ‘ : ; ‘ e for eac
instruments, application for registration of copyright may be ma
arrangement.
30. In the case of engravings, photographs, or se _ meds for cath
i Fatt icati istrati f right ma e€ meé ac
with variations, application for registration of On GBS . aa
. ely differentiate t sues.
variety, and should be so worded as to closely differe
31.—(1.) Every application for the r
tistie works published
egistration of a copyright, or performing
ress, OF appoi 2 f agent ;
right, shall be accompanied by a statement of address, or appointment of ee
ications of e i onnexion W
and all notices, requisitions, and communications of every kind in -
: i sue r agent.
an application may be sent by the Registrar to such address or ag’ a.
(2.) The address for service shall be within the Commonwea a, e .
= 1 ‘ A > situs >
near to the city in which the Copyright Office is situs
vice, or appointment of agent, left. at, or
i@ on the person giving the notice until
o
Registrar requires, in or
32. Any statement of address for serv
sent to, the Copyright Office shall be bindir
Copy of
unpublished
work to be
forwarded,
Title of
literary work.
Published
books.
Artistic
works.
Interchange-
able parts.
Title.
New editions.
Registration
of song.
Music pub-
lished for
different
instruments.
Engravings,
photographs,
&e.
Statement of
address.
Notice to be
binding.
( )
he appointment of some other address for service, or
furnished by him to the Registrar.
person becomes entitled to any registered copyright or
e of an assignment or transmission, or to any interest
be left at, or sent
notice of revocation, or of t
of some other agent, has been
Entry of 33.—(1.) When any
interest on performing right, by virtu
— therein, a request for the entry of his name in the Register may
by post to, the Copyright Office.
(2.) The request may be in accordance with Form I or Form J, as the case
requires, and shall be made and signed by the person claiming to be registered as
owner or licensee, or by his agent, and shall be accompanied by the deed or docu-
ment upon which he bases his request for registration.
(3.) An attested copy of every deed and document affecting the ownership of
the copyright, or performing right, or of any licence thereunder, shall accompany
the request.
(4.) The Registrar, if satisfied with the request, shall register the assignment,
transmission, or licence by entering particulars thereof in the proper Register.
34.—(1.) Declarations required for the purposes of these Regulations may be
taken before any of the following persons :—
(a) In Australia.—A Notary Public, a Justice of the Peace, a Commissioner
for Affidavits, or any person authorized by any Act or State Act to
administer oaths or take declarations.
(b) In British Dominions other than Australia.—Any Judge, Magistrate,
Justice of the Peace, Notary Public, or Commissioner for Oaths or
Affidavits, or any person authorized by law to administer oaths or take
Declarations.
declarations.
(c) In Foreign Countries.—Any Judge of a Supreme Court, British Consul or
Consular Officer, or Notary Public of the foreign country in which the
applicant may be, who is authorized by the laws of said country to
administer oaths.
(2.) The Registrar may take notice of the signature to any declaration, and
of the signature of the person before whom it purports to have been declared,
without proof of those signatures or of the official character of the person before
whom the declaration purports to have been made.
Alteration of 35. The Registers of Copyrights may be altered or amended by the Registrar
registers. in the following cases :—
(a) Where the error in entry has been made purely through the fault of the
office ; or
(b) Where the error in entry has been made through accident on the part of
an applicant or his agent.
In the latter case, however, no amendment shall be made unless the owner of the
copyright or performing right lodges at the Copyright Office a request to amend,
accompanied by the prescribed fee.
ey of 36. The Registers of Copyrights shall be open to the inspection of the public
= during office hours on every day during which the Copyright Office is open, except
on the days and at the times following :—
(a) Days which are from time to time notified by a placard posted in a con-
spicuous place at the Copyright Office ; and :
(b) Times when the Registers are required for any purpose of official use.
(2)
PART II.—Royatry Sysreu (GENERAL).
37.—(1.) The notice required by section three of the British C
shall contain the following particulars :—
(a) The name and address of the person intending to reproduce the work :
(6) the name of the work which it is intended to reproduce, and (if necessary)
a description sufficient to identify it ;
(c) the manner in which it is intended to reproduce the work (e.g.), whether
by printing, lithography, photography, &ec. ;
(d) the price or prices at which it is intended to publish the work ;
(e) the earliest date at which any of the copies will be delivered to the pur-
chaser.
(2.) The notice shall, not less than one month before any copies of the work
are delivered to the purchaser, be sent by registered post or published by advertise-
ment as follows :—
(a) If the name and an address within the Commonwealth of the owner of
the copyright, or his agent for the receipt of notice, are known or can
with reasonable diligence be ascertained, the notice shall be sent to the
owner or agent at that address ; ;
(6) if such name and address are not known and cannot, with reasonable
diligence, be ascertained, the notice shall be advertised in the Gazette ;
the advertisement in the Gazette shall give the particulars required by
paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall
also state an address from which a copy of the notice described in sub-
regulation (1) of this Regulation may be obtained.
38.—(1.) Unless otherwise agreed, royalties thall be payable by means of
adhesive labels purchased from the owner of the copyright, and affixed to the
copies of the work.
(2.) After the person reproducing the work has given the prescribed notice of
his intention to reproduce the work, the owner of the copyright shall, by writing
sent by registered post, intimate to him some reasonably convenient place within
the Commonwealth from which adhesive labels can be obtained, and, on demand
in writing and tender of the price, shall supply from such place adhesive labels of
the required denominations at a price equal to the amount of royalty represented
thereby.
39. Subject to these Regulations, no copy of the work shall be delivered to :
purchaser until the label or labels denoting amount of royalty have been affixec
thereto. ae
40.—(1.) In cases where royalties are payable by means of lt al € . i
at any time labels of the required denomination are not available es ee
(a) after the expiration of fourteen days from the date of the ao :
notice the owner of the copyright has not duly sent to the person eS
ducing the work an intimation of some reasonably covenant P ace
within the Commonwealth from which such labels can be Shane i or
(b) the owner of the copyright ee or eine to supply such labels within
days after demand duly made, :
copies of be wc oe be delivered to purchasers without having labels a
thereto, and the amount of royalties shall be a debt due by the person repro y
opyright Act Notice.
Payment of
royalties.
Copies not to
be delivered
until labels
affixed.
Adhesive
labels not
available.
Cc .
the work to the owner of the copyright, and the person reproducing the work shall
keep an account of all such copies sold by him.
(2.) For the purpose of this Regulation “ the date of the prescribed notice ”
means—
(a) in cases when the notice is required to be sent by registered post, the date
when the notice would in ordinary course of post be delivered ;
(b) in cases when the notice is required to be advertised in the Gazette, the
date of such advertisement.
Royalties 41. Where royalties are by agreement payable in any other mode than by
oo . means of adhesive labels the time and frequency of the payment shall be such as
than by are specified in the agreement.
adhesive
Jabels. 42. The adhesive label, supplied as aforesaid, shall be an adhesive paper label,
Form of square in shape, the design to be entirely enclosed within a circle, and the side of
cc the label not to be greater than 4-inch in length. The label shall not be in a form
which resembles any postage stamp nor bear the effigy of the Sovereign or any
other person, nor any word, mark, or design such as to suggest that the label is
issued by or under the authority of the Government or any State Government for
the purpose of denoting any duty payable to such Government.
PART IlL.—Royatry System (MecuanicaL MusicaL CONTRIVANCES).
‘Notice. 48,—(1.) The notice required by sub-section (2) of section nineteen of the
British Copyright Act shall contain the following particulars :—
(a) The name and address of the person intending to make the contrivances ;
(b) the name of the musical work which it is intended to reproduce and of the
author (if known) ; and (if necessary) a description sufficient to identify
the musical work ;
(c) the class ‘of contrivance on which it is intended to reproduce the musical
work (e.g.) whether discs, cylinders or music rolls ;
(d) the ordinary retail selling prices of the contrivances, and the amount of
the royalty payable on each contrivance in respect of the musical work ;
(e) the earliest date at which any of the contrivances will be delivered to the
purchaser ; :
(f) whether any other work is to be reproduced on the same contrivance with
the musical work specified in accordance with paragraph (0).
(2.) The notice shall, not less than ten days before any contrivances on which
the musical work is reproduced are delivered to a purchaser, be sent by registered
post or published by advertisement as follows :—
(a) If the name and an address within the Commonwealth of the owner of the
copyright, or his agent for the receipt of notice, are known or can with
reasonable diligence be ascertained, the notice shall be sent to the owner
or agent at that address ;
(b) if such name and address are not known and cannot with reasonable
diligence be ascertained, the notice shall be advertised in the Gazette ;
the advertisement in the Gazette shall give the particulars required by
paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall
also state an address from which a copy of the notice described in sub-
regulation (1) of this Regulation may be obtained. Any number of
musical works may be included in the same advertisement.
44.—(1.) Unless otherwise agreed, royalties shall be payable by means of
adhesive labels purchased from the owner of the copyright and affixed in the manner
provided by this part of these Regulations.
(2.) After the person making the contrivances has given the prescribed notice
of his intention to make or sell the contrivances, the owner of the copyright shall
by writing, sent by registered post, intimate to him some reasonably convenient
place within the Commonwealth of Australia from which adhesive labels can be
obtained, and on demand in writing and tender of the price shall supply from such
place adhesive labels of the required denominations at a price equal to the amount
of royalty represented thereby.
45. Subject to these Regulations no contrivance shall be delivered to a pur-
chaser until such label or labels denoting the amount of royalty have been affixed
thereto, or, in the case of cylinders to which it is not reasonably practicable to
affix the labels, until such label or labels have been affixed to a carton or box
enclosing the cylinder.
46.—(1.) In cases where royalties are payable by means of adhesive labels, if
at any time labels of the required denominations are not available either because—
(a) after the expiration of five days from the date of the prescribed notice of
the intention of the person making the contrivances to make or sell such
contrivances the owner of the copyright has not duly sent to the person
making the contrivances an intimation of some reasonably convenient
place within the Commonwealth of Australia from which such labels can
be obtained ; or oe
(b) the owner of the copyright refuses or neglects to supply such labels within
three days after demand duly made,
contrivances may be delivered to purchasers w
or to the carton or box enclosing the same ; and
debt due by the person making the contrivance
and the person making the contrivances shall k
vances sold by him.
(2.) For the purposes of this Regulation
means—
(a) in cases where the notice is required to be sent by registered post, the date
when the notice would in ordinary course of post be delivered :
(b) in cases where the notice is required to be advertised in the Gazette, the
date of such advertisement.
ithout having labels affixed thereto
the amount of royalties shall be a
es to the owner of the copyright,
eep an account of all such contri-
“ the date of the prescribed notice ”
47. In cases where royalties are payable on contrivances before
commencement of the Act, the person making such contrivances may 2 —
of his intention to sell them, containing mutatis mutandis the same algae
given in the same manner as is prescribed by these Regulations in the case of the
notice required by sub-section (2) of section nineteen of the British Copyright Act.
ayable in any other mode than by
i t
48. Where royalties are by agreement P Fs aigabts ele
means of adhesive labels, the time and frequency of the p
are specified in the agreement.
Payment of
royalties,
Contrivance
not to be
delivered
without
adhesive
labels.
Adhesive
labels not
available.
Royalties on
contrivances
made before
commence-
ment of Act.
Royalties
payable
otherwise
than by
adhesive
labels.
Form of
adhesive
label.
Ordinary
retail selling
price.
Inquiries.
Time for
reply.
(wa
49. The adhesive label supplied as aforesaid shall be an adhesive paper label,
square in shape, the design to be entirely enclosed within a circle, and the side of
the label not to be greater than $-inch in length. The label shall not be in a form
which resembles any postage stamp nor bear the effigy of the Sovereign or any
other person, nor any word, mark, or design such as to suggest that the label is
issued by or under the authority of the Government or any State Government for
the purpose of denoting any duty payable to such Government.
50. The ordinary retail selling price of any contrivance shall be calculated at
the marked or catalogued selling price of single copies to the public, or, if there is
no such marked or catalogued selling price, at the highest price at which single
copies are ordinarily sold to the public.
51.—(1.) The inquiries referred to in sub-section (5) of section nineteen of
the British Copyright Act shall be directed to the owner of the copyright by name,
or (if his name is not known and cannot with reasonable diligence be ascertained)
in general terms to ‘“‘ the owner of the copyright ” of the musical work in respect
of which the inquiries are made, and shall contain—
(a) a statement of the name of the musical work in respect of which the
inquiries are made and of the author (if known), and (if necessary) a
description sufficient to identify it ;
(b) a statement of the name, address and occupation of the person making
the inquiries ;
(e) an allegation that a contrivance has previously been made by means of
which the musical work may be mechanically performed, with the trade
name (if known) and a description of such contrivance ;
(d) an inquiry whether the contrivance so described was made with the
consent or acquiescence of the owner of the copyright.
(2.) The inquiries shall be sent by registered post or published by advertisement
as follows :—-
(a) If an address within the Commonwealth of the owner of the copyright is
known, or can with reasonable diligence be ascertained, the inquiries
shall be sent to such address ; or
(b) if such address is not known and cannot with reasonable diligence be
ascertained, the inquiries shall be advertised in the Gazette.
52. The prescribed time for reply to such inquiries shall be .—
(a) in cases where the inquiries are required to be sent by registered post,
seven days after the date when the inquiries would in ordinary course
of post be delivered ; and
(b) in cases where the inquiries are required to be advertised in the Gazette,
seven days after the date of such advertisement.
PART IV.—REPEAL.
58. All Regulations, whether provisional or otherwise, heretofore made under
the Act and in force at the commencement of these Regulations are hereby repealed
Save as to any right, privilege, obligation, or liability acquired, accrued, or incurred
thereunder.
a
10.
iL
A.
Al.
A2.
A3.
REP AST BD
(an 5
THE FIRST SCHEDULE.
FrEeEs:
On filing is as os ‘ :
: tee ciple for registration of copyright in a literary or musical work
n filing a atio istrati ri i isti
pplication for registration of copyright in an artistic work (except copyright in a
photograph) : :
On filing applic 7 a
pplication for registration vet copy sytickit i ina déadiwthe work (except Sopris ts in
an original cinematograph production)
On filing application for registration of copyright in a Sieies ck
On filing application for registration of performing right in a musical or dramatic york
O g ‘ > re
n filing application for the registration of copyright in an a oe pro-
duction ;
On filing Sapien for the Waleiedion of the selevialtt in a ‘eseiical oni ance for
reproducing a musical work : a . :
On request to the Registrar to register an assignment, transmission, or licence, in connexion
with a copyright or performing right
For inspection of the Register—for each entry eincehiat re or inspec ted
For certified copy of an entry in the Register ..
On application to the Registrar for amendment of the Re gister ruler ection 36 of he Act
SECOND SCHEDULE.
InpEx TO CopyRicgHt Forms.
Application for registration of copyright in a published original literary, dramatic, musical,
or artistic work ve . . :
Application for registration of copyright in ina pu blished cituinil fineras y> deinatis. ‘euseal,
or artistic work. (By a firm) ae a. <s
Application for registration of copy right j in a pu blished Geel ey dramatic, musical,
or artistic work. (By a body corporate) .. Ae ae ws ae
Application for the registration of copy right in a bolasiee work. (By owner or his assignee,
agent, or attorney) is A ae =
Application for registration of copy right in an + aapubliched gage literary, dramatic,
musical, or artistic work a. oe & ee
Application for registration of copyr ight ina pistons pl. (By the author or his assignee,
agent, or attorney) z Se os
Application for registration of cores a in a photogreph. (By a firm) va
Application for registration of copyright in a published mechanical musical contrivance .
Application for registration of copyright in an unpublished mechanical musical a
vance
Application for Hapa
musical or dramatic work
Statement of address
Appointment of agent
Request to enter name of sabesctient owner of bepyeicit upon the vegiaver of copy ee
Request to enter notification of licence or other document in the register of copyrights .
Application for amendment or alteration of the Register under Section 36 of the Act
Search warrant under Section 16 (1) (a) of the Act... oe ee ie a a
Search warrant under Section 16 (1) (6) of the Act t a
Notice under Section 17 of the Act forbidding the performance
WOK os “3 es pe aia ce .
deter of ‘he sole ik to poctorme or authorize the performance ots a
e of a musical or dramatic
..
po
5 0
or Oo
oo
-. 10-0
So
ot OL
eoooo
or
PAGE
12
13
14
14
15
16
16
20
20
21
21
FORM A.
Copyrights. Commonwealth of Australia.
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,
Musica, or ArTIsTIC WoRK.
(By the author or authors, or his or their assignee, agent, or attorney.)
2. (1) of (2) (3) hereby make application for the registration of the
copyright in a (4) work being a (5) entitled (6)
W. do hereby declare that the said (4) was first published in (*a part of His Majesty’s
‘Demanions to which the Act extends or a foreign country to which an Order in Council under the Act
relates) by at on the and that such date was not later than fourteen days (or
such further time as is fixed by law) after the date of its first publication elsewhere. :
a do further declare that (7) the author of the said (4) work, and that ger
the owner of the copyright therein.
And ,,, make this declaration conscientiously believing the statements contained therein to be
true in every particular. :
Declared at this day of 19 (8).
Before me (9) :
To the Registrar of Copyrights, Commonwealth of Australia.
(1) Name of Applicant (in full).
(2) Address.
(3) Occupation. S ook i eo
(4) State whether “ Literary,”’ “ Dramatic.” or * Musical, oo Artistic ” Work, as the case may be.
(5) State whether ‘‘ Book,” “‘ Drama,” “Song,” ~ Painting,” ‘“‘ Work of Sculpture,”’ ‘‘ Lecture,’
&c., as the case may be. : aS : aS
(6) Title of Work (in full) or description sufficient to identify it.
(7) State the Name of the Author of the Work.
(8) Signature of Applicant. one
(9) Signature of Person before whom the Declaration is made. : :
Nors.—Where the applicant is the assignee from the author the applicant must forward with his
application each assignment or instrument by virtue of which he derives his title, with an attested copy
thereof.
* Strike out whichever is not needed.
| FORM Al.
a. Commonwealth of Australia,
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,
Musica, or Artistic WoRK.
(By a Firm.)
(1) doing business at (2) and composed of the following members (3)
hereby applies for the registration of the copyright in a (4) work, being a (5) entitled
and I (7) a member of the firm of (1) the applicant named herein, declare
that the said (4) work was first published in (*a part of His Majesty’s Dominions to which the
Act extends or a foreign country to which an Order in Council under the Act relates) by at
on the and that such date was not later than fourteen days (or such further time as
is fixed by law) after the date of its first publication elsewhere.
I, the said (7) do further declare that (8) the author of the said (4) work,
and that the said firm of (1) is the owner of the copyright therein.
Coif)
And I, the said (7) i
A ; 8 7 make this declaration conscientiously believi
ee eee ey artis é scientiously believing the statements contained
¢
Declared at this day 19
: Before me—(10) Z
r Rae teas AF Cl . ‘
To the Registrar of Copyrights, Commonwealth of Australia
(1) Name of Firm (in full).
(2) Place of Business.
(3) Name of individual Members of Firm (in full).
: — Soar ge nee ** Dramatic,’’**‘ Musical,” or ‘‘ Artistic?’ work, as the case may be
ate whether ED A rani! (4 29 C6 Petit 0) SOTO Ok aa Sema ee
- - ook, Drama, Song, Painting, Work of Sculpture,” &c., as the
(6)
(7) Name (in full) of Member of Firm who makes the Declaration.
(8) State the Name of the Author of the Work.
(9) Signature of person authorized to sign the application.
(10) Signature of person before whom the Declaration is made.
_ Nore.—W here the Applicant is the Assignee from the Author, the Applicant must forward with
his application each assignment or instrument by virtue of which he derives his title, with an attested
Copy thereof.
* Strike out whichever is not needed.
1
2
3
4
5
m
6
7
8
FORM Az.
Copyrights. . 5
alte Commonwealth of Australia.
Copyright Act, 1912.
ATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,
APPLICATION FOR REGISTR
MustcaL, on Artistic WoRK.
(By a body corporate.)
The (1) a corporation duly organized under the laws of (2) located at (3)
and having an established place of business at (4) hereby applies for the registration of the
copyright in a (5) work, being a (6) entitled (7) and I (8) declare that
the said (5) work was first published in (*a part of His Majesty’s Dominions to which the Act
extends or a foreign country to which an Order in Council under the Act relates) by at
on and that such date was not later than fourteen days (or such further time as is fixed by
law) after the date of its first publication elsewhere. :
I, the said (8) do further declare that (9) _ the author of the said (5) work,
and that (1) is the owner of the copyright therein.
And I, the said (8) make this declaration conscl
articular.
therein to be true in every particula ae
was hereto affixed in the presence of (10) ‘
Signature of Declarant—
entiously believing the statements contained
The Common Seal of (1)
Witness to signature of declarant— :
To the Registrar of Copyrights. Commonwealth of Australia.
(1) Name of Company (in full). :
(2) Name of State or Country under whose laws Company is organized.
(3) State where Company is located. :
blished.
4) State where place of business is esta oe : i
mi ied Skee “Literary, ‘ Dramatic,” “‘ Musical,” or ‘‘ Artistic ° Work, as the case may be.
(6) State whether “ Book,” ‘‘ Drama,” “Song,” ‘‘ Painting,” “ Work of Sculpture,” &c., as the
case may be. ae
(7) Title of Work (in full), or descriptio
(8) Name and Address of Secretary es So
f the Author of the Work. : of
ce} Te ented with Signatures of Officers as prescribed by the Articles of Association of
Company. : ‘ oe
Nove.—Where the Applicant 1s the Assignee
the application each assignment or instrument by
Copy thereof.
PY, Strike out whichever is not needed.
n sufficient to identify it.
) authorized to make Declaration.
from the Author, the Applicant must forward with
virtue of which it derives title, with an attested
(1 )
—_—_—_—— FORM A3.
Copyrights.
Commonwealth of Australia.
i
Copyright Act, 1912.
APPLICATION FOR THE REGISTRATION OF COPYRIGHT IN A CoLLEcTIVE Work.
(By the owner or owners or his or their assignee, agent, or attorney.)
(1) hereby make application for the registration of (2) copyright in a collective
yor ing a (¢ entitled (4
ae ear declare that a Lad (3) was first published in (*a part of His Majesty's
Dominions to which the Act extends or a foreign country to which an Order in Council under the Act
relates) by at on the and that such date was not later than fourteen days (or
such further time as is fixed by law) after the date of its first publication elsewhere.
I do further declare that (5) is the owner of the copyright in the said (3)
And I make this declaration conscientiously believing the statements contained therein to be true
in every particular.
(6)
Declared at this day of 19
Before me—(7) :
To the Registrar of Copyrights, Commonwealth of Australia.
(1) Name (in full), Address, and Occupation of Applicant. If application is made by an Agent or
Attorney, evidence of authority to make the application must be furnished.
(2) “My.” our; “then, or — its:
(3) State whether ‘‘ Encyclopaedia,” ‘‘ Dictionary,” ‘‘ Year Book,” or similar work.
(4) Title of Work (in full), or description sufficient to identify it.
(5) Name of Owner of Collective Work.
(6) Signature of Applicant.
(7) Signature of person before whom the Declaration is made.
Notse.—Where the Applicant is the Assignee from the Owner, the Applicant must forward with his
application each assignment or instrument by virtue of which he derives his title, with an attested Copy
thereof.
* Strike out whichever is not needed.
FORM B.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED ORIGINAL LITERARY, DRAMATIC,
Mustcat or Artistic Work.
(By the author or authors, or his or their assignee, agent, or attorney.)
I
We (1) of (2) (3) hereby make application for the registration of the
copyright in a (4) work, being a (5) entitled (6)
We declare that (7) the author of the said (4) work, and at the time of the making
thereof, was (9)
Iam
I
We do further declare that wo Ate the owner of the copyright in the said (4) work.
( i)
And I ake this i
we make this declaration conscientiously bel
true in every particular. :
Declared at this day of
leving the statements contained therein to be
19.
Before me (11) (10)
E ecistre 1 ; 4
o the Registrar of Copyrights, Commonwealth of Australia
Name of Applicant (in full)
Address. :
Occupation.
State whether ‘‘ Literary,” ‘“‘ Dr: ic ical,”
State whether ‘ ass co yee ing,” 7 oo...
State Title of Work in full, or deseri aon ffici chistes ea ee |
Name of the Author of the Work. oe
” a. of the negative in the case of a photograph.
OS siihjaot mares . _ part of His Majesty's Dominions to which the Act
or “ Resident in a foreign Soanery to oe ee cue
on : g rder in Council under the Act relates,’’ as the case
(10) Signature of Applicant.
oe oe the Declaration is made.
an soon erg — Assignee from the Author, the Applicant must forward with
roe sama g strument by virtue of which he derives his title, with an attested
SoS SS SSS
FORM C.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH.
: (By the author or authors, or his or their assignee, agent, or attorney.)
We (1) of (2) (3) hereby make application for the registration of the
copyright in a photograph entitled (4)
i os
x7, declare that (5 of (6)
We )
the making of the original negative (viz. (7)
*T or he was (8)
we or they were.
I Iam . ce : : :
the owner of the copyright in the said photograph.
We do further declare that oo are
And we make this declaration conscientiously believing the statements contained therein to be
true in every particular.
(9
the author of the said photograph, and at the time of
) from which it was directly or indirectly derived
Declared at this day of 19
Before me—(10) ‘ :
To the Registrar of Copyrights. Commonwealth of Australia.
Name of Applicant (in full).
Address.
Occupation. ae a : ee
Title of Photograph (in full), or description sufficient to identify it. ae
State the name of the Author of the Work, or the words “lam,” or we are, as the case
ww
~eLTSTreTe~S
2
requir han the Applicant.
6) Here insert Address of Author if a person other t
7) Fill in date of the making of the negative. a : oe .
(3) “A British Subject,” “ Resident within a part of His Majesty's Dopanioms te Ww on ~ Act
: ; oe ae -y £0 which ¢ erin C >] er the Act relates,
extends,” “‘ a subject or citizen of a foreign country to which an Order in Council unc scr regan
or “ Resident in a foreign cou der in Council under the Act re
Res ig
may be. |
(9) Signature of Applicant. |.
10) Signature of person before whom the declaration is made. :
ae te Applicant is the Assignee from the Author, the Applic
application each assignment or instrument by virtue
Copy thereof. :
* Strike out whichever 1s not needed.
Vo
ntry to which an Or
vant must forward with his
derives his title, with an attested
of which he
FORM Cl.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
AppLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH.
(By a Firm.)
(1) doing business at (2) and composed of the following members (3) :
hereby applies for the registration of the copyright in a photograph entitled (4) and I (5)
“a member of the firm of (1) the applicant named herein, declare that (6) of
(7) the author of the said photograph, and at the time of the making of the original negative
a. : ae : he was
(viz., (8) ) from which it was directly or indirectly derived they ee) :
I, the said (5) do further declare that the said firm of (1) is the owner of the
copyright in the said photograph. oS :
And I, the said (5) make this declaration conscientiously believing the statements contained
therein to be true in every particular. oe
)
Declared at this day of 19
Before me—(11) :
To the Registrar of Copyrights, Commonwealth of Australia.
(1) Name of Firm (in full).
(2) Place of Business.
(3) Names of individual Members of Firm (in full).
(4) Title of Photograph (in full), or description sufficient to identify it.
(5) Name (in full) of Member of Firm who makes the Declaration.
(6) Here insert (in full) Name of Author of Photograph.
(7) Address of Author.
(8) Fillin Date of making of the negative.
(9) “‘A British Subject,” ‘“‘ Resident within a part of His Majesty’s Dominions to which the Act
extends,” “a subject or citizen of a foreign country to which an Order in Council under the Act relates,”
ore: Agee in a foreign country to which an Order in Council under the Act relates,” as the case
may be.
(10) Signature of person authorized to sign the application.
(11) Signature of person before whom the Declaration is made.
Note.—Where the Applicant is the Assignee from the Author, the Applicant must forward with his
apeenen each assignment or instrument by virtue of which he derives his title, with an attested Copy
tnereotr.
FORM D.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED MECHANICAL MuUsIcaL
CONTRIVANCE.
(By the author or authors, or his or their assignee, agent, or attorney.)
I
we ()) of (2) (3) hereby make application for the registration of the
copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a
musical work entitled (5) by (6) .
The original plate from which the said contrivance was directly or indirectly derived was made
by (7) at (8) on (9) : L :
of declare that the said contrivance was first published in (*a part of His Majesty’s Dominions to
which this Act extends or a foreign country to which an Order in Council under the Act relates) by
5 at on and that such date was not later than fourteen days (or such further
period as is fixed by law) after the date of its first publication elsewhere.
I :
We “oe further declare that (10) the author of the said mechanical contrivance, and that
Ila
am the owner of the copyright therein.
WE are
Cay
Zz
And make this i i
f we me nis declaration conscientiously believi Q
: sly eving the statements containe rel
ee g the statements contained therein to be
Declared at this day of 19
i Before me (12) : ay
: the Registi - = ( epyTients, Commonwealth of Australia.
Name of Applicant (in full).
Address.
Occupation.
te whether “* Disc,” ** Cylinder,” ‘ Roll,” &c., as the case may be
Pitle of Musical Work, and (if necessary) a description sufficient to identify it
State the Name of the Author of the Musical Work. i
State the Name of Maker of the Plate.
State the Place where the original Plate was made.
State date on which the original Plate was made.
State the Name of the Author of the Contrivance.
Signature of Applicant.
(12) Signature of Person before whom the Declaration is made.
airpiin ates the Applicant is the Assignee from the Author, the Applicant must forward with his
vation each assignment or instrument by virtue of which he derives his title, wi attes Copy
app 7 es his title, with an attested Copy
* Strike out whichever is not needed.
ON =
_
—_————ererreee
SS
Se OO WAI OE
FORM E.
Copyrights. -
oo Commonwealth of Australia.
ee
Copyright Act, 1912.
APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED MxrcHANICAL Musical
CONTRIVANCE. -
(By the author or authors, or his or their assignee, agent, or attorney.)
I i . :
We (1) of (2) (3) hereby make application for the registration of the
copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a
musical work entitled (5) by (6) é
The original plate from which the said contrivance was direct
by (7) at (8) on (9)
ae declare that (10) the author of the said contrivance, and at the time of the making
thereof was (11) :
We do further declare that . the owner of the
ly or indirectly derived was made
copyright in the said contrivance.
And = make this declaration conscientiously believing the statements contained therein to be true
in every particular.
Declared at this day of 19,
(12)
Before me (13)
To the Registrar of Copyrights,
Commonwealth of Aust ralia.
(1) Name of Applicant (in full).
(2) Address.
(3) Occupation. 0 . ek
(4) State whether © Disc,” ‘‘ Cylinder,’ Roll,”’ &c., as the case may be.
(5) Title of Musical Work, and (if necessary) @ description sufficient to identify it.
(6) State the Name of the Author of the Musical Work.
(7) State the Name of the Maker of the Plate.
(8) State the Place where the original Plate-was made.
(9) State the Date on which the original Plate was made,
0) State the Name of the Author of the Contrivance. :
1p a British Subject” “resident within a part of His Majesty's Dominions to w hich the Act
extends,” ‘‘a subject or citizen of a foreign country to which an Order in Seon _ Jong ro oponl
which an Order in Council under the # ct relates,
may be. :
(12) Signature of Applicant.
(13) Signature of Person bef °
- “Norg.—Where the Applicant is f
application each assignment or instrument by virtue
Copy thereof.
~~
ert
“eo W » Declaration is made. :
oe oe ant must forward with his
with an attested
the Assignee from the Author, the Applica I
| of which he derives his title,
( )
FORM F.
Copyrights. :
Commonwealth of Australia.
a
Copyright Act, 1912.
AppLICATION FOR REGISTRATION OF THE SOLE Rigut TO PERFORM OR AUTHORISE THE PERFORMANCE
or A MusicaL oR DramMatic WORK.
So (1) of (2) (3) hereby make application for the registration of the sole
right to perform or authorize the performance in the Commonwealth of a (4) work entitled
(5) :
a do hereby declare that (6) the author of the said work, and that (7)
the owner of the sole right to perform or authorize the performance of the said work.
And ! make this declaration conscientiously believing the statements contained therein to be
we
true in every particular. :
Declared at this day of 19
(9)
Before me ;
To the Registrar of Copyrights, Commonwealth of Australia.
(8)
) Name of Applicant (in full).
) Address.
) Occupation.
) State whether ‘* Musical ”’ or ‘* Dramatic”? Work.
) Title of Work (in full).
)
)
(8) Signature of Applicant.
(9) Signature of Person before whom the Declaration is made.
Norz.—The applicant must forward with his application each assignment or instrument through
which he derives his title, with an attested Copy thereof.
S centemenaneiememenndamnnanaenen
FORM G,
Copyrights.
| Commonwealth of Australia.
Copyright Act, 1912.
STATEMENT OF ADDRESS,
Sir—
I hereby authorize and request you to send all notices, requisitions, and communications in con-
co with my application for the registration of the copyright in my (1) entitled (2)
OG ;
Dated this day of A.D. 19
(4)
To the Registrar of Copyrights, Commonwealth of Australia.
TH.—A p AC ares: beg OS} x = 2 ?
No \* articular addre s must be given. ‘
Be: £ An address such as ‘* General Post office Melbourne
(1) Here insert ‘‘ Literary,” ‘‘ ic,” ‘‘ Musical,”’ ‘‘ Artistic ”’ - i i
Cuan crag al a Dramatic,” ‘‘ Musical, Artistic? Work, or ‘‘ Mechanical Musical
(2) Title of work.
(3) Here insert Name and Full Address.
(4) Signature of Applicant in full.
(
r ‘ FORM H.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
APPOINTMENT OF AGENT.
Sir—
I(1) hereby nominate, constitute aad appoint (2) of (3) in the Common-
wealth of Australia (4) my agent (5) for me in my name (6) registration of my
copyright in my (7) entitled (8) and for that purpose to sign on my behalf all documents
that my said agent may think necessary or desirable ; and I further empower my said agent to alter
and amend any documents, whether originally executed by me or on my behalf, in any manner which
may be necessary. Q
Dated this day of A.D. 19
(9)
Witness—
To the Registrar of Copyrights, Commonwealth of Australia.
(1) Here insert (in full) Name, Address, and Occupation of Principal.
(2) Here insert (in full) Name of Agent.
(3) Here insert Full Address of Agent.
(4) Here insert Occupation of Agent.
(5) Principal may here insert the words “ with full powers of substitution and revocation.”
(6) Here insert purpose for which Agent was appointed, such as ‘‘ to apply for and obtain.”
(7) ‘‘ Literary,” ‘‘ Dramatic,” ‘‘ Musical,” “ Artistic ” Work, or “‘ Mechanical Musical Contrivance,”
case requires.
) Title of Work.
) Signature of Applicant (in full).
7
as the
(8
(9
FORM I
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
REQUEST TO ENTER NAME OF SUBSEQUENT OWNER OF COPYRIGHT UPON THE REGISTER OF Copy-
RIGHTS.
Place
Date — a :
I(1) hereby request that you will enter my name in the Register of Copyrights as owner
of the copyright in the (2) entitled (3) which was entered in the Register of (4)
yrig Dy)
copyrights on the day of 19 : a
T am entitled to the said copyright by virtue of (5)
And in proof whereof T transmit the accompanying (6)
Dated this day of Ap, 19. os
with an attested copy thereof.
To the Registrar of Copyrights, Commonwealth of Australia.
é d tion of Applicant. : 5
Ne ad ia oa” Work: ae Mechanical Musical Contrivance, ”
1) Here insert (in full) ess, and Occu)
ea ‘“‘ Literary,“ Dramatic,’ ‘‘ Musical, Artistic
as the case requires.
a a “Dramatic,” “* Musical,”’ or “* Artistic,” as the et requires.
(5) Here insert particulars showing how Transferee derives his Title.
(6) Here insert the Nature of the Document.
(7) To be signed by the Person applying for Registration of the Transfer.
(wo 4
————————— FORM J.
Copyrights. Commonwealth of Australia.
Copyright Act, 1912.
Request To ENTER NoviricaTIon OF LICENCE OR OTHER DocUMENT IN THE REGISTER OF COPYRIGHTS.
Place
Date
T(1) hereby transmit an attested copy of (2) under Copyright No. (3)
which was entered in the Register of (4) copyrights on the day of 19
L also enclose the original document for verific ation, and I have to request that a notification
thereof may be entered in the Register.
Dated this day of ap. 19
(Signature)
To the Registrar of Copyrights, Commonwealth of Australia.
) Here insert (in full) Name and Address.
) Here insert a description of the Nature of the Document.
) Here insert the Number of the Entry.
)
“Literary,” “ Dramatic,’ ‘‘ Musical,” or ‘‘ Artistic,” as the case may be.
FORM K.
& mre :
Copyrights. Commonwealth of Australia.
Copyright Act, 1912.
APPLICATION FoR AMENDMENT OR ALTERATION OF THE REGISTER UNDER SECTION 36 OF THE ACT,
I(1) of (2) (3) the owner of Copyright No. (4) which was entered
in the Register of (5) copyrights on the day of A.D.19_ , request that you will
amend or alter the Register in the following manner :—(6)
And I do hereby declare that the error arose through the followi ing circumstances :—(7)
And I make this solemn declaration ¢ onscientiously believing the statements contained therein to
be true in every particular.
Dated this day of A.D. 19
Declared before me at this day of A.D. 19
(9)
To the Registrar of Copyrights, Commonwealth of Australia.
(1) Name (in full) of Registered Owner of Copyright or Performing Right.
(2) Address.
(83) Occupation.
(4) Here insert the Number of the Entry.
(5) *‘ Literary,” ‘“‘ Dramatic,” ‘‘ Musical,” or ‘* Artistic,” as the case may be.
(6) Here set out desired Amendment or Alteration of the Register.
(7) Here furnish particulars of the circumstances under which the error arose.
(8) To be signed by the Registered Owner.
(9) "Eo be signed by the Person before whom the Declaration is made.
FORM L.
Copyrights.
: Commonwealth of Australia.
Copyright Act, 1912.
Search Warrant UNDER Section 16 (1) (a) of THE Act.
gi a a constable of police in the State of and to all constables of police in the said
ate
Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing
copies of (1) work, bearing the following title or description, viz. : (2) are being sold ,
or offered for sale at (3) in the State of (4) . These are therefore to authorize and
( a)
command you, in the Kin rs nh seiz k i oe f r s S g
§S name, to seize t é i ‘ij i i i wi ir
) ( ) e said alleg d in ringing copies of said ork, and to bring
Given under my ha 5 sad : ;
on y hand and seal, at in the State of the day of
: (L.3.)
A Justice of the Peace in the State of
(1) Here insert “‘ Literary,’’ ‘‘ Dramatic,’ “ Musical
(2) Here insert, sufficient for identi
Dramatic, Musical, or Artistic Work.
(3) Here insert Name of Town or Place.
(4) Here insert Name of State.
S fe pe Sega the Court of Summary Jurisdiction before which the said alleged infringing copies
: ,’ or “Artistic ” Work, as the case requires.
fication purposes, the Title, or a Description of the Literary,
FORM M.
Copyrights.
Commonwealth of Australia.
Copyright Act, 1912.
SHARCH WARRANT UNDER Suction 16 (1) (5) oF THE Act.
é To a constable of police in the State of and to all constables of police in the said
tate.
Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing
copies of a (1) work, bearing the following title or description, viz. : (2) are to be found
in (3) in the State of (4) :
These are therefore to authorize and command you, in the King’s name, to search, between sunrise
and sunset, the said (5) , and to seize the said alleged infringing copies of the said (1) 's.
work, or any copies reasonably suspected to be infringing copies of said work found by you therein, and
to bring them before (6) ‘
Given under my hand and seal, at in the State of the day of
A.D. 19
(L.S.)
A Justice of the Peace in the State of
(1) Here insert “‘ Literary,” “‘ Dramatic,” “‘ Musical,”’ or Artistic’? Work, as the cage requires.
(2) Here insert, sufficient for identification purposes, the Title or a description of the Literary,
Dramatic, Musical, or Artistic Work. oo : :
(3) Here describe the House, Shop, or other Place where the alleged infringing copies are believed to
be, and the Town or Place in which it is situated.
(4) Here insert Name of State. :
(5) Here insert House, Shop, or Place, as the case requires.
(6) Here insert the Court of Summary Jurisdiction before w
are to be brought.
hich the said alleged infringing copies
FORM N.
Copyrights. Commonwealth of Australia.
Copyright Act, 1912.
ACT FORBIDDING THE PERFORMANCE OF A MUSICAL OR DRAMATIC
‘E 3R SECTION 17 OF THE
Norick UNDER} ae
To (1)
I hereby give you notice that (2) Bre the registered owner of the sole right to perform a (3)
nereby 5 i F g
ich vi is i ) ig ffice on the day of
*k entitle hich right was registered in the Copyright O 1e f
Mig eg ee have pane ground to believe that bee ee pies pe oe. part
i orm said work at (5 in infringement of the said sole mgat © ae
ee ie pcre with section 17 of the Copyright Act, 1912 (a copy of which
( 22 )
in public of the said work in infringe-
frain from performing or taking part
, that I forbid the performance
the said sole right to perform at (5)
and that I require you to re
id work in infringement of
section is indorsed on this notice)
ment of the said sole right to perform,
in the performance in public of the sa
or at any other place.
Dated the day of A.D.19 . (6)
and Address of the Person to whom notice is given.
and Address of the Owner of the sole right to perform.
> as the case requires.
Dramatic Work.
(1) Here set out the Name, Description,
(2) Here set out the Name, Description,
(3) Here insert ‘“ Musical ”’ or ‘* Dramatic,’
(4) Here set out the title of the Musical or
(5) Here set out place where performance is believed to be about to take place.
(6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent,
the words “‘ Agent of the Owner of the sole right to perform appointed in writing ” are to be added.
Norz.—A copy of section 17 must be indorsed on this notice.
BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE,
( 22 )
section is indorsed on this notice), that I forbid the performance in public of the said work in infringe-
ment of the said sole right to perform, and that I require you to refrain from performing or taking part
in the performance in public of the said work in infringement of the said sole right to perform at (5)
or at any other place.
Dated the day of A.D. 19 6)
1) Here set out the Name, Description, and Address of the Person to whom notice is given.
2) Here set out the Name, Description, and Address of the Owner of the sole right to perform.
) Here insert “‘ Musical” or “ Dramatic,” as the case requires.
) Here set out the title of the Musical or Dramatic Work.
5) Here set out place where performance is believed to be about to take place.
(6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent,
the words ‘‘ Agent of the Owner of the sole right to perform appointed in writing ’’ are to be added.
Notz.—A copy of section 17 must be indorsed on this notice.
BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE.
Supplement to THE AUTHOR, July, 1914
THE INDIAN COPYRIGHT BILL,
1914.
SOCIETY OF AUTHORS, PLAYWRIGHTS
AND COMPOSERS,
THE INCORPORATED
1 CENTRAL BUILDINGS,
TOTHILL STREET,
WESTMINSTER, 8.W.
A BILL
TO
MODIFY AND ADD TO THE PROVISIONS OF THE
COPYRIGHT ACT, 1911.
WueErEas it is expedient to modify and add to the provisions of the Copyright
Act, 1911, in its application to British India; it is hereby enacted as follows :—
CHAPTER I.
PRELIMINARY.
1.—(1.) This Act may be ealled the Indian Copyright Act, 1914.
(2.) It extends to the whole of British India, including British Baluchistan,
the District of Angul and the Sonthal Parganas.
2. In this Act, unless there is anything repugnant in the subject or context—
(1.) ‘* The Copyright Act ’’ means the Act of Parliament entitled the Copyright
Act, 1911; and
(2.) Words and expressions defined in the Copyright Act have the same
meanings as in that Act.
CHAPTER II. :
CONSTRUCTION AND MopIFICATION OF THE Copyricut ACT.
8. In the application to British India of the Copyright Act (*a copy of which
Act, except such of the provisions thereof as are expressly restricted to the United
Kingdom, is set out in the First Schedule), the following modifications shall be
made, namely :—
(1.) The powers of the Board of Trade under section 8 shall, in the case of
works first published in British India, be exercised by the Governor
General in Council ;
(2.) The powers of the Board of Trade under section 19 shall, as regards
records, perforated rolls and other contrivances, the original plate of
which was made in British India, be exercised by the Governor-General
in Council; and the confirmation of Parliament shall not be necessary
to the exercise of any of these powers ;
The references in section 19, sub-section (4) ection 2:
(1), to arbitration shall be read as references to arbitration in ae
with the law for the time being in force in that part of British India
in which the dispute occurs ;
(4.) As regards works the authors whereof were at the time of the making
of the works resident in British India, and as regards works first published
in British India, the reference in section 22 to the Patents and Designs
Act, 1907, shall be construed as a reference to the Indian Patents and
Designs Act, 1911, and the reference in the said section to section ae
of the Patents and Designs Act, 1907, shall be construed as a reference
to section 77 of the Indian Patents and Designs Act, 1911;
i rinted as they stand in the Act, but the Act of 1911
: ST “oh pain te Schedule : Members of the Society have already
received this as a Supplement to The Author.—Ep.
, and in section 24, sub-section
accordance
(3.)
1 & 2 Geo. 5,
ec. 46,
Short title
and extent.
Definitions.
1 & 2 Geo. 5,
c. 46.
Application
of copyright
Act to
British India
with adapta-
tions.
7 Edw. 7,
ec, 29.
II, of 1911.
Modification
of copyright
as regards
translation
of works
first pub-
lished in
British India.
Musical
works made
by resident
of, or first
published in,
British India.
Importation
of copies.
VIII. of 1878.
VII. of 1878,
(4A)
(5.) As regards works first published in British India, the reference in section
24, sub-section (1), proviso (a), to the London Gazette and two London
newspapers shall be construed as a reference to the Gazette of India and
two newspapers published in British India ; and the reference in proviso
(b) of the same sub-section of the same section to the 26th day of July,
1910, shall as regards works the authors whereof were at the time of
the making of the works resident in British India, and as regards works
first published in British India, be construed as a reference to the 30th
day of October, 1912.
4.—(1.) In the case of works first published in British India, copyright shall
be subject to this limitation that the sole right to produce, reproduce, perform or
publish a translation of the work shall subsist only for a period of ten years from
the date of the first publication of the work ;
Provided that if within the said period the author or any person to whom he
has granted permission so to do publishes a translation of any such work in any
language, copyright in such work as regards the sole right to produce, reproduce,
perform or publish a translation in that language shall not be subject to the
limitation prescribed in this sub-section.
(2.) For the purposes of sub-section (1) the expression ‘‘ author ”’ includes the
legal representative of a deceased author.
5. In the application of the Copyright Act to musical works the authors
whereof were at the time of the making of the works resident in British India, or
to musical works first published in British India, the term ‘“ musical work ”’ shall,
save as otherwise expressly provided by the Copyright Act, mean “ any combina-
tion of melody and harmony, or either of them, which has been reduced to writing.”
6.—(1.) Copies made out of British India of any work in which copyright
subsists which if made in British India would infringe copyright, and as to which
the owner of the copyright gives notice in writing by himself or his agent to the
Chief Customs Officer, as defined in the Sea Customs Act, 1878, that he is desirous
that such copies should not be imported into British India, shall not be so imported,
and shall subject to the provisions of this section, be deemed to be prohibited
imports within the meaning of section 18 of the Sea Customs Act, 1878.
(2.) Before detaining any such copies or taking any further proceedings with
a view to the confiscation:thereof, such Chief Customs Officer, or any other officer
appointed by the Local Government in this behalf, may require the regulations
under this section, whether as to information, security, conditions or other matters,
to be complied with, and may satisfy himself, in accordance with these regulations,
that the copies are such as are prohibited by this section to be imported.
(3.) The Governor-General in Council may, by notification in the Gazette of
India, make regulations, either general or special, respecting the detention and
confiscation of copies the importation of which is prohibited by this section, and the
conditions; if any, to be fulfilled before such detention and confiscation ; and may,
by such regulations, determine the information, notices and security to be given,
and the evidence requisite for any of the purposes of this section, and the mode of
verification of such evidence.
(4.) Such regulations may apply to copies of all works the importation of
copies of which is prohibited by this section, or different regulations may be made
respecting different classes of such works.
(5). The regulations may provide for the informant re-imbursing the Secretary
of State for India in Council all expenses and damages incurred in respect of any
(7)
detention made on his informati
: us infor , proceedings
oy Seae] ne piaeaphe aie san and of any proceedings consequent on such
— ; . Ly E Ovi 9h a given under the Copyright Act to the
s ‘rs of Customs and Excise of the United King 1
a tt Kingdom, and communicated
; it a y to any authority in British India, shall be deemed to have been
given by the owner to the said Chief Customs Officer.
(6.) This section shall have effect as the necessary modification of section 14
of the Copyright Act.
CHAPTER III.
PENALTIES.
7. If any person knowingly—
(a) Makes for sale or hire any infringing copy of a work in which copyright
subsists ; or
(b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire,
any infringing copy of any such work; or
(c) Distributes infringing copies of any such work, either for the purposes
of trade or to such an extent as to affect prejudicially the owner of the
copyright ; or
(d) By way of trade exhibits in public any infringing copy of any such work ;
or
(e) Imports for sale or hire into British India any infringing copy of any such
work ;
he shall be punishable with fine which may extend to twenty rupees for every copy
dealt with in contravention of this section, but not exceeding five hundred rupees
in respect of the same transaction.
8. If any person knowingly makes, or has in his possession, any plate for the
purpose of making infringing copies of any work in which copyright subsists, or
knowingly and for his private profit causes any such work to be performed in
public without the consent of the owner of the copyright, he shall be punishable
with fine which may extend to five hundred rupees.
9. If any person, after having been previously convicted of an offence punish-
able under section 7 or section 8 is subsequently convicted of an offence punishable
under either of these sections, he shall be punishable with simple imprisonment
which may extend to one month, or with fine which may extend to one thousand
rupees, or with both. : es
10.—(1.) The Court before which any offence under this chapter . trie el
whether the alleged offender is convicted or not, order that all pee of the w on
or all plates in the possession of the alleged offender, which cage - -
infringing copies, or plates for the purpose of making infringing caine e - Le
or delivered up to the owner of the copyright, or otherwise dealt with as the Court
may think fit.
(2.) Any person a
ffected by an order under sub-section (1) may, within
thirty days of the date of such order, appeal to the Court to a _ sa i
Court making the order ordinarily lie ; and such appellate see irect that
execution of the order be stayed pending consideration of the appeal. ee,
11. No Court inferior to that of a Presidency Magistrate or a Magistrate
inst this Act.
f the first class shall try any offence against
: 12. The provisions of this chapter shall not apply to
section 9 of the Copyright Act, regarding the restrictions on r
of a work of architecture, applies.
any case to which
emedies in the case
Offences in
respect of
infringing
copies.
Possession of
plates for
purpose of
making
infringing
copies,
Punishment
on second
conviction.
Power of
Court to
dispose of
infringing
copies or
plates for
purpose of
making
infringing
copies.
Cognizance of
offences.
Saving in case
of infringe-
ment by
construction
of building.
fe)
CHAPTER IV.
MISCELLANEOUS.
uit or other civil proceeding regarding infringement of copyright
d tried in the High Court or the Court of the District Judge.
Bn emit ding instituted after the 30th of October,
of copyright. 1912, regarding infringement of copyright in any book the author whereof was at
Effect of non- the time of making the book resident in British India, or of any book first published
registration =| British India, shall be dismissed by reason only that the registration of such
under Act : : ae s
XX. of 1847. book had not been effected in accordance with the provisions of the Indian Copy-
XX. of 1847. right Act, 1847.
Repeals. 15. The enactments mentioned in the Second Schedule are hereby repealed
to the extent specified in the fourth column thereof.
Courts having 18. Every s
oh pea shall be instituted an
garding * ete
une 14. No suit or other civil procee
FIRST SCHEDULE.
ImeurmaL Copyricut Act, 1911, pxcEPT SECTIONS 11—13.
SECOND SCHEDULE.
Repeal of Enactments. (See Section 15.)
Year. No. Short Title. Extent of Repeal.
1847 XX. | The Indian Copyright | So much as has not already been repealed.
Act, 1847
1867 XXV. | The Press and Regis- | In section 18 the following words, namely :—‘‘ Every
tration of Books Act,| registration under this section shall, upon the payment
1867 of the sum of two rupees to the office keeping the said
Catalogue, be deemed to be an entry in the Book of
Registry kept under the Act No. XX. of 1847 (for
encouragement of learning in the territories subject to
the government of the East India Company, by the
defining and providing for the enforcement of the right
called copyright therein) ; and the provisions contained
in that Act as to the said Book of Registry shall apply
mutatis mutandis to the said catalogue.”
1878 VIII. | The Sea Customs Act, | Clause (a) of section 18.
1878
This Bill was passed at a meeting of the Council of the Governor-General :
of India for the purpose of making Laws and Regulations on the twenty-fourth
day of February, 1914.
(Sd.) HarpincEe oF PENSHURST,
President.
The 24th February, 1914.
I assent to this Bill.
(Sd.) Harprince oF PENSHURST,
Viceroy and Governor-General.
The 24th February, 1914.
Dublin Core
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The Author, Vol. 24 Issue 10 (July 1914)
Subject
The topic of the resource
<em>The Author</em>, Vol. 24 Issue 10 (July 1914)
Type
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Publication
Identifier
An unambiguous reference to the resource within a given context
1914-07-01-The-Author-24-10
publications
The Author
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https://historysoa.com/files/original/4/544/1914-Australian-Copyright-Act-1912.pdf
dd3e422e3ca4f119331b51f512b3e5cc
PDF Text
Text
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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Society of Authors Publications
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publications
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1914
Volume
24
Publisher(s)
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Bradbury, Agnew & Co.
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London
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19140701
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Title
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Australian Copyright Act, 1912: Statutory Rules (1914)
Subject
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<em>Australian Copyright Act, 1912: Statutory Rules</em> (1914)
Description
An account of the resource
A full summary of the statutory rules relating to copyright in Australia, including forms to be used to register for copyright.
Type
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Identifier
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1914-Australian-Copyright-Act-1912
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<a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24&sort_field=added">Supplement to <em>The Author</em>, Vol. 24</a>
Australia
copyright
international
publications
The Author
-
https://historysoa.com/files/original/4/545/1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill.pdf
f8aa81a9e60c7a9c5a25fcbd70ba80b5
PDF Text
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Society of Authors Publications
Identifier
An unambiguous reference to the resource within a given context
publications
Publication
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1914-07-01
Volume
24
Issue
10
Publisher(s)
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The Society of Authors
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London
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19140701
Dublin Core
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Title
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The Indian Copyright Bill, 1914 (1914)
Subject
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<em>The Indian Copyright Bill, 1914 </em>(1914)
Description
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A summary of the 1914 Indian Copyright Bill.
Relation
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<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>
Type
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Publication
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1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill
copyright
India
international
publications
The Author