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228
247
5 5
Mauritius
Dominion
March
1910.
of
and South-Western Railway
4% Preference Stock..................
New Zealand 34% Stock...............
Irish Land Act 23% Guaranteed Stock
Corporation
london 2;% Stock,
1927 57
..............................
Jamaica. 3%% Stock, 1919 49 .........
200
11
9 ()
................
0
()
0
Stock
Glasgow
.
.
.
.
.
.
.
.
.
.
.
.
.
of
...
Consols 23%.................. ........... 21,000
0
Local Loans .............................. 500 ()
Victorian Government 3% Consoli
dated Inscribed Stock ...............
291. 19
London and North-Western 3% Deben
ture Stock . . . . . . . . . . . . . . . . . . . .
250
0
Egyptian
Irrigation
Government
Trust 4% Certificates . . . . . . . .
200
Cape
Good Hope 33% Inscribed
1910.
12, Riley, Miss Josephine
13, Child, Harold
e
14, Desborough, The Right Hon.
g
o
the Lord, K.C.V.O.
Jan. 27, Lion, Leon M.
Fagan,
Feb.
Feb. 10, Newton, Miss
M.
Jan.
Jan.
Jan.
W.
portant claim is forthcoming.
Tyrell, Miss Eleanor
Dec.
Dec. 17, Somerville, Miss Edith OE.
P.
()
February 1, 1910, the trustees of the
Pension Fund of the society after the secre
tary had placed before them the financial
position of the fund decided to invest £260 in
the following securities: £130 in the purchase of
Jamaica. 3% per cent. Stock 1919 49, and £130 in
the purchase of Mauritius 4 per cent. Stock 1937.
The amount purchased
is £132 18s. 6d.
Jamaica. 3% per cent. Stock and £120 12s. 1d.
Mauritius 4 per cent. Stock.
This brings the invested funds to over £4,000.
The trustees, however, have been unable to recom
mend the payment of any further pensions, as the
income at their disposal is at present exhausted.
They desire to draw the attention of the members
of the society to this fact, in the hope that by
additional subscriptions
and donations there will
be sufficient funds in hand in the course of the
year to declare another pension in case any im
N
4, 3,
º-º-º
9, 3, 1,
THE PENSION FUND.
9, 4, 6, 5,
A.
sº-e
8, 8, 6, 6, 6, 4, 4, 3, 3, 3, 1,
e
Oct. 16, Trevelyan,
M.
Oct. 16, Haddon Hall
©
Oct. 22, Jessup,
Oct. 25, Whishaw, Mrs. Bernhard
Dixon,
Nov.
Francis
Helledoren,
Nov.
Tearle, Christian
Dec.
.
end of the list for the convenience of those who
desire to add future elections as they are chronicled
from month to month in these pages.
(
A DTISIOR.
TFIES
206
�AUTISIOR,
TISIE
S.
on
of
in up
of
as
to
as
it
is
is
a
eighty-seven.
This
lower average than
hardly
the two former years, 1908 9, but
high
possible
keep the elections
they were
those two years.
There were two resignations,
bringing the total number
resignations
fifty-nine.
The latter the committee accepted
with regret.
The Secretary made
detailed statement
the
work undertaken
the Dramatic Sub-Committee
during the past month.
He reported that the
repertory agreement was finally settled; that the
agreement between the dramatist and the agent
had, subject
one slight alteration, been passed,
warning
regard
and that
the employment
dramatic agents had been added
the standing
matter
The Author.
He further explained that
to
up
to
in
in
of
be
an
in
of
of
10
of
to
of
to
a
as
as
to
of
of
be
of
to
as
of
at
in
be
of
ing Dramatic Sub-Committee which meets once or
twice a month; a standing Copyright Sub-Com
mittee, to which questions dealing with the law of
no
expressed his willingness to undertake the duties
of the post for another term.
The minutes of the previous meeting were then
read, approved, and signed, and the committee
proceeded with the election of the sub-committees.
Those who have kept themselves informed of the
work of the society will know that there is a stand
be
Committee of Management of the Society
of Authors met on Monday, April 4. The
first item on the agenda was the election of
chairman of the committee for the current year.
Freshfield,
On the proposal
of Mr. Douglas
seconded by Dr. S. Squire Sprigge, Mr. Maurice
Hewlett was unanimously re-elected.
Mr. Hewlett
the Committee
of
HE
of
NOTES.
at
º-e
appoint
order
kept informed
any
that the Society might
infringements
performing right that might occur.
The Dramatic Sub-Committee had recommended
per cent.
that these agents should receive
the
injunction,
damages recovered, and,
the case
small fee for their work.
The Committee of
willingly accepted this proposal,
Management
leaving the amount
the fee
the judgment
of the Dramatic Sub-Committee.
Mr. Maurice Hewlett,
chairman and
member
the sub-committee appointed
deal
Authors,
with the question
the Relations
Publishers, and the Libraries, then reported
the
committee the work the sub-committee had done;
how they had met the Publishers Association and
discussed the matter in detail.
He understood
present
steps would
that
taken.
The
committee desired that all the information that
could possibly
collected
the further censor
ship
authors books and the further action
publishers should
carefully gathered and laid
before the committee
their next meeting
May.
Squire Sprigge, chairman
Dr.
the Sub
Novels, then laid before
Committee on the Price
of
are
the Dramatic Committee were anxious
agents abroad and
different colonies,
to
of
10
are not included in the lists printed above
unavoidably held over to the next issue.
to
a
in
to
lI
of
of
a
by
I
subscribers
and donors previous to
October, 1909, have been deleted from the present
announcement.
The names of those subscribers and donors which
COMMITTEE
J.
bringing the total elections for the current year
Aſl fresh
e
be
on
of
is
1
to
of
fill
|
S.
Feb. 1, Wharton, L. C.
.
Feb. 4, Bowen, Miss Marjorie
Feb. 5, Cameron, Mrs. Charlotte
Feb. 7, Pettigrew, W. F. .
Feb. 7, Church, Sir A. H. .
Feb. 8, Bland, Mrs. E. Nesbit
Feb. 8, The XX. Pen Club
Feb. 10, Greenbank, Percy
Feb. 11, Stopford, Francis .
Feb. 11, Dawson, A. J.
e
.
Feb. 12, Ainslie, Miss Kathleen .
Feb. 16, W. D. .
&
Feb. 16, Gibbs, F. L. A.
g
Feb. 17, Wintle, H. R.
Feb. 21, Thurston, E. Temple
Feb. 23, Dawson, Mrs. Frederick
Feb. 24, Williamson, C. N.
*
Feb. 24, Williamson, Mrs. C. N.
Feb. 25, Westell, W. P.
.
March 2, Toplis, Miss Grace
March 3, Hawtrey, Miss Valentina
March 5, Smith, Bertram
March 12, Yould, A. .
g
March 16, Loraine, Lady .
29,
Macdonnell,
March
Randall .
e
&
April 6, Blake, J. P. .
April 8, Patricia Wentworth *
April 14, Hinkson, Mrs. K. Tynan
Copyright are referred; and a standing Art Sub
Committee, before whom questions dealing with
etc., are
the illustration of books, reproduction,
laid. All the sub-committees were re-elected, and
the name of Captain Basil Hood was added to the
Dramatic Sub-Committee to
the vacancy caused
by the resignation
Mr. W.
Locke. The
Society
congratulated
not only
the
present strength
its Dramatic Sub-Committee,
Captain
having gained the adhesion
but
Basil Hood.
The next business was the election
members.
Sixteen
members and associates were elected,
to
.
in
F.
of
29, Stayton,
a
Jan.
207
Management
the formal
report
�A DfTISIOIR,
I
º
of
on
of
of
in
of
of
to
is
it
as
of
in
to
of
I
of
I
it
I
of
in
or
on
to
is
it
of to
it
in
a
a
to
of of
is
in
of
is
of
is
of
of
or
of
it
or
in
to
to
in
of
of
G.
the Repertory Agreement
The final settlement
an account clause was next
the addition
of
an
all
be
to
to
to
to
it
I
a
of
in
in
inexpedient
would
the committee decided that
the
and instructed
make the publication,
secretary
that effect.
the member
write
things, there could not be, any exclusion from the ranks
any branch
journalists
the
members
the society
only too
literary profession.
Authors
The Society
glad
welcome any writer who desires its assistance and
regard
his dramatic property, whether that
advice
many cases
Indeed,
property has been staged
not.
the dramatist who has not had his pieces performed who
needs advice more than he who has gained. Some degree
experience.
remain, Yours &c.,
(Signed)
HERBERT THRING,
Secretary,
Society
Authors.
The Incorporated
is
to
a
the correspondence
-
go
as
to
an
in
to
published
If
it.
be a
it
as
as
of
to
to
of
a
be
to
publisher,
The Author, the secretary read
column
opinion received from the solicitors and the letter
the facts
After considering
from the member.
of
it
of
to
responsible journalist who had
he was told by
plays
had
his time that
written more than score
been intimated to him that he had not been invited to
was not intended
enter the ring simply because
the privileges
admit any writer for the newspapers
Dramatists.
the Fellowship
not, and,
the nature
no ring, and there
There
of
of
of
of
a
In
to
Owing
member had desired
the fact that
case, with the name
the
full statement
In
of
3
of
to
to
it
to
a
to
to
vouchers, the committee decided
take the matter
into court on behalf of the member.
of
at at
to
at
in
in
of
it
to
in
of
to
at
DEAR SIR,--I have been authorised by the Dramatic
your columns.
send this letter
Sub-Committee
They have read with some interest
the statement
gossip
your dramatic
March 20
contained
Authors,
regard
shows entire mis
the Society
conception
the purposes for which the Society was
has accomplished and will continue
founded and the work
accomplish for dramatic authors.
Your correspondent
states as follows:
believe, has
Authors,
recent years
The Society
usefulness with particular reference
extended its sphere
has accomplished
But what
dramatic authors.
do not know.
am sure
Why does not the writer know
He could easily have
the report for 1909 this
he had referred
found
During the past twelve
knowledge
would have sufficed.
behalf
£600
months the society has spent £500
dramatic authors and their cases.
again
correspondent
his
statement
inaccurate
Your
that
of
to
on
of
March 23, 1910.
THE EDITOR, The Referee.
by
of
on
to
a
of
to
of
at
20
a
of
of
all
of
of
at
by
to
appoint
accountant
mittee decided
through the books, and
the pub
the other,
produce
the necessary
lisher had refused
-º-0
the Society
THE Dramatic Sub-Committee
Tuesday,
the society
the offices
Authors met
Sir
the absence
o'clock.
March 22,
Arthur Pinero, Mr. Henry Arthur Jones took the
the last meeting had
After the minutes
chair.
been signed, the first question that came forward
the Referee
for discussion was some paragraphs
misrepresenting the society and its
March
attitude towards dramatic authors. The committee
short letter which, with the approval
settled
that
the editor
Sir Arthur Pinero, was sent
paper.
the text :
The following
would
the member that
abandon the case unless full informa
the German lawyers was
tion for the benefit
infringement
forthcoming.
dramatic
case
copyright, the committee authorised the secretary
put the papers into the hands
the Solicitors,
possible.
instructing them
soon
take action
In one the com
account.
There were two cases
necessary
-
SUB-COMMITTEE.
DRAMATIC
of
by
letter informing
amount for
member
a
on
of
0
of
was decided after some discussion and
of the difficulties of the
after full explanation
position not to take any further steps at present,
but should a definite case arise in the United
States, to support it with
the society.
the power
certain
the agreements
The publication
publishers with their names, which was decided
upon
the committee, came
the last meeting
again for discussion, owing
letter which the
Secretary read
the
the committee bearing
copyright.
infringement
legal point
The
take two
the secretary
committee instructed
typical agreements and write articles
them for
their next
of the committee
the consideration
meeting,
The Music Publishers Agreement, which was
was laid
the Copyright Sub-Committee,
Settled
Management,
and the
before the Committee
report
that sub-committee was formally adopted.
the
Mr. Harold Hardy's suggestion, put forward
general meeting
the society, was considered, but
make
was inexpedient
the committee thought
any alteration
the
the committee
the work
present time.
case which had
Cases before the Committee. A
Germany was mentioned
been carried forward
obtain
He had been unable
the secretary.
any assistance from the member concerned, and
The
could not therefore proceed with the matter.
wire, and
send the member
committee decided
supplement
with
instructed the secretary
of an
the Society had recovered
copyright
behalf
the society.
infringement
It
States.
up
The secretary finally reported that the Canadian
lawyers
of
The report was adopted
of that sub-committee.
by the Committee of Management, and is printed
as a supplement to the current issue of The Author.
The secretary then raised an important point
respecting the registration of works in the United
of
TISIES
208
�TFIE A
The secretary submitted a draft clause,
He was instructed to send the
agreement to the printers of the society to be set
up.
The final draft of the Agency Agreement was
discussed.
which was
passed.
then placed before the committee and passed.
A draft agreement for a run at a West End
theatre was next laid before the committee, but
consideration had to be deferred till the next meet
ing,
as the previous
matters had occupied a
considerable time in discussion.
A letter received from the society s Indian
solicitors was read to the committee with reference
to a case in which the society had instructed them
to act, giving information that the defendant in
the case was about to start for England.
It was
decided to defer taking action till the defendant
on his arrival could be present and could discuss
the matter with the secretary.
Further letters were read to the committee
dealing with the appointment of agents, and these
matters were deferred for future consideration.
II.
A
MEETING
of
the
Dramatic
Sub-Committee
was held at the offices of the Society on Tuesday,
April 12, at 3 o'clock.
After the signing of the
minutes of the previous meeting, the Repertory
Agreement was again discussed, and in the absence
of some of the prominent members of the sub
committee it was decided to adjourn the matter
until their presence could be assured.
An agreement between a dramatic author and
agent was considered and settled.
All dramatists
who are members of the Society, and who are
thinking of appointing dramatic agents, should
apply to the secretary for advice and for copies of
the agreement.
A letter from a member referring to a section of
the standing matter was read to the sub-committee,
who, after due consideration,
referred it to the
Society's solicitors,
so that their opinion,
with
the letter, might be laid before the Committee of
Management.
The secretary reported to the Dramatic Sub
Committee Capt. Robert Marshall's resignation, and
the sub-committee recommended to the Committee
of Management that Mr. Arthur Shirley be appointed
to fill the vacancy.
The secretary reported the receipt of a large
number of answers to the recent circular issued by
Sub-Committee,
the Dramatic
but asked for a
definition of dramatist in order that he might
be able to compile a correct list.
The committee
decided that the author of any play that had been
represented in a place licensed for public enter
tainment should be considered a dramatist, but that
CITFIOR*.
209
such performance must be something more than a
mere performance for copyright purposes.
The next subject that arose was a matter in
regard
to agents in the Colonies, and it was
decided to asked Messrs. French to supply, through
their agents, such information as they could gain
about the production of plays.
The secretary was
instructed
to furnish Messrs. French with the
list of those dramatists who are members of the
Society as soon as it is complete and in order.
With the sanction of the Committee of Management,
it was decided to pay 10 per cent. on any sums
through
recovered by the society
information
Supplied by the agents, and to pay a small fixed fee
where an injunction only was obtained.
A question of the liability of a manager of a
theatre to pay damages for infringement of copy
right was referred to the solicitors of the society,
and the Secretary was requested to ask the Com
mittee of Management whether it would not be
possible, through the Foreign Office, to get the
Consular Service to assist in reporting infringe
ments of the rights of dramatic authors in foreign
countries.
A letter received from the secretary of the Italian
Society of Authors was then laid before the meeting,
and the sub-committee
decided to ascertain the
terms for entering that society, and to consider thereport at their next meeting.
A case of infringement of authors' rights in India
was next considered, and it was decided to invite
the Committee of Management to press the matter
with vigour, in order to stop the wholesale piracy
of dramatic authors works.
Letters received from the Theatres Alliance were
carefully considered, and the sub-committee decided
to ask a representative of that body to attend the
next meeting, which was fixed for April 26.
The consideration of the agreement for a run
was adjourned.
º-º-º
Cases.
DURING the past month the secretary has had to
deal with seventeen cases.
Two of these were
claims for money.
One has been settled, but the
other will most probably have to go into the hands
of the society's solicitors.
Two dealt with money
and accounts.
These have both been terminated ;
the money and accounts have been forthcoming
and been forwarded to the authors.
One difficult
case of settlement of contract is still in course of
negotiation.
There were six claims for accounts.
Four of these have been settled, one has been
referred to the publishers solicitors,
and the last, after
reference to the committee, has been placed in the
hands of an accountant.
The accounts will be
�TISIE A DITFIOR.
210
expense.
There is one
of copyright which is still in
but as the defendant has
course of negotiation,
acknowledged liability the amount to be paid is the
only point left in dispute.
The secretary s inter
ference has been claimed in five cases for the return
In two of these cases the MSS. have been
of MSS.
returned, but the others have only recently come to
at the society's
checked
case
of infringement
the office.
There were four cases left open from last month.
Three, which dealt with matters outside England,
are still open ; the fourth will most probably be
closed shortly, as the offending party is in satis
factory negotiations with the secretary.
Bayliss,
.
Bigelow, Mrs. Poultney
Belcher, George
.
J.
Dauber,
H.
Goodden, Cecil P. .
Honey,
Morley,
N.W.
Cottage,
Bay
Tree
Aylesbury.
14, Cathcart Studios,
S.W
39, Hertford Street, W.
Compton House, Sher
borne, Dorset.
Copthall
12,
10
Avenue, E.C.
88, St. James Street,
Frederick H.
Hood, Capt. Basil .
Lefevre,
Road,
Glos.
.
S.W.
Vancouver,
L. A.
Patricia Wentworth
4,
Ross, Madge Wallace
Stitt, Rev.S.Stewart,
M.A.
Tassinari, Herbert D.
e
.
By ARTHUR SYMONS.
ROSSETTI.
Fisher Unwin. 5s. n.
143 × 11%. 59 pp.
By LAURENCE BINyon.
JAPANESE ART.
14% × 11}
5s. n.
59 pp. Fisher Unwin.
BIOGRAPHY.
MEMORIES OF SIXTY YEARSAT ETON, CAMERIDGE, AND
ELSEWHERE. By OSCAR BROwnING. 83 × 53. 364 pp.
Ethel
14s. m.
BOOKS OF REFERENCE.
AN ETYMOLOGICAL
DICTIONARY OF THE ENGLISH
LANGUAGE. By the REv. WALTER W. SKEAT, Litt.
IO; x 8.
New edition. Revised and enlarged.
Doc.
Oxford: Clarendon Press; London : Frowde.
780 pp.
38s. n.
DRAMA.
WHAT THE PUBLIC WANTs. A Play in Four Acts. By
BENNETT. 73 x 5, 141 pp. F. Palmer.
ARNOLD
2s. 6d. In.
THE TRAGEDY OF POMPEY THE GREAT. By JoHN MAs E
FIELD. 73 × 5. 106 pp. Sidgwick & Jackson. 3s.6d. in
EDUCATIONAL.
British
COLLECTION OF EASTERN STORIES AND LEGENDs. For
Selected and
Narration or Later Reading in Schools.
With a Foreword by
adapted by MARIE L. SHEDLOCK.
T. W. RHYs DAVIDs, 7} x 5. 141 pp.
PROF.
Routledge.
1s. 6d. n.
Terrace,
NETTA SYRETT. 74 × 5. 374 pp
OLIVIA L. CAREw. By
Chatto & Windus. 6s,
73 × 5. 326 pp.
THE WILD HEART. By M. E. FRANCIS.
Smith, Elder & Co. 63.
8 × 5.
By BARONESS ORCzy.
PETTICOAT GOVERNMENT.
Columbia.
2, Alma Studios, Strat
ford Road, Kensing
ton, W.
Harry
;
Il.
DANTE GABRIELLE
158. In.
Denning
26,
Hampstead,
Northend, Tewkesbury,
Kathleen Jessie.
ART.
By
OF THE FRENCH ROMANTICs.
THE PASSIONS
FRANCIS GRIBBLE. 9 × 6. 304 pp. Chapman & Hali.
April Elections.
.
in the compiling of this list and, by sending
of their works, help to make it substantially
IN Colour. Facsimile Repro
PICTURES
100 POPULAR
ductions in Colour of Popular Pictures selected from the
With an Introduction by
World's Great Galleries.
H. SPIELMANN, F.S.A. Part I. 154 × 11%. Cassell.
Lane.
º-º-º
Atkinson, Mabel
co-operate
particulars
accurate.
Morningside Drive,
Edinburgh.
Stretham Rectory, Isle
of Ely.
5, Bolton Studios, Red
cliffe Road.
6 e
B00KS PUBLISHED BY MEMBERS
THE SOCIETY.
OF
º-º-o
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 Cffice
by the members.
In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
It is hoped, however, that members will
other papers.
A
FICTION.
370 pp.
Hutchinson.
6s.
BETTY CAREw. By KATHARINE TYNAN. 73 x 5. 309 pp.
Smith, Elder & Co. 63.
A GIRL FROM THE SOUTH. By CHARLEs GARVICE. 73 × 5.
344 pp.
63.
Cassell.
By
B. HARRIS-BUR
OF ENOCH SEAL.
Chapman & Hall. 68.
7# × 5. 314 pp.
LAND.
Popular
By HUBERT WALEs.
HILARY THORNTON.
1s. n.
John Long.
7 x 4%. 318 pp.
edition.
By H. RIDER HAGGARD.
74 × 5.
STAR.
MORNING
6s.
Cassell.
308 pp.
By
Ivory.
GERTRUDE ATHERTON. 73 × 5.
TOWER OF
Murray. 6s.
496 pp.
By MRs. BAILLIE REYNOLDs.;
OUT OF THE NIGHT.
6s,
Hodder & Stoughton.
8 × 5. 344 pp.
By HERBERT FLOWERDEw.
THE SECOND ELOPEMENT.
Stanley Paul. 6s.
7# x 5. 320 pp.
By GERTRUDE WARDEN.
8 x 5.
STAND AND DELIVER,
F. W. White. 6s.
312 pp.
CANADIAN BORN. By MRs. HUMPHRY WARD. 74 × 5.
346 pp. Smith, Elder. 68.
By A. VIVANTI CHARTREs.
7# x 5.
THE DEVOURERs.
68.
Heinemann.
328 pp.
THE SECRET
J.
�TISIE A DITISIOR,
Being a Simple Account of the Past
of the Earth and of the Recent Important
By
Discoveries made in this Realm of Nature Study.
MARIE C. STOPES, D.Sc., Ph.D., F.L.S., Lecturer on
Fossil Botany, Manchester University. 9 x 6, 198 pp.
4s. 6d. n.
Blackie.
By E. H. L. SCHWARZ.
9 × 6.
GEOLOGY.
CAUSAL
7s.6d.
Blackie.
248 pp.
ANCIENT PLANTS.
Vegetation
THEOLOGY.
Being two chapters from
RITUAL, FAITH, AND MORALs.
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211
305 pp.
�TFIE AUTHOR,
of
of
to
in
he
a
of
its
in
is C.
&
of of
by
C.
of
F.
T. to
a
on
of
L.
E.
P.
a
It
be
of
by
an
is
to
to
a
of
in
in
by
a
at
is
to
in
to
in
up
-
in
in
to
of
In
by
a
of
of
as
to of
it
a
of
of
to
In
in
of
at
in
to to
all
ing with the Mystery of Hannah Lightfoot, which
Messrs. Hurst & Blackett announce among their
forthcoming publications.
For nearly a year she
has been collecting
available information from
various sources, and claims
have seen the only
authentic documents relating
the Fair Quaker
present.
known
existence
The Princess Karadja's two lectures,
The
Esoteric Meaning
the Seven Sacraments and
The Ancient Therapeuts, are now obtainable
The Oxford University Press have just issued the
new edition
the Rev. Professor Skeat's (larger)
Etymological Dictionary.
Nearly every article
large number rewritten.
has been revised and
Mr. T. Werner Laurie announces
The Old
Gladys
Testament Story,
Davidson.
writing this story
the Old Testament for young
readers, Miss Davidson has endeavoured
present
the stories and incidents
accordance with the
views
those modern scholars who regard and
teach the Bible from
wide and reasonable stand
point. At the same time,
has been her object,
legendary and
whilst avoiding the treatment
allegorical
history,
preserve the
matter
religious character and beauty
these wonderful
stories
old time, and
set them forth with love
and reverence.
the preparation
this work
of
cities and notable places.
Winifred Graham
has a serial in the Daily
Express, entitled
Can a Man be True 2 " It
commenced at the close of March.
Mary L. Pendered, is engaged upon a work deal
master, whose career recalls,
some respects, the
life
Jean André Godin, the pioneer
industrial
co-partnership.
Rowland,
lately
Mrs. Cherrie (Jane)
who has
lost
her husband, has given
her home
South Wales
and
her country pursuits
order
devote the
remainder of her life
literature.
She
now
engaged
novel,
her home
Golders Green upon
Woman,
An Understanding
which
will be
published
Mr. John Ouseley.
of
Weekly
(Mrs. Lionel Marks). Mrs. Marks is an American
lady who has already produced one or two
Marlowe, a Tragedy
(1905);
plays, including
and Her Fortune and Men's Eyes, the latter a
play written round Shakespeare.
Rita. (Mrs. Desmond Humphreys) is at pre
sent in America, where she proposes to stay for two
or three months and to visit various important
be
The Way Up,
new novel
Miss M.
Willcocks, author
Widdicombe,
The Wingless
Victory, and A Man
Genius, will
published
this spring
Mr. John Lane.
deals with the
question
the conflicting claims between
man's
duty
the State and
the individual in this
instance, his wife.
The leading figure
iron
all
the Publishers
(New York) that the winner of the £300
prize in the competition
held by the
Stratford-on-Avon Shakespeare Memorial Theatre,
on the terms of which we commented in a recent
issue of The Author, is Josephine Preston Peabody
to
Miss Mary
Rowsell's
the People,
announced
Messrs. Simpkin, Marshall
Co.
Schwarz,
Prof.
the Rhodes University
College, Grahamstown,
has written
book
Causal Geology,
with special reference
the
Hypothesis
Planetismal
Professor
Chamberlin,
which Messrs. Blackie will shortly
publish.
edition
The Friend
of
AND MUSICAL
º-º-º
from
on
of
It
,
NOTES.
understand
shilling
romance,
PEAKS AND GLACIERS OF NUN KUN : A Record of Pioneer
Exploration and Mountaineering in the Punjab Himalaya,
with a map and 92 illustrations. By FANNY BULLOCK
WORKMAN and W. HuntER WORKMAN.
204 pp. New
York : Scribner.
$4.50.
E
aspect.
H.
TRAVEL.
LITERARY, DRAMATIC,
H.
F.
TECHNICAL.
ENGLISH LEADWORK : Its Art and History. By LAWRENCE
WEAVER. 268 pp. New York : Scribner.
$10 n.
º-e
of
an
MISCELLANEOUS.
TELEPATHIC HALLUCINATIONS: The New View of Ghosts.
By FRANK PopMoRE. 128 pp. New York: Fredk. A.
Stokes Co. 50 cents. n.
e
of
a
of
in
-
ANNIE STEEL.
by
368 pp.
J.
HISTORY.
By FLORA
THE AGES.
New York: Dutton. $1.25 n.
INDIA THROUGH
print from Messrs. Wodderson,
Great Russell
Street, W.C.
The April number
the Celtic Monthly contains
the first
series
articles
Gaelic Legends
the Light
Old Irish History, from the pen
Mr. W.
Edmonston-Scott.
Mr. Wynford Dewhurst has presented
the
oil-painting
Bucks County Council
token
his friendship for the Council, on which
served
from 1907 till the present year.
Messrs. Watts have published
new book by
Perry Coste, entitled Ritual, Faith, and
Mr.
Morals.
deals mainly with the influence
religion upon civilisation considered
moral
4,
By G. F. TURNER. 355 pp.
New York:
Dodd, Mead.
$1.50.
Polly.
By
THE HISTORY OF MR.
H. G. WELLS. 283 pp.
New York : Duffield.
$1.50.
THE FASCINATING MRS. HALTON. By E. F. BENSON.
285 pp. New York: Doubleday, Page & Co. $1.20.
GLORIA.
A
212
�TISIE AUTISIOR,
to of
a
as
it in
a
as
in
is
&
to
is
to
of
a
by
"
a
&
in
L.
of
of
a
of
by
W.
by
F.
by
of
is
a
in
a &
&
H. of
by
in
G.
in
is
of
a
in
in
be
a
na
of
of
and other great cities.
Miss Elizabeth Banks,
author
and other
of London
of
a
of
of
one
our American
members, has just brought out
volume
short
stories entitled
The Luck
the Black Cat,
published
Messrs. George Allen
Sons.
Miss
Banks came
London about fifteen years ago and
has written her experiences
several books. Ilast
year she published
The Mystery
Frances
Farrington, her first novel, dual personality story.
Her latest book
made
sixteen stories.
They deal with various subjects and varied emotions.
We
not know how many
them have appeared
magazines, but, apparently,
Miss Banks has
&
of
in
of
of
up
a
learned
retain her rights
book publication, for
her opening
mote
she seems
have been
obliged
acknowledge the courtesy
but three
of
of
to
of
Malvery (Mrs. Archibald Mackirdy)
Baby Toilers,
The Soul Market,
works which deal with the underworld
editors
for allowing her
reprint
in
to
on
or
or,
J.
Every
Messrs. Dent
Co. are bringing out
Man's Library
new and largely revised edition
Lieut.-General
Trotter s
Life
Warren
Hastings,
published
1878
W.
Allen
Co.
An article by Mr. W.
Edmonston-Scott
on
The German Basques
Britain'' will appear
the May number
Guth
Bliadhna.
Miss Lily Grant Duff has recently completed
published
novel called Vocation,
which will
by Mr. John Murray.
Under
the heading
London's
Unwanted
Women,
Mr. Basil Tozer,
an article
Chambers's Journal for May, describes Miss Olive
Christian Malvery's philanthropic scheme for
Charing Cross
night refuge for desti
opening
tute women.
Our readers will remember that Miss
to
J.
their
John
Ashmore Wingate.
Warden's
new novel,
Stand and
Deliver,
published
Co.,
Messrs.
White
portrait
and contains
the author
Caswall
Smith.
The tale consists
twelve episodes
twelve different towns
which
clever and
unscrupulous girl gets the better
her dupes while
steering clear
the law.
Gertrude
is
J.
Ellis's
to
new volume is Richard Beverley.
The last issue of the Irish Church Quarterly
contains an article entitled Ethical Foundations,
by the Rev.
N. Shearman.
South African Snapshots for English Girls
is the title of a little volume appearing early this
month.
It is written specially for superfluous
daughters by Miss Eleanor Tyrrell, and is illus
trated with photographs.
Messrs. Gay & Hancock
are the publishers.
Messrs.
M. Dent & Co. have just published
a volume on Nature Photography for Beginners
by E. J. Bedford.
It contains a coloured frontis
piece and one hundred stereoscopic photographs
taken by the author.
The chapters refer to the
choice of suitable apparatus, developing, printing,
lantern-slide making, stereoscopic photography,
photography of birds and their nests, animals,
insects, and flowers.
The Dial (Chicago) of April 1st contains an
article by Lewis Nathaniel Chase on Bernard
Shaw in France.
Mr.
Bloundelle-Burton's
new romance,
A
Fair Martyr, is about to be published by Everett
& Co.
It will have for its mainspring one of
the numerous incidents to which the great Plague
of Marseilles gave birth ; a plague which resulted
in the death, or disappearance in several cases, of
about 150,000 persons, and the effects of which,
as regards the subsequent careers of many, were
very far-reaching.
The heroine, the first martyr,
represents one of these latter,
rather, many
the latter, and her history, though founded more
fact, lends itself
less
romance.
Mr.
Bloundelle-Burton dealt with this plague some
Ruskin,
at
the publishers.
Messrs. Digby, Long & Co. are publishing,
early this month, a novel by Francis Bancroft,
author of Of Like Passions.
The title -of- the
also added
volume
on
by
principal animals are dealt with.
In Ruskin and His Circle "Miss Ada Earland
tells the life story of Ruskin, with special regard
to the influence of environment on the development
of his genius.
The
circle includes Turner,
Millais, Holman Hunt, Burne-Jones, D. G. Rossetti,
Kate Greenaway, Coventry Patmore, Carlyle and
many others.
Messrs.
Hutchinson & Co. are
to
the
to
All
Company are issuing
Mr. Havelock
do
copy.
The Walter Scott Publishing
new and enlarged edition
book The Criminal.
The same publishers have
Great Writers Series
of
in making interesting
feature
his novel Servants
prologue
but
this case
serves
the moving, true story which, with modifications,
he has now
tell.
Messrs. Sampson Low
Co. are publishing
Mr. Archibald Little's posthumous work Across
Yunman.
The book, which Mrs. Archibald Little
editing,
illustrated.
Sin,
in
another
years ago
in
she has been greatly helped and encouraged by the
M.A., of Lambourne
Rev.
C.
A. Goodhart,
Rectory,
Romford,
given
who has generously
many points
her the benefit
of advice
on
pub
of difficulty.
Miss Davidson
is also
lishing, through Sir Isaac Pitman & Sons, a
children's natural history story book, which she
calls
A Zoo Book.
The animals in the Zoo tell
their own stories in amusing conversation.
All
are eager to appear in print, and so vie with one
213
book form.
�A UTEIOR.
in
by
a
It
a
of
to
at
in
by
is on is
of
a
is
to
in is
all
at
is
to
be
is
is
a
to
a
is
in
A
is
to
a
to
of
by
to
of
of
as
of
in
as
de
as
be of
The psychological study and the clever portrait
this man are masterful.
The analysis, too,
of
in
in
of
!
of
is
of
is
to
the consumptive young man who
sent
under the care
the noted doctor
also very
clever. But, alas the inconsistency
the woman
betrays itself
the portraiture
the principal
woman
the story.
The greater part
the book
to
It
a
be
written from life, whilst the dénouement
sounds like
mere slander.
seems that so fine
character would have remained fine
the end
seems
to
in
of
at
be by
in
in
of
at
at
at
at
is
M.
by
a
l Amour,
Marcelle Tinayre,
great literary value
La Maison du
Péché.
The figure that stands out
the book
that
Dr. Cayrol, just
the figure
the
stern mother stood out in the earlier volume.
L'Ombre
is
-
by
of
by
René
of
6,
of
by
C.
or
or
A
H.
Hope and Cosmo Gordon Lennox will
produced:
The cast will include Miss Irene Vanbrugh and
novel
tremely
marry
never
man whose religious
ideas
are not her own.
Her cousin Félicien, who
her, has lost his faith.
devoted
She
him,
love with
but will not risk marriage under
young Englishman, who
the circumstances.
Catholic,
has become
also
love with her,
and confides all his doubts and difficulties
rigid Protestant and Church
her.
His father,
man, disinherits him.
Marie
not convinced
that they are destined for each other, and the
book ends unsatisfactorily.
Marie
left with
her mother, having refused two men for the
quite
sake
her religion.
She appears
satisfied that
she has done her duty.
Such
religion does not appear
narrow, and
her
the reader
left with more anxiety about the
fate
the two men than this extremely religious
girl appears
have.
a
of
on
by
of
H.
5s. R.
Gardens, W.
Clanricarde
Lion,
new one-act play
Mr. Leon
entitled
The Touch
the Child, adapted from
story
Mr. Tom Gallon, was produced
the
Grand Theatre, Blackpool, last month.
Prunella,
Laurence
Housman
and
Granville Barker, originally produced
the
Court Theatre, was revived
the Repertory
Theatre last month.
Miss Dorothy Minto was
the title part.
Another revival
the same theatre was Sir
Trelawney
Arthur Pinero's early play,
the
Wells.
This play has been
the bill for the past
few weeks.
We understand that early this month,
the
Anthony
comedy
same theatre,
three acts
another
religion.
Bazin founded
the subject
charming and ex
Marie Limerel
serious French girl who
determined
of
at
at
Vocal illustrations
Miss Grainger-Kerr.
The
songs
studies will
include
Ernest Austin,
Granville Bantock, Hubert Bath, Dora Bright,
Nicholls, Norman
Josef Holbrooke, Frederick
O'Neill,
Roger
Quilter,
Ramsay
Katherine
Tullibardine), Percy Rideout,
(Marchioness
Cyril Scott, Ethel Smyth, Ernest Walker, William
Walthew, and Dalhousie Young.
Wallace,
Tickets,
each,
7s. 6d. for the two studies,
84, Redcliffe
obtainable
from
Miss Keeton,
S.W.,
Gardens,
Miss Grainger Kerr, 38A,
BARRIERE"
A
&
6
t-sº-e
a
on
of
E.
A.
Miss
Keeton will give two studies
Thursday afternoon,
Modern
British Song
3.30, and Thursday evening, June 9th,
June 2nd,
8.45,
the Imperial Club,
Lexham Gardens,
S.W. (by kind permission
the management).
at
º-e
PARIS NOTES.
A.
H.
by
a
book form
a
J.
;
is
a
e
in
Queen
and Mr. Arthur Playfair.
Sir Arthur Conan Doyle's new one-act play, A
Caviare,
Pot
was produced
the Adelphi
Theatre last month.
Mr. Murray Carson played
*:
the principal part.
in
its
publication
next July, prior to
the winter.
story
Wachell,
The Other Side,
Mr.
which has been running serially, will appear
book form
June 1st. During the past year
political
Mr. Wachell has been working upon
novel, entitled
John Werney, which deals with
the future
the hero
The Hill.
in the
compelling
veracity
the wearer
statement
upon
individual hitherto accustomed
deviate
from the truth.
The cast included Mr. Charles
Hawtrey, Miss Phyllis Embury, Mr. Eric Lewis,
to
author is also engaged upon a new novel, and a
play for children.
E. Nesbit's usual children's
serial is now appearing in the Strand Magazine and
will be published in volume form by Messrs. Mac
millan & Co. in the autumn.
It is called The
Magic City.
A weekly column for children in
Daily Chronicle
the
is also contributed by
E. Nesbit.
Mr. E. F. Benson is engaged upon a comedy.
The same writer has also a serial which will start
of
E. Nesbit is publishing this month a book called
Fear, which deals with various aspects of fear,
of the supernatural and physical, which confront
human beings in particular situations.
The same
Miss Mary Barton
and Mr.
M. Barrie's
Twelve Pound Look still continues
the bill.
George Paston and
The Naked Truth,
Maxwell,
W.
farcical comedy which was
Wyndham's Theatre last month.
produced
ring possessing
property
relates the effect
at
with the first
B.
deal
three stories.
an
acknowledgments
The three
of
TISIES
214
�TISIE AUTISIOR,
Otherwise we must have mistaken Denise Cayrol,
and given her more credit than she deserved.
In
either case this dénouement
is unsatisfactory
and
improbable.
The little serving-girl is delightful
and perfectly consistent.
The book is certainly
a strong one, the descriptions admirable, and the
construction faultless.
M. René Doumic, who has just succeeded
M. Gaston Boissier at the French Academy, has
been elected president of the Société des Gens de
Lettres in place of M. Georges Lecomte. M. René
Doumic has written several remarkable books, and
he was one of the founders of the Lecture Society,
which has now become quite an institution in Paris.
At the general meeting of the Société des Gens de
Lettres, M. Pierre Decourcelle spoke of its flourish
ing state from a financial point of view.
It is at
present worth 5,682,000 francs.
With a view to getting America to agree to the
Berne Convention, the Société des Gens de Lettres
has for some time past been endeavouring to interest
prominent Americans in the subject.
At one of
the dinners given by the Société Mr. James Hyde
was invited to preside.
Mr. Melville Stone was
also a guest, and Mr. Bliss Perry. Mr. Hyde is the
founder of a chair of French literature at Harvard
College,
and of American literature
at the
Sorbonne.
M. Jean Julien recorded the deaths during the
past year of the following members of the Société:
Albert Pinard, novelist ; Adolphe Pieyre,
the
historian of Nîmes; Adolphe Paban, poet ; Hugo
Spiller, correspondent
of Italian and Austrian
papers; Paschal Grousset, the ardent revolutionist
of 1871, afterwards on the staff of the Temps ;
Henri de Parville, well known for his popular
Adolphe Mony, doctor
science writings;
and
-author'; Charles Diguet, the author of Nos amis
les bêtes ; Paul Guirand; Emmanuel Delbousquet;
Elie Fourés, who has left his history of the Trouba
'dours unfinished ; Ernest Praron ; Adolphe Rosay :
Charles Joliet ; Armand Lapointe ; Paul Rouget,
and Charles Louie Philippe. To this long list the
inames of Edouard Rod, Mme. Jeanne Marni, and
Félix Nadar must also be added.
Among the new prizes that have been founded
are those by Jacques Normand, Paul Robiquet,
Jean Revel, Mme. Barratin, M. Mourrier, M. Frantz
Jourdain, and M. Rodocamachi. Prince Roland
Bonaparte has also placed at the disposal of the
Société five annuities of 3,000 francs. The first
annuity has already been awarded to M. Rosny,
the elder of the two authors of that name.
Four members of the Société have been elected
Academicians: Jean Aicard, Eugène Brieux, René
JDoumic, and Marcel Prevost.
The national literary prize has been awarded to
Among members of the Société
JEdmond Pilon.
215
who have won Academy prizes are the following:
Fortunat Strowski, Ernest Gay, André Lichtenberger,
Henri Bordeaux, and Hugues Lapaire.
The death of Vicomte Melchior de Vogué occurred
after only a few days illness.
He was born in 1848,
and during the war of 1870 he received a medal
for his fine conduct.
In 1871 he was secretary to
the French Embassy at Constantinople.
Later on
he lived for a time at St. Petersburg, where he
married a Russian wife.
His celebrated book on
Among
the Russian novel appeared in 1886.
his other volumes are Souvenirs et Visions";
Heures d histoire "; Les Morts qui parlent ";
Le Maitre de la Mer ; Sous l'horizon. In
1888 he was elected a member of the French
Academy.
His articles in the Revue des Deua.
Mondes, the Journal des Débats, and the Figaro
were always greatly appreciated, and he was himself
most highly esteemed in French literary circles.
The poet Jean Moréas died on March 30,
at the age of fifty-four. He was a Greek by birth,
but had lived in Paris for very many years.
His
first volume dates back to 1884 and was entitled
Syrtes.
This was followed by Cantilènes.
Moréas started as a symbolist.
In 1891 he pub
lished Le Pelérin passionné" and declared sym
bolism dead.
His Stances * are his best-known
and most admired poems.
A gold medal has just been presented to Henri
Fabre, the celebrated entomologist, whom Victor
Hugo called the
Homer of the insects,
and
whom Darwin styled the
inimitable observer.
Henri Fabre is now eighty-seven years of age, and
he has devoted sixty years of his life to the study
of insects. On the committee which was formed
to do him honour are the names of Prince Roland
Bonaparte, W. M. Doumergue,
Lord Avebury,
Maeterlinck, Mistral, Hébrard, Salomon Reinach,
Professor Pozzi, and many others.
Mr. Percival Lowell gave a lecture last month
Mars and its Vegetation.
M. Baillaud,
Director of the Observatory, took the chair, and
M. Camille Flammarion also spoke.
Mr. George Moore also gave a lecture last month
in Paris.
on
In the Revue
Mlle. Clairon
hebdomadaire there are articles on
by Comte
et le Baron de Staël,
d'Haussonville ; on
Les Idées de l Alliance
républicaine démocratique,
by M. Paul Deschanel;
by Jean Richepin ;
on Théodore de Banville,
and a curious article entitled
Lettre d'un pro
testant détaché à un catholique anxieux.
In La Revue Louise Cruppi writes on La
Duchesse Cajanello ; Comtesse de Puliga (Brada)
on La Maison d'Amour et de Mort ; G. Saint
Aubin on Le Roman Américain ; and Auguste
Rodin on La Pensée dans l Art.
ALYS HALLARD.
�A PrºTIFIOR.
is
I
is,
to
be
it
is
no
is
it
a
it
is
to of
Z.
Y.
a
is, X.
of
as
a
to
it
so
is as
I
of
to
of
be
in to
in
to
Z.
Y.
X.
if
of
do
is
of
of
so by
to
is
is in
as I
by
to
is as
he
be
a
it
Z.
to
by
I
a
proprietor
have never come across
make money
such means.
Mr. X. Y.
should send his contributions
reputable journals, but
seems
have got
queer lot
possible that his con
with such
paid for
cigars
tributions would
dear even
whisky.
am judging Mr.
his
experiences
related
his article.
After all, the editor
more useful
the author
than the latter
the former.
An editor could
always fill his journal
commissioning writers
proved merit.
many new writers are
That
continually coming along proves that the work
the unknown
ones
read.
But there are too
many authors, and many
them would
better
French gardening or paper-making.
There
much more that
could say with
regard
editors and authors, and the subject
certainly
interesting one.
have been led
pocket, and
who wishes
is
I
is
to
by
I
an
to
Y.
be
Z.
to
of to by
a
of
I
of
of
I
a
to
an a
of
of
in
I
a
as
of
write these remarks
the continual unjust and
ignorant diatribes
those who wish
have their
editors, and who use
contributions accepted
The Author
vent
their disappointment.
And the splenetic attack
courteous Mr. X.
may
permitted
was the
limit
-if
the
print. As
using slang
unwonted luxury
fact, the average writer has most
matter
extraordinary
notions about the production
journal, and entirely overlooks the fact that
editor really desires
make his production attrac
tive.
could fill
number of The Author with
examples, and very funny many
them are.
withhold my name and that
the journal
edit, fearful lest the excellent editorial qualifica
tions
have doubtless revealed should induce
A
Contributor
call upon me with
bundle
his
MSS.
believe
should grudge him even
cigarette, and my cup
tea the sole refreshment
permit myself
give up,
the office I refuse
exchange for
appreciation
myself
even
from the gifted pen
Mr.
of
a
a
of
I
Z.
Y.
X.
of
of
an
to
in
or
at
to is
at
;
were the editor willing
would not benefit his own
even
contributor
to
a
is
''
an a
of
I
of
on
I
it
*
all
intervals.
As for MSS. of unknown writers not
being read, that is
nonsense. Naturally writers
who have won through
are often commissioned,
and
take
that most writers would like to be
may say
one
this kind. While
this matter,
day passes without the receipt
that never
hopelessly
MS. from
unknown
one that
unsuitable,
either through length, treatment,
topic yet there
my paper for would-be con
glance
tributors
least
before entrusting me
with their masterpieces.
that
I
I
defraud
I
I
case,
or
I
benefits the author.
The waiting for years
notion
far from being anything like the rule,
sporadic cases notwithstanding,
may
and with
bracketed the notion that editors publish con
wriggle out
paying for
tributions and try
responsible editors
them.
am writing
established journals.
Mr.
seems
assume, too, that the editor
rule, the pro
prietor;
fact, this
very rarely the
matter
at
S one who has the temerity to be an editor,
as well as a member of the Incorporated
Society of Authors, I hope to be allowed to
make some reply to the article The Editorial
Attitude, by A Contributor.
With an editorial
experience of eighteen years,
have yet to meet an
editor, and I know many, of the discourteous, dis
honest, and unbusinesslike
species to which, as
A Contributor courteously alleges, all editors
belong.
Let me deal with some points in this amazing
attack upon those engaged in work which, though
interesting, is as harassing as that of any other
calling upon those who have earned their positions
in a field in which there is much competition, and
in which fools are not suffered at any price. Why,
in the name of all that is businesslike, should an
editor acknowledge the receipt of contributions f
It would be sheer waste of time and of the pro
prietor's stamps.
Even if the precious MS. has
been lost in the post, what has that to do with an
editor P With a paper that receives many contri
butions it is necessary to number them, though
personally
have this done on the envelopes. And
certainly
no MS. has ever had to be re-typed
through my harsh treatment (assuming that it is
typed, and not in a handwriting which it is an
insult to expect to be read, even by an editor).
It is certainly possible that a suitable contribu
tion may be rejected on one occasion when it
would be accepted on another.
Last week I
rejected an excellent story dealing with a high
born chauffeur who won the heart of his parvenu
employer's daughter.
The theme is not particu
larly novel if only themes for novels were novel
themes, how happy the lot of the poor editor
but the story was a good one. I refused it because
only the preceding week
had accepted a story,
not quite so well written, on the same lines.
The
MS. went back with the usual printed form ; I
Why should I?
gave no reasons for rejection.
Ilike the curate, I have all the time there is, but
my periodical
has to appear at certain
stated
I
AN EDITOR.
The money question
I
BY
from the author's point
view, probably the most important one. Now
claim that the magazine writer does get his mone
due, i.e., when his work
published.
when
big publishing firm
With
other practice
possible, and
easy
would
show that this
of
º-º-º
a
THE EDITORIAL ATTITUDE.
in
TISIES
216
�THE AUTHOR.
Museum.
His appartement
flat was
floor, where the relics more intimately
nected with the poet's personalty (including
a
of
us
by
of
of
;
he
of
of
to
on
a
of
of
in
of
a
a
or
in
in
on
of
a
In
to
to
of
he a
ASHFORD
º-e
MAGAZINE
CONTENTS.
BOOKMAN.
in
By Alfred Sutro.
Maurice Maeterlinck: The Man
The Mysticism
in
he
Stoddart.
A.
R.
A.
of
de
A
A
A.
F.
of
of
By Maurice Maeterlinck,
The Tragedy
Macbeth.
Musset, after George Sand. By Francis Gribble.
Alfred
Worship
Beyle.
By
The
Davidson.
de
a
in
of
By Jane
By
FORTNIGHTLY.
a
a
he
in
of
His Work.
Singer Asleep.
poem by Thomas Hardy.
Les Dieux asiatiques
aux première Siècles
l Ere
By Anatole France.
chrétienne.
Elektra,
Strauss s
and the Future
Music-Drama.
By
Baugham.
By
Reviews: On Humanism.
Scott James.
Two Women Poets. By Edward Storer.
E.
an
of
to
of
Maeterlinck.
and
ENGLISH REVIEW.
in
in
of
a
Holbrook Jackson.
of
in
de of
to
a
he
on
at
on
of
of
forty-four, and held
haired man
veritable little
literary court
grand salon hung with
the
immense curtains
red damask and adorned with
mirrors, gilt chandeliers, and the
the curious
delighted,
mediaeval carved furniture
which
several specimens
which are preserved
the
WHITE.
º-º-º
Maeterlinck.
spend the Winter
came
rented
house
the rue
Courcelles,
the other side
the city, but during
fortnight
Forster's visit (he spent
France
January) the two made numerous literary and
others,
evening
historical pilgrimages amongst
call
Victor Hugo.
The French poet
that epoch had little
bushy-bearded
resemblance
the hoary-haired
idol
more modern Republican
France.
Author
several ultra-Royalist odes, newly created
France,
close-shaven, long
Peer
was then
in
in
of
it
in
e
of
;
F.
T.
he
as
as
he
of
Normandy.
When Dickens
Paris,
1846 7
of
in
up
in of of
a
is,
he
to
it
Smoothed over all linguistic difficulties.
The
conversation ran
the theatrical topics dear
Dickens, and the recollections
the First Empire
Spain, which were ever
and his childish souvenirs
Hugo's favourite themes.
two
Both men had
position
comparative fame and
now reached
ease, though neither had gained their latter pinnacle
international popularity.
Yet each could look
back
stern trials during youth, for almost
the same time that Dickens was odd boy
blacking factory Victor Hugo was living (on £28
year
garret
SO)
the rue du Dragon.
gilt inscrip
The gaunt ancient house now bears
residence, but naturally
tion recording the date
Omitting these more intimate details,
Ten years later Dickens made another long stay
Paris, but
was then the capital
the Second
Empire, and Victor Hugo was
exile
the
1871, when the French poet
Channel Islands.
triumph
returned
his native land, the author
the Tale
two Cities
was already laid
his last rest
Westminster Abbey.
in
Dickens made numerous and
lengthy sojourns in Paris, and
Victor Hugo was for twenty years a refugee
on British soil, the meeting of the two great nine
teenth century authors was brief and unique.
The scene of this interview Hugo's Parisian
residence of 1846 is now, so to speak, public
property, the Municipality of Paris having organ
ised and opened a Victor Hugo Museum
in this
fine old mansion in the corner of the Place des
Vosges.
The square itself is worthy of a special
visit, not only as one of the architectural features
of Paris a spacious quadrangle of Louis XIII.
houses, with steep slate roofs and cheerful red-and
white frontages of intermingled brick and stone
work but as the historical Place Royale.
It
has often been stated that the poet's house Was
actually inhabited by the heroine of one of his
dramas Marion de Lorme, but it is probable
that the real residence of the seventeenth century
beauty was in the cul-de-sac Gueménée, just behind
the mansion, as the house itself seems to have been
occupied by the de Rohan family at this epoch.
however,
quaint old-world aspect
There
about this charming little corner
Paris which
may well have tempted the leader
the romantic
school
take
his residence here
1832.
For
fifteen years
inhabited the house, only leaving
shortly before his exile.
Ruy
Here
wrote
Blas and Marie Tudor
and several other
historical dramas,
poems.
well
three volumes
Didine,
Here
married his daughter
then
girl
eighteen
here, not many months later,
mourned
over her premature death, drowned,
together
with her husband, while boating
occasionally
re
constitution
his death chamber) are now gathered.
Maclise's drawings have rendered
familiar with
the personal appearance
the young and beard
was,
course, Hugo's junior
less Dickens
ten years.
His French was never fluent, but
usually sufficient, and Victor Hugo's quiet and dis
tinct enunciation on this occasion seems to have
of
LTHOUGH
the
con
Second
a at
THEIR MEETING IN PARIs.
on
HUGO AND CHARLES DICKENS.
or
VICTOR
217
NATIONAL REVIEW.
By Austin Dobson.
Laureate Whitehead.
Dr. Wallace's New Shakespeare Discoveries.
Greenwood, M.P.
By George
�AICTEIOR
TISIES
218
HOW TO USE THE SOCIETY.
e
But the transaction should be managed by a
obtained.
competent agent, or with the advice of the Secretary of
the Society.
º-0
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
The
of his property.
business or the administration
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary
will refer the case to the
Further, the Committee, if they
Solicitors of the Society.
without
deem it desirable, will obtain counsel's opinion
Moreover, where counsel's
any cost to the member.
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.
VERY
1.
2. Remember that questions connected with copyright
and publishers' agreements do not fall within the experi
Therefore, do not scruple to use
ence of ordinary solicitors.
the Society.
3. Before signing any agreement whatever,
the document to the Society for examination.
send
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
in a fire
members' agreements and their preservation
proof safe. The agreements will, of course, be regarded as
only
by
the Secretary,
confidential documents to be read
who will keep the key of the safe. The Society now offers:
possible
action
(1) To stamp agreements in readiness for a
upon them.
(3) To enforce
(2) To keep agreements.
particu
payments due according to agreements.
Fuller
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
the contracts with publishers submitted to
consideration
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
This
7. Many agents neglect to stamp agreements.
must be done within fourteen days of first execution.
Secretary will undertake it on behalf of members.
The
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
Members can make their own
do some publishers.
deductions and act accordingly.
subscription to the Society is £1 1s.
annum, or £10 10s. for life membership.
9. The
e
WARNINGS
º-0
are a few standing rules to be observed in an
agreement.
There are four methods of dealing
with literary property
if
a proper
III.
The Royalty System.
This is perhaps, with certain limitations, the best form
It is above all things necessary to know
of agreement.
what the proposed royalty means to both sides. It is now
approximately
possible for an author to ascertain
the
truth.
From time to time very important figures connected
with royalties are published in The Author.
IV. A Commission Agreement.
The
(1.)
(2.)
(3.)
main points are :
Be careful to obtain a fair cost of production.
Keep control of the advertisements.
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.
In ea.IlS.
(2.) The inspection of those account books which belong.
We are advised that this is a right, in the
to the author.
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer
e
WARNINGS
of copyright.
Q-e
TO DRAMATIC
º-º-º
AUTHORS.
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.
EVER
W
TO THE PRODUCERS
OF BOOKS.
Selling it Outright.
This is sometimes satisfactory,
º
per
ERE
I.
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.
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 |
price
can be
3. There are three forms of dramatic contract for plays.
in three or more acts:
This
(a.) Sale outright of the performing right.
An author who enters into .
is unsatisfactory.
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.
�TFIE A DITFIOR.
(b) Sale of performing right or of a licence to
perform on the basis of percentages
on
of
at
on
of
of
or
of
to
of
of
of a
of
to
is
as
be
of
on
of
in
or
of
to
is
º-º-º
EMBERS will
greatly
as of
a
in
of
-
assist the Society
this
branch
its work by informing young writers
its existence.
Their MSS. can be read and
treated
composition
treated
coach.
The term
MSS. includes not only works
fiction, but poetry
works,
and dramatic
and when
possible, under
special arrangement, technical
and scientific works.
The
Readers are writers
competence and experience.
The
guinea.
fee
one
is
of
it
of
2s.
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 & 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
6d. per act.
in
of
to
to
to
THE READING BRANCH,
CENARIOS, typewritten
is
S
* º-a
v-u-w
is
e-º-º
of is
as
in
in
in
is of
of
of
The Society undertakes
stamp copies
music
behalf
its members for the fee
part
6d. per 100
100.
The members stamps are kept
the Society s
safe. The musical publishers communicate
direct with the
Secretary, and the voucher
then forwarded
the
members, who are thus saved much unnecessary
trouble.
of
AND
is
of
in
of
as
In
to
or
Music.
STAMPING
of
REGISTRATION OF SCENARIOS
ORIGINAL PLAYS.
a
in
a
or
in
a
on
of
can be added
the warnings given for the
producers
assistance
books and dramatic
must, however,
authors.
pointed out that,
rule, the musical publisher
demands from the musica}
composer
transfer
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
deal with performing right and copyright.
He
especially careful therefore when entering
should
into
an agreement, and should take into particular
consideration
the warnings stated above.
*
are referred to the Secretary of the Society.
sº
-* avºy
w-v-
as as to a
a
it.
be
it
is
in
ITTLE
COMPOSERS.
by
a
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, OD
account of the wide range of the subject of
dramatic con
tracts, those authors desirous
of further information
º-e
MUSICAL
e º-º
to
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.
e
TO
It of
9. Agreements
for collaboration
should be carefully
drawn and executed before collaboration is commenced.
WARNINGS
of
exceed
ingly valuable.
They should never be included in English
agreements without the author obtaining a substantial
consideration.
[NOTE. At the request
Mr. W. Morris Colles we
state that the above notice
framed as the result of
general consideration
the present state
the law
agency, and without any
intention
make particular
any case
reference
individual. Its sole purpose
give what
deemed useful advice
the dramatic authors
who are members
the Society.]
is to
7. Authors should remember that performing rights
in a
play are distinct from literary. copyright.
A manager
holding the performing right or
perform
cannot
licence to
print the book of the words.
8. Never forget that United States rights may be
a
is of great importance.
to
6. Authors should not assign performing rights,
but
should grant a licence to perform. The legal distinction
be
5. Authors should remember that performing rights
can
be limited, and are usually limited, by town, country, and
time.
This is most important.
AGENTS,
AND
authors should seek the advice of the
Society before putting plays
into the hands
agents.
As the law stands
present, an agent
who has once had
play
his hands may acquire
perpetual
claim
percentage
the author's fees
from
As far
the placing
plays
concerned,
may
general rule that there are only
taken
very few agents who can
do anything for an author
that he cannot, under the guidance
the Society, do
equally well
better for himself.
The collection
fees
also
matter
many cases no intermediary
which
required.
For certain purposes, such
the collection
fees
amateur performances, and
general the trans
frequent petty authorisations
action
with different
individuals, and also for the
collection
foreign
fees
countries, almost all dramatic
authors employ agents; and
these ways the services
agents are real and valuable.
But the Society warns authors against agents who profess
have influence with managers
plays,
the placing
who propose
principals by offering
act
purchase
the author's rights.
any case,
the present state
the law, an agent should not be employed
under any
circumstances without an agreement approved
by the
Society.
to
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
It is extremely
event.
important that the amateur rights of
plays
should
one-act
be reserved.
AUTHORS
RAMATIC
L
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (i.e., 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 (b.) apply
also in this case.
DRAMATIC
a
gross receipts.
5
Percentages
vary between
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.
219
�TISIES
A UITISIOR.
GENERAL NOTES.
in
of
no
to
to
it
in
is
is
of
to
to
in
by
to
of
in
to
of
of
to
in
of
as
of
is
it
to
so
of
is
it
a
in
in
to
to
of
at
be
to
of
as
be
as
a
to
be to
as
be
it
of
in
a
do
by
to
upif
to
no
a
a
to
as
an
of
in
10
if
of
as
in of
it
in
a
was
do
to
endeavoured
so.
The point
did draw attention was not that there
great drop
the Colonial sales, but that
never
which
to
not quite true that the Authors Society was
to substantiate the statement mentioned.
he
of
is
It
It
unable
in
to
to
in
of
if
it
or
to
a
of
of
to in
a
of
the request
the Authors' Society, who complained
great drop
the sale
Colonial editions,
committee
investigate this matter.
was appointed
The Authors'
Society were, however, unable
substantiate
the state
bring any
ment that there had been an unusual drop
tangible evidence on the subject, though
was suggested
any,
that the reduction,
Colonial sales was due
cheap cloth reprints, and this opinion has
the production
recently been emphasised by one
our New Zealand
agents.
RIGHTS.
WE have often complained
these columns that
great many
authors will transfer
their subsidiary
rights
their publishers.
We have pointed out
they lose large percentage
that
this not only
the returns,
the publisher generally claims
per cent.
these rights are placed instead
the
per cent., but they also lose,
usual agency,
many cases, the chance
placing these rights
satisfactorily,
agent
the publisher, not being
himself, often omits
market these rights, or,
keep
does market them, takes
trouble
the authors prices.
We have just been favoured with note from
gentleman
Sweden, who has, for some time past,
endeavouring
keep up the prices
been
English authors, and has very largely succeeded
doing so; but
constantly finds the market being
50 on
Association
of
of
Publishers
Ireland we find the following
he
At
the
TRANSLATION
SALES.
a
its
of
of
IN
:
the réport
Great Britain and
paragraph
any
editions which are liable
undersold
moment.
At the beginning
last year the
society issued
circular with regard
the seven
penny reprints
and
recommended
that
their
publication
delayed
long
possible,
should
not altogether abandoned, after the publication
the six-shilling edition.
the publisher's opinion
correct,
would
well
insist that the
sevenpenny reprint should not
exported
the
Colonies.
The matter deserves serious consideration from
members
the society.
If
to
Mr.
and
and
valuable time towards supporting the aims
objects
the society, and maintaining the rights
and property
members.
COLONIAL
the
England. He states distinctly,
letter lying before us, that
the cheap seven
penny editions that are killing the Colonial sales,
the Colonial booksellers refuse
stock Colonial
is
to
the
the
weight
publishers
the Colonial markets.
give considerable
however,
opinion
one
the foremost
of
so
of
of
be
of a
With
full knowledge having conducted
through
affairs
the society successfully
past year Mr. Hewlett has consented again
undertake the duties.
grateful
Members
the society should
Hewlett for devoting
much
his attention
English books
We feel bound,
as
to
in
in
be
to
;
to
in
of
of
of
on
of
at
all
of
In
can have
idea how arduous and exacting
are the duties
the position.
addition
presiding
the meetings
the Committee
Management, the chairman has much work
many
the sub-committees, and the settlement
the minor questions are left entirely
his
hands and subject
his authority
conse
quence the secretary has
almost daily
correspondence with him.
if
no
on
of
Management have elected
THE Committee
Mr. Maurice Hewlett chairman for the current
ear.
We must congratulate
the Society
Mr. Hewlett's re-election.
The ordinary member
as
as
1910.
all
THE CHAIRMAN,
all
of
in
all
the members early this month.
It
THE Annual Dinner of the society will be held
Piccadilly, W., on
Restaurant,
Thursday, June 9, at 7 for 7.30. The chair will
be taken by the chairman of the Committee of
Management.
Tickets can be procured at the
offices of the society, the price being 7s. 6d.
exclusive of wine.
Formal notice of the dinner
at the Criterion
be sent to
Many statements
increase.
account come
the
society's office, and
curious
notice how small
are the Colonial Sales compared with the sales
England.
quite evident that something
wrong.
The publishers are inclined
think that
the fault does not lie with them, but the result
Australia, New
the inquiries made
the society
Zealand, South Africa, and Canada tends
show
that the English publishers are exceedingly slack
pushing the Colonial sales, while the travelling
agents
the great American houses are constantly
present, pushing their wares into
out
the way
corners
well
the more familiar places.
We
are inclined
think that
not the cheap
reprints
much
the energy
the American
book agent that accounts for the lack
circulation
of
THE ANNUAL DINNER.
will
a
to
great increase
past
there ought
have been
years, considering
the large markets that are
covered, and that there had been
sign
such
º-º-º
is
220
�THE AUTHOR.
by
&
its
be
of
is
to
in
of
of
so
of
we
of
WE regret exceedingly that
did not mention
the last number
The Author that the photo
gravure reproduction
the society's president,
photograph
Mr. Thomas Hardy, was made from
Fry. We hasten
Messrs. Elliott
correct
&
to
a
of
in
of to
give the credit
the omission and
graphers for the excellent likeness
to
a in
to
these
photo
Mr. Hardy.
L.
R.
as in S.
a
all
of
in
in
as
no to
of
to
It
is
so
is
in
of
to
all
he
all
he
is
as
a
up
be
to
in
of
of
of
of
Every fellow-member
the profession
letters
must have watched that struggle with interest and
marked the triumphant issue with pleasure.
Only once had we the pleasure
meeting Mark
Twain, but
may
the occasion was interesting,
worth while
tell the story.
When Sir Walter.
brought Mark Twain
Besant was alive
one
the dinners
the Old Authors Club. The dinner:
of
to
he
to
it
as
up
a
Sponge.
of
on
a
in
to
of
of
a
&
in
on
in
a
by
of
in
to
of
of
by
by
of
in
printing
WE have much pleasure
another
column
The Author an agreement which has
been settled
the Copyright Sub-committee
and
approved
Management
the Committee
composers.
behalf
For many years the society
gather composers into
has been struggling
united body
order that
such
combination
they may obtain some increased advantages from
every
the publication
their compositions, but
attempt the efforts
the society have been frus
publishers, Messrs.
trated.
At length
firm
Bell, who were anxious
Stainer
draw
more equitable agreement, approached the Society,
and, after discussion extending over Some months
of to
AND THEIR CONTRACTs.
COMPOSERS
be
MUSICAL
is
It
of
of
as
to
in
is
in
or
a
to
be
has died
years.
From
his work
writer perhaps two books stand out
beyond the rest
illustrations
his inimitable
style, that mixture
humour and pathos.
We
refer
Tom Sawyer" and
Huck Finn.
no disparagement
the rest
his work
draw
doubt,
Humour,
these two from the bundle.
there
abundance
the other works, such
The Mississippi Pilot, The Tramp Abroad, and
The New Pilgrim's Progress, but
these books
closely blended with the life.
the humour
not
as
the two first mentioned.
needless to
repeat
these pages the struggle
his early
years; their history has been fully chronicled
the papers; nor
there need
dwell upon that
publisher
sad time when
lost
his money.
years,
Then well
refused
aid and assist
ance, and with indomitable vitality started work
again
wipe off his debts.
Perhaps his keen
sense
the ludicrous made him appreciate more
keenly the irony
fate
his own position.
Perhaps the same sense helped him
up and
doing when others would have thrown
the
in
it
it
is
to
of
2
CLEMENS (Mark Twain)
the fulness
all
do
to
do
in
a
by
by
to
to
of
*mº ºmºmºmº
L.
to
in
is
a
to
of
market values, and, further, forget the years
acquire their special knowledge,
has taken them
thinking only
possible
the ease with which
for them
write the book required.
Was the publisher's statement correct
mere
piece
sorry
bluff
We should
think that
was the former.
CLEMENS.
º-º-º
it
a
a
:
to
us
it
Many technical writers
sell their own markets.
not look
live
their writing, but, living
their
work, like
slightly increased income by
obtain
consequence, ignorant
their writings. They are,
it
S.
of
he
a
be
by
a
to
of
a
of a
A
has come before the society recently
publisher asked technical writer
write
80,000
90,000 words for the sum
book
£50.
The subject was
difficult one and needed some
study and could only
specialist.
written
The author consulted the society and the secretary
suggested that £100 was the very lowest that
accepting.
should think
The letter the author
accept
received from the publisher was
refusal
the offer, and the following remarkable sentence
finished the letter
As matter of fact will be
get another competent writer
easy for
for what we had arranged with you.
Over and
over again we have remarked
The Author that
danger that technical writers will under
there
CASE
which
the work done
sub-committee
that branch
the society with
Which composers
music are specially concerned.
We only hope that the composers will recognise
this, and will come into the society and support
ably begun.
the work which
has
for the benefit
by
WRITERS.
TECHNICAL
gratulated
it
to
ſºm-º-º-º-º-º-ºº
ºmºmºn
With the Copyright Sub-committee, the agreement
printed
another column has been finally settled
and approved.
While great credit
due
Messrs. Stainer
Bell, the Society
Authors must also
con
on
to to
is
it
as
is
to
in
it
so,
undersold by English publishers who are offering the
Swedish rights of English authors at half the price
he is able to obtain on the Swedish market when
acting independently.
He asks us to give publicity to his complaint,
scarcely necessary
and we gladly do
point out that
for the authors' benefit not
be undersold
their various markets.
Again, therefore, we would impress upon authors
never
allow their publishers
control the
translation rights.
22].
�of
it,
at
a
-to
to
at
of
by
is
a
an a
of
of
by
to
in
by
of
by
to
&
be we
is
it
it
in
is
of
a
be
be
to
to
13
;
of
a
of
in
of
of
to
on
,
in
as
;
it
of
a
a
of of
an
to
by
of
no
of
of
is
to
it
of
all
In
at
it
In
I
as
as be
is
a
if
so
to
he
to
at
he
to
be
no
to
a
to
of
of
by
is
to
in
of
on
a
in
of
is
of
on
is
a
it
It
&
of
so
a
on
to
be
an
been settled after consultation between the Copy
right Sub-committee and Messrs. Stainer
Bell.
any agreement which has been
far ahead
In
as
to
&
of
in
of
by
to in
of
of
&
of
in
of
of
by
;
agreement printed below has been settled
the
the Copyright Sub-committee
Society
Authors
consultation with the
Bell.
Messrs. Stainer
firm
Management have adopted the
The Committee
and have much
the sub-committee,
decision
giving their approval and their active
pleasure
support
Messrs. Stainer
the methods proposed
exemplified
theirbusiness,
Bell
the conduct
They believe that Messrs.
this agreement.
music publishers
Bell are the first firm
Stainer
meet the composer
make any serious attempt
equitable basis, and the committee consider
on
given
the firm
that every credit should
that account.
As we have already stated, the document has
in &
an
is
&
HE
to
it
to
THE SOCIETY, THE COMPOSER, AND
BELL.
MESSRS. STAINER
is
agreement has been settled
great importance
may sound
really
ignorant composer,
value
The
view.
whatever from the composer's point
sufficient safeguard for both
Statement that
parties
the face
too palpably absurd
need any refutation, and the statement that the
merely
publishers have never had any difficulties
more strenuous asser
favour
an argument
composers,
tion,
the rights which
the part
they possess
Attention should
their property.
an
the fact that this document
first be drawn
assignment
his rights,
one party only
royalty, and according
subject
the payment
document the publisher, who
this equitable
Ought
undertakes
the Second party,
Indeed,
responsibilities whatever.
could refuse
publish and laugh
the composer's remon
publish
strances;
does not bind himself
all, but
would have been
he had done
necessary that
time should have been fixed when
fact,
properly dealt with.
the work should
equitable
heads win, tails
this document
you lose.
other words, the composer gives
everything and the publisher promises nothing.
musical composition there are two rights:
then that this
counsel, though
dº wº
it
-
in
*
w
I
if
1897,
is
in
to
first judgment was confirmed.
the society
Mr. Clemens was elected
1908.
and joined its council
the society may recollect that when
Members
agreements
publishers
series
books had
but
similar statement
Settled they made
any one who knows anything
quite clear
instructions are placed
about legal matters that
agree
before counsel, counsel will only draft
The fact
his clients.
favourable
ment which
to
to
no
a
forgotten
will not easily
No one could look upon Mr.
those present.
Clemens, with his dark eyes and long grey hair,
personality
before
without feeling there was
him, and
him and hear
one could speak
his kindly voice without feeling assured that his
of
be
by
in
be
as
in
Twain.
The evening
my copyright
you the whole
hereby assign
public performance) for Great
(including
the right
my song entitled
Britain and Ireland and the Colonies,
royalty
your paying me
consideration
copies
per copy
the same
all sold
subject
12, and the first 200 copies not
considered
royalty.
to
it
is
he
in
of
In
ill
is
It
If
to
of
or
is
our fault.
the telling
hesitating voice
said that the American
people had been seriously concerned about the
Mr. Kipling, that great English author.
ness
the two nations had been joined
He hoped that,
Kipling, they would not
together
sundered
point
responsible firms
put before composers
music
any rate, the
publishers that
the present time,
approve
but
committee are not only willing
sign
cordially recommend any composer
contract
containing these terms.
show the contrast between the old
In order
agreement put forward
other
common form
Messrs.
houses and the present draft accepted
justify the strong
Bell, and
order
Stainer
Manage
approval expressed
the Committee
print
agreement (if, indeed,
ment,
form
agreement) which
common
called
can
the big publishing
some
form put forward
was
London. We understand that
houses
con
drawn up under counsel s advice, that
sufficient safeguard for both parties,
sidered
and that the publishers seldom experience any
This
its signature.
difficulties arising out
the document :
{
%
in
ill
was crowded, and Mr. Clemens as one of the guests
was made much of.
His health was proposed with enthusiasm, and
in his dry manner, with much sly humour, he
thanked those present for the welcome he had
received.
His speech was finished, and he was about to take
his seat, but rising again, he stated that, as he had
been called a humorist, he thought perhaps that
upon him to maintain his
it was incumbent
reputation and make some kind of joke.
At that time Mr. Rudyard Kipling was seriously
America, and the United States papers had
concern regarding his recovery.
been full
reproduce either Mark Twains
impossible
the story then loses
manner.
exact words
by
A UſTISIOR,
TISIES
222
�A UſTISIOR,
of
10
9
of
to
2.
or
of
y to
of
of
in or
in
of,
in,
or
or
of
of
or
or
of
or
of
in
to
of
or
of
or
at
be
if
as
,
of
in in
be
of
in
of
to
on
3.
4.
of to as
to
is
to
no
be
13
on
in
of
all
of
of
on
it
all
to
at
of
or
is,
is
it
at
.
it
or
5.
or
*;
12
y
be
of
of
of
to
of
If
in
by
to
in
to
be
of
or
in
6.
7...
of
of
is
in a
If to
of
an
of
it
of
to
is
to
In
is
of
on
or
a
if
be
as
in
of a
to
of
to
by
up
to
of
to
in
of
,
to
the statement
make
The publishers undertake
day
the
and
accounts semi-annually
day
render the account
each year, and
and pay the composer the amount due within three calendar
months from the said dates.
the
any time during which there
bond fide
demand for the composition the publishers allow the same
print
within three
off the market, then,
out
written notice from the composer
months after receipt
they do not print an edition
Copies,
least
use
the
the ordinary methods for putting the work again
make, print, publish, and
market, the licence hereunder
sell shall cease, and the composer shall have the option
is
a
on or
at
of
to
of
of
if
or
of
5 5
is
it
the
the usual custom
not,
can probably only
between composers and
at
in
to
in
&
in
,
the
agreement
composer desires
Under 45 46 Vict. ch. 40,
perform
public representation
retain the right
every
printed
ance,
that effect must
notice
copy
such notice
the absence
the composition,
Composers are
right
lost.
his exclusive performing
songs public perform
the case
the Act.
referred
usually free.
ance
print the
usual
scores and parts
the case
public performance, together
notice reserving the right
the scores and
that the purchase
intimation
with
perform the music
licence
barts gives the purchaser
public.
the parties desire
the scores and parts
adopt this course, the written notice from the composer
contemplated
this clause should require the publisher
print the notice accordingly.
NOTE.-
If
in
In
to
,
of
of of
of
right shall remain
present,
right
Should the publishers obtain any fee from the hire
any parts thereof, then
copies
that
the said music,
divided between the composer and the
case the fee shall
proportions:
following
per
publishers
cent.
the
per cent.
the composer, and
the publishers.
composer,
writing
required
before the
the
signing
this agreement, the publishers shall comply with
relating
provisions
reservation
notice
law
the
the
performing rights.
In
to
If
to
to
do
In
at
a
to
byof
as
of
to
to
as
a
of
1.
The copyright and performing
property
the composer.
This
NOTE.
Whether
trade.
general
by
altered
publishers.
to of
of
&
to
be
&
at
it
day
Agreement made this
between
the One part, and
hereinafter called the composer,
respect
the other part,
hereinafter called the publishers,
hereinafter
musical composition intituled
the composition the copyright and performing
referred
right
the said composer, whereby
which belongs
agreed
follows:
and
to
in
it
in
of
to
it
do
to
a
is
it
Bell
Messrs. Stainer
that the move made
this direction will bring them the advantage that
deserves.
paragraphs
shall have for the full term
future extension included) the
8.
a
to
of
to be
or
to
in
to
In of of
is
to
print and publish.
the other contract
vours
anything.
not undertake
the publishers
publish
Bell undertake
Messrs. Stainer
the
certain price.
certain form and
publish
assignment the publishers are free
Indeed,
any price they think fit.
any form and
hardly necessary
draw further attention
the obvious advantages which the composer gains
agreement.
We only hope
under this new form
º
of
in
to
by
be
a
it
in
on
the society can now compare the
Members
agreement and study the differences
two forms
carefully.
the agreement proposed after con
Bell the
with Messrs. Stainer
sultation
performing right remains the property
the
composer, subject
certain conditions, and the
publish
copyright
The licence
not assigned.
applies
desired by
certain countries only.
include other
widened
can
both parties,
The publishers use their best endea
countries.
the provisions
copyright (renewal
make, print, publish, and sell copies
the
sole licence
Great Britain and Ireland, her colonies
Said composition
During the currency
this agreement
and dependencies.
assigns
neither the composer, nor his heirs, executors,
copies
any
the said composi
sell
shall print, publish,
any
arrange
part
thereof,
any
adaptation
tion,
ment thereof within the said limits, and the publishers
alteration
shall not publish any arrangement
the said composition without
the music
Yariation
composer.
writing
the
the consent
The publishers shall use their best endeavours
print and publish the said composition
before
accordance with their
the same
sell copies
and
business.
usual course
printed
form,
the
The composition shall
price
or,
such other form,
occasion requires,
mutually agreed between
may
Such other price
the composer and the publishers.
pay the composer, his heirs
The publishers agree
assigns, the royalty
the shilling on the full
copies sold
copies sold (or
published price
copies being counted
copies),
after the sale
paid
royalty
being further agreed that
copies given away for the purpose
the composer
advertisement, and the publishers
stamp
undertake
copy presented
specimen
music with the Words
9.
of
as
an
if
be
to
It
of
be
right.
Subject
223
this agreement, the publishers
be
to
is
all it
if
to
to
as
at
a
a
to
of
is
It
of
is
to
of
to
is,
or
the right of performance and the copyright,
In no
the right of reproduction in printed form.
circumstances should the composer assign either of
It perhaps, needless refer again
these rights.
Warwick Deeping, which the society
the case
show
sufficient
This case
carried through.
not the only
the transaction, but
the danger
danger for authors who transfer
their rights.
quite sufficient, both for the protection
the
publisher and
the latter grants
the composer,
produce the work
licence
the publisher
certain price only, with
certain form only
necessary,
country, and,
limitations
exclusive
made
This grant can
number.
grant
the publisher, and the publisher can easily
protect himself against other grants
the com
personal contract with the
must
oser.
publisher, but
made for the whole term
can
copyright, subject
the
sufficient protection
keep the
composer
case the publisher refuses
properly
his
advertise
the market
work
There are other minor points which might
lists.
urged
make the contract equitable
order
the first instance, we
between the parties, but,
impress upon composers this point,
should like
all never transfer
the most important point
your copyright, never transfer your performing
to
TISIES
�a
go
to
on
;
of
to
he
at
to
he
a
in
as
of
is
he
of to
It
be
for
is
of
be
a
to
on
in
is
in
to
is
It
in
of
a
of
;
by
to
of
to
in
is
to
lie
a
he a
he
if
or
of
if
he
of
a
be
a
to
;
if
as no
if,
a
of
of
;
a
as
of
if
as
;
no
of of
as
all
in
all
in
an
a
of
of
a
be
of
it
to
be
be
so
of
in
by
in
at
is,to
P
to
in
of
is
a
of
he
to
a
of
the transference
new thought from print
mind.
None but dead copyrights and work
already published could
used.
Not even the
day s news could
published, for
has
written, and
part
made
our current traffic
literary ideas.
Yet authors, for the most part,
power, and
are unaware
their extraordinary
Any
hesitate
act together
their self-defence.
trading company
able
beat them down, and
into submission.
There
for example,
this
steady fall
moment
the prices paid for the
capital
ideas invested week
Week
short
stories.
And yet, where
the combination
Suppose,
active protest against this cruel injustice
is
of
of in
a
to
or
to
is
which constitute the main working costs
literary life.
Every writer knows
penny, the
money upon which
minimum supply
and his
trades and traders connected with the literary life.
Let
edict prevent
authors from writing for
year, and this cessation
the flow and circula
tion
ideas would stop all contemporary progress
of a
a
in
or
a to
all
of
in
by
I.
HERE are many tragedies in the history of
letters, and among the greatest is the fact
that men and women with ideas have seldom
had that other form of capital which is able to
write big cheques and to buy brains in the open
markets of the world.
A person with ideas may
be compared, as a rule, to a piece of common land
public
upon which
animals may graze,
cup and
fountain into which any one may dip
drink and walk away refreshed.
But
these
trade, none can afford
times
wild-cat rivalries
lose any part whatever
marketable idea with
self-support.
out adding
his
her means
For
with ideas alone that authors pay their
rents, rates, taxes, and other household expenses,
it
(c)
of
BY CRUSADER.
to
is
THEM.
It
TO PROTECT
t-º-º
to in
IDEAS, AND HOW
value
the use
ideas during
bagatelle
hard work were
and
will, they could escape from all
effort
household expenses during the writing
book.
precisely the
No capital expenditure indeed
capital
the world s authors their own ideas
day
invested day
work done that keeps
publishers, newspapers, printers, booksellers, book
binders, paper-makers,
periodicals,
and
other
aside
months
by
sº-o
in
e
publishing firm.
trade outlook and that
We
capital expenditure,
they say, often with
have
pride,
their education counted for nothing
their apprenticeship were thing
thrust
an
If
dent
his old efforts and their financial results;
and
his realised ideas have not been exploited
the utmost
their commercial value,
has
been fooled under profit sharing agreements, his
caught
lot becomes
terrible one.
He
storm,
ought
quietly
harbour, but
has no anchor nor
he able
command his own
boat outside
the rough waters.
say, perhaps, but trite
These are trite things
things are often neglected truths
the meaning
which we are made dull
custom
and very few
young authors have
any phase
clear conception
business
the perilous calling out
which
they must earn their bread.
not usual for
them to know even the difference between their
of
If
family can live for
year, and
knows, too, what
life
best fitted for his particular outlook
may
literature.
essential
him
place, seeking fresh local colour and
from place
character, but, whatever special call
new types
may
dependent
made upon his purse,
capital :
three forms
(a) The realised ideas known
books and the
profits they bring
space
over
time
(b) The ideas that
wants
make real; and
Health, which
any moment may fail him
stop
and put
work.
Then
becomes depen
kind
if
purchasing
the plates of the said composition
and all
unsold copies at a valuation.
publishers,
any
them,
10. In the event of the
or
of
becom
ing bankrupt (in the case of a limited company substitute
going into liquidation *) the licence hereunder to make,
print, publish, and sell shall cease from the date of the
adjudication (or in the case of a limited company substitute
winding-up order ).
11. The composer undertakes to correct the proofs of his
work within
days of their receipt.
Should he fail to
do so, then the publishers shall be at liberty to make the
usual proof corrections.
12. If either party has reasonable cause for believing
that the copyright
in the said composition
has been
infringed, he or they shall give immediate notice to the
party.
composer
proceedings
other
the
takes
in respect
of the infringement and if the publishers desire to be joined
in the action, they may give written notice to the composer
to that effect, and on an undertaking on their part to pay
an equal share in the entire costs of the litigation the com
poser shall join them as parties. In such case the composer
shall diligently prosecute the action, but shall retain control
of the proceedings, and may make any reasonable Settlement
with the defendants in the interests of composer and pub
lisher, and the damages, if any, recovered shall be firstly
applied in payment of costs, and if there is any surplus,
shall be divided equally between composer and publisher.
the composer, after the infringement has come to his
notice, refuses or neglects to take proceedings in respect
thereof, the publishers shall be entitled to take proceedings,
and, on giving the composer a sufficient and reasonable
indemnity against liability for costs, shall be entitled to
use the composer's name as a party to such proceedings.
In such case the publishers shall retain control of the pro
ceedings and may make any reasonable settlement in the
interest of composer and publisher, and the damages, if
any, recovered shall be firstly applied in payment of costs,
and if there is any surplus, shall be divided in the propor
tion of one-third
to the composer and two-thirds to the
publishers.
he
A lºſſ`ISIOR.
as
TISIES
224
�CITISIOR,
of
I
in
a
to
in
of
of
an
a
in
in
of
on of
of
a of
a
by
by
to
of
to
fit of
so
of
of
be
to
of
of
a
is
by
at
a
or
in
it
to
in at
of
of
of
its
or
is
it
to
to
it
is
is
to so
of
all
;
is
a
of
in
of
a
by ;
of
It
in in
byor so
?
to
to
or
to
be
a
of
as
is of a
of is
is
by
it
a
he
to
of
all
he
he
an
to
of
in
of
to he
to
A
a
Trafalgar and Waterloo.
battles
The popular
memory has grown lax and flabby, like india-rubber
elasticity
when stretched beyond its reach
and
this tells against the appeals made
authors
their books. How can novelists and
dramatists hope
retain the people's suffrage
when events of the most vital kind to the nation
soon fade out
recollection
As
other authors,
forth, they
historians, essayists, art-writers, and
must either unite and help themselves
remain
pawns
publishers.
the game
finance played
most interesting game that.
consists
rolling over the same capital three
four times
year,
may gather interest with each
that
turnover, often without much benefit
writers,
in
a
to
of
no
of
a
to
or
a
2
to
lost all sense
reasoned judgment
their outlook
on life, and soon find novelties both old and stale.
day
An earthquake
Messina attracts them for
two, like
cricket match, and
then forgotten
and the last South African campaigns now seem
even
more remote from their interest than the
so
a
to
he
is
to
a
of
at
a
he
and must make what
can out
his tragic
bargain.
He has sold cheap what
most dear,
only
learn that
author may starve and yet
very useful
his publisher.
This privilege, indeed,
one which
forced
upon authors to-day
very
business agencies
is
;
to
the
earliest time
our own, the tradesman has been
pounce upon
watchful outsider, not only waiting
get that
whatever artist
could catch, but
artist's own capital, his ideas, without paying
just price. Nor
grab
this game
business
play with success when the artist,
all difficult
ideas, has
experience
trade,
the producer
and
wide acquaintance with poverty and dis
Any sort
appointment.
offer for his time and
starving author.
work seems good
When his
poverty, not his will, consents,
will sign
help him
buy food for
thievish contract just
few weeks
months.
The bad times passed,
understands
what he has done, and bemoans
his servitude.
mere tradesman has got him
under
cruel contract, and
the laws
the land
cannot free him while that contract lasts. Perhaps
has sold
novel for £15, and arranged
write
six others for that princely wage apiece.
What
then
The law says that
acted
free agent,
of
its
a
its
but
of
to
of
a
to
Copyright Legislation
Patent Acts and
during all this halt-footed progress, from
all
to
inferior minds
those whom
has endowed with creative abilities.
The
protect the arts; then
Church was the first
social pride and rivalries between towns gave birth
lay patronage
ideas; afterwards, but very
slowly, the law threw into
bemuddled shape
in
on
of
this preying
nature
no So
as
is
by
of
to
;
and
servants have seldom
loved their masters, tradesmen have generally been
They
necessary ideas.
hostile
the producers
have formed the big battalions, and, not unlike
bacteria, have lived
destroying lives infinitely
more valuable than their own.
It true that civilisation has tried to set limits
of
to
put into circulation
or
of
of
all of
Tradesmen have never been anything
more than servants
the ideas which artists have
with art.
course, about
kind.
am speaking,
Popular
authors
the lump, their rank and file.
favourites are able
defend themselves, but the
rank and file haven t
chance unless they keep
regiments,
shoulder
shoulder and fight
because they have
face the serried ranks
keen
partnerships
tradesmen, bound together not only
and companies, but
routine
business
trickery and discipline
which
the practice
generations has evolved.
Also and this has
great importance
outsiders,
its own a host
shareholders, now claim their full
under the title
profit
share
the ideas that authors invent and
make
for all the many markets
the trade
way
letters.
Once
author alone can face
this and yet win his just measure
success and
reward; but the lottery
vast,
complex, and
uncertain, that
lay down the rule that
best
fight without known
author ought ever
Support from the whole brotherhood and sisterhood
literary workers.
impossible ever
For
dislike, and
say what the British public will like
waywardness are the only
the British public and
protective force between the mass
authors and
the tradesmen who exploit their ideas.
One
the
most popular comedies
the last three years was
during rehearsals, and another play
laughed
was put
rehearsal
meet the probability
failure, for
was considered hopeless.
The most
unlikely things often succeed, while the most
promising may fall flat and die
week
two.
Nor
this
all surprising when we remember how
daily carnival
the popular mind
fevered
news from all parts
the world.
What with the
yelp
headlines and the shriek
contents bills,
any
what with the unfocussed importance given
event that can
made sensational, the people have
A
all
of
so
is
in
if
a
in
to
easy
furnishers would be taught a lesson not at
forget.
Yet the trade unions for furniture
making have but
trifling power
comparison
they united
with that which authors could wield
downright good-fellowship.
and acted together
My first point, then,
this that ideas rule the
world, and have done
since men
the Mammoth
Time made the first great inventions pottery,
engraving,
sculpture, wall-painting, and
stone
weapons
self-protection.
This was the birth
art, and
ideas
value are intimately connected
powerful
a
way of contrast, that the jerry-furnishers of
England had set themselves to lower the trade
union rates for chair-making and cabinet-making,
a general strike would follow, and those jerry
by
225
as
TFIE A
�A DITFSIOR,
if a
be
of
of
2
If
a
of
in
be
is
to
;
he
to
he in
of
to
be
on
a
on
no
of
on
a
if
on
in
be
on
a
is
so
on
at
?
a
of
*
(To
continued.)
*-º-º-º-mºs
OF
OF
to
THE MAKING
Books.
be
in
in
is
of
I
;
to
of
in
to
do
to
it
no
is
on
of if
he
to
is
I
as
I
;
of
;
I
and
have been going
a on
to
I
I
be if
of
I
;
in
I
I
is
it
as
a
to
or
to
it
;
I
to
is of
a
in
of
of
I
to
of
in
of
a
be is
a
It
began
am one
those
whom Ambition's gnawing
tooth doth ever goad
malcontent.
have called
ambition for want
better word
matter
of fact
believe
no more that than
grass
push,
lay. Certainly
ambitious
hens
want
see my book lying bound (and cut),
certainly want
Somebody else's table
open
banking account
consequence
that beatific
vision
but
have an intuition that
knew that
printed,
the end
time
should never
;
to
as
as
it
of
us
let
Unfortunately,
On ever since.
I
to
is
of
is
all
of
;
is
of
to
a
them from beginning
doubtless Ecclesiastes
found out too late,
hence the note
extreme
Weariness.
it
a
do
of no
a
to
of
a
of
the silences,
the song.
says that
the making
many books there
end.
That surely
would depend
how many
but
take
that
means
once you begin, you can't stop.
be, Don't begin,
And the moral
that appears
anything endlessly, even
since
draw
breath, must pall
the long run.
Personally,
believe the only possible hope
stopping people from writing books
prevent
to
on
;
in
so
is
a
So
it
E
of
or
is
by
is
be
to
of
as
he
neither
nor his few assistants will steal your
you begin
ideas and projects
but
sooner
launch your work
one
those giant companies
having many departments than you know not pre
cisely where you are.
The game
finance
now
big and
greedy that you are less important
great mill. Your book
than
sack
flour
may have cost
year
many
hard work
well
your affair, and
years
preparation
but
that
has no effect whatever on the routine methods of
finance.
Your book
valuable only because,
1,000 copies,
single
edition
will give
tiny sum
money.
turnover
novel
ordinary length,
say, which can
published
Fame
CCLESIASTES
I
a
of
to
be
a
in
no
starting new sources for the
and have
met
money new magazines, for example,
investment
many different subjects.
and books and papers
you deal personally with
As long
small
publisher you have some control over him, and
an
Success
Though
is
in
it
us
as
in
at of
as
;
it
to
a
if
is
to
so
a
all
he
Writers have had experience enough to enable them to
understand that this assertion of mind is quite true.
It seems incredible at a first glance that a
publisher may be very prosperous while the bulk of
his authors may not know how to pay for their next
night's lodging.
Yet, though this looks impossible,
it is well within the sphere of modern publishing,
as a little practical thought will make evident.
Writers, like other artists, when they look at a
question of business, are handicapped
by their
native honesty in work.
We ve done our level
best, they say ;
we ve spared neither time nor
pains; we wanted to get certain results, and we
went on trying till those results came, more or
Surely a publisher knows all this, and he,
less.
Why, then, should
like we, stands to lose or gain.
he be careless in his part of book production ?
Why should he fail to push our work 2 °
One hears this run of arguments week after
week, and recently it appeared in print.
An
author wrote anonymously to a journal and said
that although he had written and published a long
very well received,
row of books,
earned less
than
farm labourer, his subject being one which
the public did not like,
that the publishers could
pay him well.
not afford
Balderdash
There
publishers take
public for all special subjects
pains
find
but they prefer
use authors,
not
men who must live and pay their debts, but
finance, and, this
mere items
the game
being so, let
look carefully
that game and see
what
its relation to ourselves.
First, then,
publisher has certain amount
working capital
rolled over three
four
This,
course, presents
times
twelve months.
small, but when
difficulties when the capital
the capital
vast the difficulties are enormous too,
just
and advertised for about £115. Now, under
agreement, you should earn about £25
the
1,000 copies
sold, while the
Whole edition
publisher
single turnover earns about £25
satisfied,
interest
£115. He has reason
you. And
While you have hungry days
front
get
there's
trade reason why
should push
second edition
has got his turnover, and
waiting
another novel
treated
the same
routine Way, and another after that one, and
perhaps even
fourth before the end
the year.
Do you understand now
three novels are
published
twelve months with the same bit
capital (i.e., £115), and
the tradesman
each
turnover gets the same interest (i.e., 4:25), his total
£115, whereas each
profits are £75
capital
the three novelists gets only £25. And suppose
two
the novels run into
second edition
What
Why, the publisher risks nothing
all,
then
for the public has called for the second edition
your book
book's merits,
now self-support
ing and should bring you
higher royalty than
you get
the first 1,000 copies.
a
For, indeed, that game of finance is in fundamental
opposition to the just needs of authors, though few
of
TISIES
the
226
�A CITISIOR,
able
help
to
going
making
on
is
all
of
of
in
of
a
to
a
a
of in
on
all
2
a
;
so
if
I
to
I
if
;
I
to
to
in
I
on
I
I
to
.
.
.
I
on
of
I
;
It if
.
.
It .
to
as
.
.
it .
a
a
or
.
.
.
if
.
.
.
if
;
it
of
of
or
a
It
or
to
to
in
It
It
of
in
.
.
.
a
;
;
a
of
in
or
a
;
to
a
in is
of is
go
;
to is
:
is
he
is
a
it
be
it
so
of
to
in
to
of
to
one's own book
of It
a
to
be
or
be
on
of
be
one's charwoman's.
to
is
a
at
of
an
do
is
to
is
of
on
a
be
to
a
is
so
is
It
be
it
a
of
to
in
all
is
to
I
to
in
!
a
I
to
;
a
at
English novelist
world-famed
last made her
mark, she was
changed woman
say,
that
from not being good
live with, she became the
reverse; which
suppose
Becky
variant
Sharp's aphorism,
easy
good
year
thousand
have given birth
three thought-children
ten locust-eaten years.
good when the locusts
not easy
are busy
the time eating off every sprout you
grow.
long
lovingly
spend
carefully,
To
months
fashioning
the best
one's power
little
Life, and, after hawking
image
assiduously
of
;
to
of it
a
of
of
it
no
by
I
be
to
It
be
is
of
the case
altered when you
have once begun
write.
would
affectation
my part
suggest, under these circumstances,
that the energy should
directed into more hope
ful channels.
know that
cannot be. Doggedly,
dourly, dumbly, with brief spells
sweetness and
light caused
publisher, you cast
the nibble
your bread upon the waters, praying with all your
might that you will not receive
after many days.
swallowing
But the publishers have
idea
the
bread always comes back, slightly the worse for
being nibbled.
One never can tell until things happen
one's
to
But the aspect
It
it
{\O IOOTe SééI).
tub
finding
someone else's table,_
say, one never
As
life;
might still greedily cling
can tell, and
but
feel that
could see that and never require
charwoman again.
And then, sitting over the fire
the twilight
and dreamily wondering how many people had read
and whether any
them liked
the extent
friends;
put
describing
letters
down, underlined, when someone asked them for
good
list
even
nice books.
And
whether anyone copied anything out
and
anybody read
twice
and how many bought
give away.
anyone felt they would
And
they
like
know the author.
And
thought
was
man
woman or perhaps
infant prodigy.
am aware that
sounds vain and childish
my mind, are the
set down
but these,
publishing book.
exquisite concomitants
After all, one's thoughts are one's children
and
one does not blame mother for wondering whether
people will think her offspring interesting,
clever,
pretty,
nor for hoping someone will fall
love
With it.
Somebody once told me that when
certain
Copy
even
I an
If
or
of
It
is
a
by
is
of upif
to
same cannot
said
the writing
books.
And
pro
surely
better
make good roads than
vide for good bonfires when we
hence and are
pumpkins
not stake his
Ye gods,--the secret, warming bliss
does
is
a
a
is
a
;
is
is
so
is
it
It is
My heartfelt advice
the literary aspirant is
positive that
his inherent energy
must
and out let him pick from the unlimited choice
more hopeful channels into which
can
Stone-breaking
profession which
directed.
requires considerable strength and moral courage,
physical danger which
and also
element
goggles
not wholly exclude
the néedful dex
terity soon becomes mechanical, which
soothing
the nerves, and the mind
left free
meditate
with humble pleasure
the fact that one
smooth
ing the path
civilisation. Success
stone
breaking, granted moderate ability,
assured
the
speech,
spite
ghost-worked
tales
if only they materialised now and
then between cardboard covers, with their name
gilt letters.
and mine
pay anything towards this
should not like
apotheosis;
should not like
have
make up
publishers' deficits after production
but barring
actual loss, even
did not make one penny profit
each book,
should still joyfully continue
only they blossomed into PRINT.
write them,
Articles, short stories, and one poem have
blossomed
but what gardener
who has been
Successful with mustard-and-cress
on
flannel
it
in
is
it
nature can there be peace for them ; and even
peace
snatches.
The cosmic energy accu
mulates anew, and then there
fresh explosion,
and the air
clear again
but only for time, and
times, and half
time.
This
how motors mote, and birds sing, and
poets poetise, and musicians
make music, and
painters pictures, and authors
books.
some
artists never cease creating, the theory does not
simply means that they have
break down.
accumulating energy,
terrific and unusual power
and
the explosions are more
less continuous.
why, when you have made one book,
And this
getting
there
blank time, while fresh energy
stored; and then,
certain moment, which the
psychologists
the future will
able exactly
predict,
special stations established for the pur
pose, the storage bursts bounds, and you make
second book quite apart from whether you think
good business
not.
about the worst business
the world.
figure
typewriters)
or
S0,
Ambition
most kinds of ambition, it seems to
me is just the push of inherent energy; the
insistence of the ego on spreading itself. Not until
those who have storage
of this energy have
expressed themselves in the manner proper to their
on
Very self; but
have strained imagination
the
limit, and am positive
could cheerfully contem
plate making books without end (which after
I
be
to
should not
manuscript.
227
I
TISIES
�A DITFIOR.
the suet pudding from proving fatal.
is
a
to
to
It
I
;
all
I
of
of
is
it
to to
it
is,
do
to
it.
;
is
it
in
of
a
is
it
do
a
;
I
to
is,
on
;
or
I
to
a
of
a
it
a
to
I
in
be
I
it
;
to
to
;
of
if
an
of
is
of
of
is
it
is
I
of
to
to
to
by
up
;
I
I
to no
no
I
if
it to
of
is
a as
of
of
to
in
be
to
a
to
by
to
a
is
of
is
I
a
of
g
is
is
of
I
I
if
of
amy.
L. T.
in
no
is
it
of
It
a
a
I,
the suet pudding once settled down into such
bed-rock
should advertise my typewriter
Society for
the Exchange and Mart, and found
just
Superfluous Books.
the Suppression
the indestructible, semi-conscious
conviction that
good which prevents
the publishers who are
renew your orders
the Army and Navy Stores
quality akin
for foolscap,
that shown
old, who for ever bought pro
arctic explorers
visions and never found the Pole.
The grim and
secret struggle
with the giant whose name
Despond, and whose henchmen are the discouraging
remarks
Those who Don't Understand,
excellent
for the moral muscles.
fact,
very
am convinced that success
unwholesome.
are sour grapes,
course.
Still,
could reach the grapes,
would risk
pain;
can't
worse than the pain
not having
be
If
?
I
in.
at is
of
at
at
;
to at
be
a
on
at
all
go
in
lie
up
of
your commodities otherwise
than mustard-and
cress you get
the morning, you
about
night with the realisation
day, and you
down
sitting
your chest like half-done suet pudding,
that you are No Good.
No good
the one thing you have strained
every nerve
good
the one thing which
yourself,
the instinctive, imperative expression
the one thing your soul delights
Realisation, did
say
Not quite that.
thing not
hold linen
learnt
the School
success. The dogged pertinacity with which
you pour forth stamps like
tape-machine, and
it
of be
at
no
a
to
is
if if
;
is
so
a
in
of
in
;
a
to
a
to
of
for that sort
failure can always
Only
entered
Bad Luck.
limited number
people employ barristers
majority prefer
live
ready-made houses; and only one person out
ten can afford
horse.
But everybody
the
you are any good
world reads books;
that
all, there
room, you
room for you
there
are no good.
Yes; after ten years' failure sell
single one
an
briefless
bankrupt
the principle
that Failure
might have
such excellent ethical discipline.
been nicer
live with
had published all my
works, but
me, and
would have been
effort
practise jujitsu
therefore
value.
have had
order not
be more fractious than
am
and
the resiliency which results from bounding
again after being hurled
the floor with violence
acquirement only won
becoming the foot
ball of fate. The stoical exterior with which one
learns
receive parcel after parcel
returned
manuscript
though they were samples
house
In
a
a
or
is
much worse than being
jobless architect,
even
It
or
a
the bud.
barrister,
horse-dealer,
going
Another part
So
as
is
a
It
.
.
.
a
i at
is
;
a
to
is
futility which are printed aye, and read
Dis
appointed Mother
knows that her own work
swan
these geese
but her children remain
paralytics; and her friends are sorry for her, while
concluding that the fault
hers.
this
crude and humiliating fact that you have aimed
mark, and missed which cankers like Worm
in
of of
of
of it
in
on
of
of in
to
.
.
.
to
be
the mouth are the reflections which
failure breeds. To continue for ten
years
publishers and never
batter the doors
let
bears
the face
the stamp
incapacity.
And yet, what
the stacks
After all, have had something more encouraging
keep me keeping on.
than native obstinacy
unusual for my works
come back with
bare note
refusal.
Some publishers
would
evidently take the plunge
they had
ounce
more
the sporting spirit
others wish me and
themselves
share the sporting spirit between
them
others again wish me
have
instead
which,
am not having any.
Success may
the silences, but
am
beginning
find silence
little monotonous.
song the song
would barter
for
mere snatch
couple
the modest fame
thousand
readers.
write, whether there
But shall continue
firstly, because
song
silence
cannot help
principle.
and Secondly,
stop trying
The principle
that
thing because you haven t done
yet
sink
spider, which always tries
below the level
again.
To say that the spider always does
the end
neither here nor there
can t know
is
Sea Apple
this aspect
a
far
a
is
of
;
it
do
of
?
.
.
.
its
round the market-place, to have to put it perma
ºnently on the shelf, is not conducive to a sunny
temper.
The reflection that possibly one's little
image is not very well made is curiously
devoid of
consolation.
The literary microbe cannot be hid, and generally
appears early in life ; with me, the disease, mani
fested itself at the tender age of ten.
All one s
relations and friends know when one is writing
a book ; it
outs like murder; and from time
to time one has to bear up under kindly enquiries
as to what is happening to the child. Can it run
alone yet 2 Has it a nice disposition ? What does
Gradually, after the
it get
teeth into
lapse
several locusty years, they learn tact, and
not mention
and the parent bitterly hopes
they have forgotten that she
the author
paralysed infant.
More hateful
than
Dead
of
TISIES
228
OP-e
G
BAGNALL.
�THE AUTHOR.
of
of as
to
by
of
in
by
to
;
as
to
of
of
in
of
by
of
of
in
of
at
P.
at M.
it
its
be
by
at
to
;
of
of
on
to
at of
of
to
of
to
of
of
2
of of
a
to
of
or
or
of
of an
to
an
2,
of
in
of
of
of 2,
be
by
by
on
of
of
by
by
of
a
at
a
to
of
of
of
a
so
of
a
of by
of
of
of
of
of
to
as
of
industry and thus
bring about
the date
exchange
notes,
the ratifications
addi
tional declaration regarding the protection
works
art irrespectively
their merit
destination.
these negotiations should not lead
successful
result, the French Government ought, with respect
the last paragraph
article
the new Con
making
vention,
avail itself
the opportunity
reserves provided
article 27.
With respect
works of industrial art France would then be bound
1886, revised
the older texts
the Convention
respect
1896, including article
paragraph
ing the accomplishment
the conditions and
origin.
formalities required
the country
The provisional maintenance
this arrange
protected
ment would signify that there would
applied artwhich were protected
France only works
origin, and that this protection
the country
of
of
to
of
in
as
of
by
is
of
to
of
is
in
an
of
it
a
in of
Davignon, Minister
Foreign Affairs, and
M. Descamp, Minister
Arts and Sciences.
The
Ministers lay particular stress upon the work
unification and simplification
the
Berlin
*
in
of of
of
to
of
in in
to
of
be
in
April, and
its sitting
the 12th
the
State,
recommendation
M. Lisco, Secretary
referred
for examination
committee of
fourteen members.
BELGIUM. At the sitting
March 15th, 1910,
Bill approving the revised Convention
Berne
was deposited
the Government with the Chamber
Representatives.
The text
the Convention
French and Flemish accompanied this Bill,
preceded
report, signed
which
M.
rights has been assured
the internal
the colony.
FRANCE.-The explicit report which M. Théodore
Reinach has deposited with the Chamber
in the
name of the commission of instruction and the
charged with the examination
fine arts
the
Bill approving the revised Convention
Berne
has met with warm and universal praises.
Whilst
making several serious critical remarks
the new
text, the Commission recommends its ratification,
but invites the Government
enter immediately
into new negotiations with England and Switzer
persuade them
land
withdraw their opposition
the obligatory protection
works
art applied
authors
legislation
to
on
of
14
of
a
to
of
In
of
According
duction.
their view the two kinds
continually more and
reproduction
are being
more closely assimilated, and they can with difficulty
principle, constituting single
distinguished
method under different aspects;
that the assign
ment
the said rights would comprise one kind
reproduction
well
the other.
The Reichstag discussed the Bill
first reading
sided over
M. Bernaert.
At
conclusion
asks that the Government should be authorised to
adhere
the Convention,
also for the Belgian
whilst,
Congo
the same time, this declaration
adhesion would
deferred until the protection
to
of
on
of
the confirmation
the revised Convention
Berne was deposited
with the Reichstag
March 12th. The Association
German music dealers had already,
March 2nd,
petition
addressed
the Reichstag asking for
suggested
the suppression
the modification
the Bill dealing with article
the law
1901.
accordance with this article, the rights
trans
lation, adaptation, and arrangement are reserved
the author
the case
the assignment
his
rights, and
provision
the absence
the con
trary,
which
now added by the Bill the right
utilising the workfor reproduction by mechanical
musical instruments.
The Association opines that
the adaptation
musical works
mechanical
instruments,
rouleaux, discs, etc.,
the form
repro
integral part
constitutes
the right
of of
GERMANY. A Bill respecting
to to
in
is
to as
.
. to
in
of
is
It
of
as
to
account
the work that has been done
the
prepare the way for the ratification
Government
the Berlin Convention
far
Great Britain
unnecessary
repeat
concerned.
detail
They have been
the steps which have been taken.
past issues
chronicled
The Author,
which
we would refer our readers.
which have not hitherto joined it.
The report
shows that the Convention,
the course
its
progressive evolution, approaches ever more and
more closely
the work realised
the Belgian
legislation
1886
the new Convention does
not affirm any provision
which goes beyond that
national law, there will be no occasion
make use
the reservations permitted
article 27.
This same fact and these same conclusions are
asserted
the very full report which the member
Wauwermans (one
the Belgian delegates
the Conference) deposited with the Chamber
April 5th, 1910,
the sitting
the name
the
preconsultative commission
five members, pre
If of
of
bya
all
Berne, better known as the Berlin Convention.
As far as the United Kingdom of Great Britain
and Ireland is concerned, Le Droit d'Auteur merely
republishes a statement taken from a recent issue
of the Times.
This does not give at
full
to
are being taken by the different countries
of the revised Convention of
for the ratification
in by
from a recent number of Le Droit
d'Auteur a statement of the steps which
in
E print
V V
of
of
º-º-º
-
Conference, upon the excellent and lucid provisions
the text, which has resulted from the delibera
tions
the Conference, and upon the happy results
obtained, inasmuch
the domain
the inter
national protection
intellectual works has been
rendering
extended without
more difficult the
accession
the Berne Convention
of States
of
INTERNATIONAL COPYRIGHT.
229
�THE AUTHOR.
N
to
onis
in in
to
of of
as
a
to is
to
in
by
is
It
is
is
as
a
an
be
is
to on
a
of it
an
all
at
all
It
is
a
fit
of
of
in
f
of
It
of
up
be
I
is
a
a
it
hardly just
of
a
by
at
to
be
unless both sides were heard, and
expected
the impugned editors could scarcely
39, Old Queen
attend for cross-examination
Street.
Where correspondence
showed the true
way
state
the case, some action (at least
black list ) could perhaps
taken.
in
English Fiction,
Woman's Work
Whitmore, A.M. Putnam.
by
Clara
H
to
be
be in
it
be
your contributor
DEAR SIR,--The suggestion
pillory should
that
set
(in the columns
The Author) for inefficient
and unconscientious
good one enough.
might, however,
editors
be difficult of realisation.
do not know whether
would be libellous or not.
Bnt
would be
of
to
be
of
as
EDITORS.
it
to
a
MAGAZINE
*
or
º-º-º
-
an
of
of
of
in
to
of
of
in
all
it
is
of
at
in
be
is
it
CORRESPONDENCE.
to
(a
it
in
of
be
-º-º-e
*&^***
tams
of
an
be
to
to
of
be
to
with Great Britain
British domestic Act)
which the colonies may ultimately adhere. The
possible that
Times considers
measure which
shall permit the adhesion
Great Britain
the
revised Convention
Berne might
submitted
Parliament
the present session, but that,
public affairs,
the present situation
can
hardly anticipated that any progress could
made
with this Bill during the present year.
April 14th,
SWITZERLAND. At its sitting
the Council
the States ratified,
the National
Council had already
December ratified, the
revised Convention
Berne.
The Federal Council
will, therefore,
give its adhesion
able
the
diplomatic act without any reserve.
*y ~
". *.
to
an
of
of
A
a
is
all
us
Paris, and the standard
the University
this
thing
considerably lower
sort
the United
States than in France.
of
of of
other subjects)
bad one.
results
the production
books which are not wanted
persons whose talents better
them for some
other occupation.
We have noticed the same thing
connection with some theses for the doctorate
to
to
of
sarily
is
of
in
on
Manley, Sarah Fielding, Eliza Haywood, Charlotte
Lennox, Clara Reeve, Sophia Lee, Mary Brunton,
Lady Caroline Lamb, Anna Eliza Bray; but the
negligible.
value
the criticism
The feminine
note
sounded
rather shrill instrument; that
that there
said.
The book, we gather,
was originally put together
thesis for
arts
degree
American university, and
confirms
awarding
our opinion that this system
degrees (in Arts
events, though not neces
of
to
of
BRITAIN. According
GREAT
the Times
7th, 1910, the conference
the representa
tives of the British Government
and of the self
governing colonies (Australia, New Zealand, South
Africa, etc.) will take place
London next month,
probably
May 18th, under the presidency
Mr. Sydney Buxton, President
the Board
Trade.
This conference will have
examine the
revised Berne Convention, and the attitude which
the British Empire will take with regard
the
rights
authors.
The principal question
preferable
determined will
settle whether
Imperial law
copyright, which
elaborate
applicable
shall
the whole Empire, which
suggests,
the Commission
Act dealing only
April
from which their intrinsic merit should have pre
partly due
served them.
This
the fact that
nearly
the books
literature have been written
from
man's standpoint.
Woman's work
fiction, that
say, has been jealously kept
the background
man's work
criticism. The
book,
say,
exactly the kind
not unjust
book that one would expect
follow that kind
preface.
good many out-of-the-way
assembles
Mary
facts about such forgotten
novelists
in
and the
NOTE.3%
extract from the preface will best indicate
the scope
Miss Whitmore's work:
The
Writings,
many
she says,
the women
considered
this volume have sunk into
oblivion
by in
of
on
criticisms
the part
art industries
artists who are their auxiliaries.
THE FEMININE
in
of
be
;
an
it,
would be accorded these works of art only in such
measure and under such conditions as the foreign
country itself gave in return protection
to our
artists; that is to say, on terms of an absolute
reciprocity. The Chamber after ashort deliberation,
and without opposition, adopted the Bill already
mentioned at its sitting of April 1st, at which
sitting M. Louis Rénault, the eminent reporter
of the Berlin Conference, assisted in the quality
of commissioner
for the Government.
It is in
consequence of his declarations, in reply to M.
Prache,
that the Government
has engaged
to
proceed in the manner indicated below ; that is to
say, if, as is possible, the Government should not
succeed, between this and the month of June, in
obtaining a declaration or something else which
may place works of art applied to industry on the
same footing with other works of art, the Govern
ment will make use of the power afforded it by
According
article 27, and will make a reserve.
to M. Rénault, this article furnishes a safety-valve,
and there may be occasion to make use of
but
only regarding this one particular point
for
reciprocity here will
disadvantageous
absence
to France.
This has occasioned some bitter
at
230
�AUTISIOR.
of
a
by
of
be
a
in
be
in
do
I
as
a
as
a
BOOKS.
OF
to
it
in
is
In an
is
at
in
to on
an
in
be
in
on
at
of
a
a
of to an
Properly,
critic should not only read
genuine attempt
author s work, but also make
find out the author's point
view.
The right
large
critic even
insist
his own opinions
doubtful.
He may attack style
condemn
to
quently his work, vainly trying to penetrate to that
holy of holies.
Much is talked and written in the papers that
every young dramatist has his chance of succeeding
a
I
DEAR SIR,-May
take up a small amount of
your space in order to ventilate the grievances of
The Great Unacted, which I am sure a great
number of your members can endorse ?
The average London manager seems to be
surrounded by a prickly hedge of conventions, in
which he dwells serenely unapproachable like the
Sleeping Beauty, while the unfortunate aspirant to
his favour loses time and money, and not infre
It
of
on
SIR,--The remarks
reviewing
Authoress
becoming rare for reviewers
are true.
read
Perhaps
the books they describe.
some cases
really
needless, they would not understand
them.
author, who dips his
Sometimes the critic
jealousy.
many other instances
critical pen
may
only
aspirant.
Froude complained
that
literature the raw aspirants sat
once
the judicial bench, whereas
law they had
long apprenticeship first.
serve
is
UNACTED.
he
GREAT
Z.
on
THE REVIEWING
sº-e
is a
THE
to be of
be
by
of
t
P.S. I was told this lady sold twenty-one review
copies to this bookseller for his library.
e
Yours faithfully,
X. Y.
sº-º
or
I
as in
I
all
I
to
I
its
SIR,-Might it not be to the advantage of pub
lisher and author if the publisher stamped free
copies of books sent out for Press reviews 2
While
was in a bookseller's shop the other day
a lady came in and handed four books to the
bookseller.
The bookseller read over the titles,
names of authors and publishers, and consented to
purchase at a low figure the books for his circulating
library. The books were review copies, which the
lady sells at a cheap figure for circulating libraries.
have received an account from my publisher
for a book brought out at Christmas, at 68. net,
and find that some eighty free copies have been sent
to the Press for review.
wonder how many of
these have been sold to libraries P
Do those who
feel how difficult it is to realise a paying circulation
of their books know of and approve of the above
system of retailing free Press copies to libraries
where authors look for the purchase of a copy of
their books 2 Perhaps some of the readers of The
Author would answer the question.
am, Sir,
ONE WHO KNOWS.
2
REVIEW COPIES.
If
to
º-º-e
in
I
now, through the assistance of the various play
societies.
Yet what does it all amount to ? That,
with one exception, he must pay, and pay heavily,
for the chance of seeing his work produced, and
most beginners are unfortunately possessed of more
brains than money.
Then, again, the Authors Society warns us ex
pressly, and no doubt wisely, against dramatic
agents, so what remains but our own blundering
efforts 2
we are very lucky perhaps this results,
after many weary months of waiting, in a charming
your play is
letter of praise, regretting only that
not precisely suited to our requirements, etc.
Now, Mr. Shaw has said that members should
use the Society.
Would it be abusing it, therefore,
might
to suggest that the Readers Department
scope and become
extend
sort
Dramatic
middle-man
No doubt some more businesslike
author than myself could indicate the exact manner;
the fees and royalties, etc., could
determined
the Committee.
seems
me that
this way sort
Labour
established, putting the right
Bureau would
authors
touch with the right managers and
saving years
hopeless waiting.
hope the question may
taken up
some
your other readers,
am sure there must
many who feel like myself, yet who
not wish
advertise their wares
the literary market
the
same desperate way
the lady who yesterday
patrolled
sandwich-man,
the West
End
announcing
play
and sundry that she had
for sale.
Apologising for trespassing
your valuable
space, and trusting that some more able pen than
mine may continue this vexed question,
It
Meanwhile a list might be published of the
literary record of editors of magazines or of
periodicals that deal in literature. My own experi
ence has been that editors who had any claim to
be called men of letters were nearly always pleasant
to have to do with.
But of some among the
others
will reserve my knowledge until that
pillory is in working order.
Yours truly,
C. F. KEARY.
231
I
TISIES
�THE A DTEIOR.
conclusions, but a true criticism is not . an essay in
rivalry with the author's essay.
So far, however, have we got from true criticism
200 new names, allowing for obituaries
during the past twelve months. This
larger
by
to
of
I
at
I
in
is,
it
to
p.
It
to
p.
in
to
of
of
if
as
is
we
-
living authors.
A. R.
or
by
of
on
of
do
I
do
I
is
of
or
a
in
meritorious
to
of
a
is
for
a
of a
by
it,
377,
extend
edition,
Authors
which
33 (at the beginning
the page-number
344;
the list) was correctly subtracted, making
QI,
then believed, only one page more.
heartily
the mistake,
While apologising
Congratulate him on the additional names inserted.
the list
Nevertheless, despite this improvement,
Dead writers appear
still Sadly inadequate.
names
living, and there are numerous omissions
We
or
be
by
extend
that two were deducted, giving 343.
as
of
a
is
of
to
have this error pointed
arose thus: In the
From
345.
Unwittingly,
2 was mistaken for the
the forme numeral
But,
the 1910
33.
reader's page number
Authors
1909 edition
in
he
by
in
We are only too glad
Mr. Basil Stewart.
out
and has loaded his book with
to
is
to
be
a
of
to
of
J.
his own, etc., etc.
If
to
in
its
of
a
in
Yours faithfully,
B. STEWART.
mistakes
The reviewed one best sees the fun of this sort of
Jiggins before.
thing when
has never heard
paper the function
your book
reviewed
social views
disseminate political
which
your own, you will probably
snubbed.
opposed
extracting from your book
done
This will
itself, has
ludicrous
single line which, taken
comment,
aspect, and quoting
with three lines
tending
show that the whole work (which has
piece
farce
toil)
cost you years
lunacy.
possible
Towns, cities, and other collections
you are
people
book,
your
whom
readers
the last im
especially appealing
matters
portance, are
these ingenious arts prevented
learning
the truths
from buying your book,
convey.
which you wish
am, etc.,
AN OBSCURE WRITER.
of
in as
is
he
as
is
he
a
of of
Jiggins
to
as
no
in
an
of
at
of
felicities
to no he
to
to
be
is.
In
of
alleging that the author has imitated various
whom, perhaps,
has never
other writers (some
before, the matter
all), and ignoring,
read
dealing with
the book under pretence
amusing
very
the
perhaps,
This,
not
manner.
smile when he
author, but even
cannot resist
the following style
notice
comes across
the
In this book we recognise the outcome
celebrated work of our fellow-townsman Horatio
True,
Jiggins, entitled
the Dumps.
Down
the writer of the work before us has missed the
:
is
it
that
I
in
can
any other past year, and
increase than
any means
not
assure your reviewer that
get particulars
new writers
the easy task
imply.
can also
seems
this list that
add
large sections are merely
assure him that
year without alterations, but
reprinted from year
necessary, though
are corrected each year
appear,
not suppose
mistakes
not claim
quite free
this respect.
any referenge book
nearly double
Considering that the Year-Book
5s. net.,
was when first issued
What
size
better,
and that the paper and binding are much
think,
price
shilling
increase
the
justified.
a whole review may be
style,
devoted to the ridiculing of an author's
without a word as to what the subject-matter of
because the reviewer
This may
the book
try and
hates the author's opinions, but dares not
refute them, and therefore ignores them altogether.
amusing method has crept
other cases
in some quarters
is
a
about
of
232
in
in
to
to
a
of
I
of
to
It
of
be
of
or
in
a
;
its
of
is
in
to
in
to
be
it
1
I
A
of in
he
an
to 30
If
.
.
.
to
of
in
to
Last
(i.e., 1909)
343 pages were devoted
As the list this year occupies only one
authors.
your reviewer will again
page more
etc.
will find that
the 1909 and 1910 issues,
refer
pages more
this year's edition contains over
authors, equivalent
increase
the list
:
He says:
year
;
important.
SIR,--I should like
use your columns
regard
suggestion
put forward
order
understand that
the Society.
the membership
there are some five thousand and, perhaps, more
Great Britain
the United Kingdom
authors
possible for every
not
Would
and Ireland.
endeavour
present member
the society
seems
bring
those who stand outside
one
three reasons why the
me that there can only
represented
the
profession
not completely
(2) extreme
aims
society
(1) ignorance
what, perhaps,
poverty
(3) selfishness,
might designate the ungre
more kindly mood
will certainly under
garious habit.
For myself,
my additional member.
bring
take
Yours, etc.,
to
in
''
of
on
to
be
of an
of
his criticism,
is
of in
in
readers' attention
his notice
reviewer
the March issue
YEAR-BOOK.
draw your
allowed
your
part
the
error
the Literary Year-Book
view
The Author, which,
I
SIR,-May
to
DEAR
THE SOCIETY.
in
e-Q-9
THE LITERARY
OF
to
I
to
MEMBERSHIP
WELL-WISHER.
�AD VERTISEMENTS.
D0 WOU WRITE PLAWSp
1
HAVE YOU A MS.
TO DISPOSE OF 2
The International Copyright Bureau, Ltd.,
mis-spent time and money.
We wish . . . people who send round their wildly unsuitable MSS. would procure the bookand ceasetheir activities.
Athem.08wm.
The
;
Price
Office:
Weekly.
Adelphi,
The
Wessex Press,
ENQUIRIES
OF
COST,
S
is
a
is
a
LD.,
64, Strand, LONDON,
BUILDING,
NEW YORK.
Tattºnton.
[XVIII.
& PEARCE
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INVITE
ESTIMATES
|
PLAYWRIGHTS.
AGENCY,
wien ER
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ESTABLISHED]
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is
AUTHORS
Special facilities for placing work
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Particulars from Manager, Literary Department,
application.
Street,
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19, Adam
1893),
(Established
223a, HAMMERSMITH ROAD, LONDON, W.
words;
over 40,000, 10d. No unfair
Authors' MSS. 1s. 1,000
prices.
cutting
Educated Operators, GOOD PAPER, Standard Machines.
REFERENCES.
of
Specimen Copy Free
on
weeks, post free, for 10s. 6d. home and
13s. 6d. foreign.
SIKES,
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&c.
and
MISS MACKINTOSH.
The West Kensington Typewriting Offices,
&
of
of
for
application
SIKEs
1837),
Gratis Advertisement
have the privilege
in the Books Wanted Columns.
52
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Sent
on
Prospectus
the New Books published
Which also gives Lists
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during the Week, Announcements
Subscribers
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a
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THE PUBLISHERS CIRCULAR
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AND BOOKSELLERS
Books,
Authors highly recommends
as
Residence for Women Workers and Students.
quiet comfortable house the number
limited
boarders
14, and references are required. Terms from 25s, week.
five minutes' walk from Earl's Court
Redcliffe Gardens
District and Tube Stations.
Are advertised for weekly in
(ESTABLISHED
the Society
REDCLIFFE GARDENs, S.W.,
It
Wanted
Books
Member
84,
Directors.
l
ERNEST MAYER
ANTHONY L. ELLIS
SONS, Ltd., Garter Lang, E.G.
About 2,000
Ltd.,
BUREAU,
COPYRIGHT
INTERNATIONAL
Dewar House, Haymarket, S.W.
reference for authors and
A
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OTHER CONTENTS are : Directory and Index
Booksellers;
Authors; Obituary Notices
Libraries; Royalty Tables; Societies; Classi
Cheap Reprints, etc.
fied Ilist
ROUTLEDGE
service to you.
for placing Plays,
We act as Agents
Operettas, Operas, Sketches, &c., in England
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We arrange Invitation Performances.
We review, advise upon, and remodel Plays
and Musical Compositions.
We undertake translations and adaptations
from and into all European languages.
All English Plays submitted to the Bureau
Ellis,e -so well known as a
are read- by -Mr.
-- A. L.
§3dramatic critic and now joint director of the
Mr. Ellis's
International Copyright Bureau.
are placed at our
and assistance
advice
clients' disposal.
(Cr. 8vo, 6S. net, 966 pages)
will give you all particulars of Literary Agents,
Typists, Publishers (British and Foreign); will
explain all forms of publishers' agreements, law
of copyright, etc.; also all periodicals and
magazines (British, American
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accepting outside contributions,
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will
INDEX
The CLASSIFIED
periodicals
for your
ONCE the most suitable
particular MS., thereby saving you much
An indispensable book
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Daily Graphic.
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THE LITERARY YEAR BOOK
to
AUTHORS
W
AND
RESPECTING
OTHER
DETAILS,
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PROMPTLY
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ADVERTISEMENTs.
...
TYPEWRITING
with BRAINS.
MISS RALLINGi
||
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Two popular Hotels in Central London.
opposite the British Museum.
THAGKERAY HOTEL.
is an
EXPERT TYPIST
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She uses
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Miss Ralling has typed for me on several occasions, and I
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AUTHORS
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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
Subject
The topic of the resource
<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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The-Author-Issues
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1910-05-02
Volume
20
Issue
8
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205–232
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19100502
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Cº be El u t b or.
(The Organ of the Incorporated Society of Authors. Monthly.)
FOUNDED BY SIR WALTER BESANT.
Wol. XX. —No. 8.
MAY 2ND, 1910.
[PRICE SIxPENCE.
TELEPHONE NUMBER :
374 WICTORIA.
TELEGRAPHIC ADDRESS :
AUTORIDAD, LONDON.
—e—º-e—
NOTICES.
-º-º-º-
OR the opinions expressed in papers that are
signed or initialled the authors alone are
responsible. None of the papers or para-
graphs must be taken as expressing the opinion
of the Committee unless such is especially stated
to be the case. -
gººmsºmºmºsºmºmºmºmºmºmºsºs
THE 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.
tº-mºmºmºmº -º-º-º-º-º-ºm-º.
ARTICLES AND CONTRIBUTIONS.
THE 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, 39, Old
Queen Street, Storey's Gate, 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 the
standpoint of art or business, but on no other
subjects whatever. Every effort will be made to
return articles which cannot be accepted.
WOL. XX.
ADVERTISEMENTS.
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.
à
w
THE SOCIETY'S FUNDS.
—e—sº-º-
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 contributions 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 prin-
ciple, or in assisting to obtain copyright reform,
or in dealing with any other 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.
—dh- A
~- w
LIST of MEMBERS.
—º-º-º-
HE List of Members of the Society of Authors
published October, 1907, can now be obtained
at the offices of the Society at the price of
6d., post free 7#d. It includes elections to July,
1907, and will be sold to members and associates
of the Society only. -
A dozen blank pages have been added at the
## p. (#602) ################################################
206
TFIES A DTISIOR.
end of the list for the convenience of those who
desire to add future elections as they are chronicled
from month to month in these pages.
—e—sº-e—
THE PENSION FUND.
—º-º-º-
N February 1, 1910, the trustees of the
() Pension Fund of the society—after the secre-
tary had placed before them the financial
position of the fund—decided to invest £260 in
the following securities: £130 in the purchase of
Jamaica. 3% per cent. Stock 1919–49, and £130 in
the purchase of Mauritius 4 per cent. Stock 1937.
The amount purchased is £132 18s. 6d.
Jamaica. 3% per cent. Stock and £120 12s. 1d.
Mauritius 4 per cent. Stock.
This brings the invested funds to over £4,000.
The trustees, however, have been unable to recom-
mend the payment of any further pensions, as the
income at their disposal is at present exhausted.
They desire to draw the attention of the members
of the society to this fact, in the hope that by
additional subscriptions and donations there will
be sufficient funds in hand in the course of the
year to declare another pension in case any im-
portant claim is forthcoming.
Consols 23%.................. ........... 21,000 0 0
Local Loans .............................. 500 () ()
Victorian Government 3% Consoli-
dated Inscribed Stock ............... 291. 19 11
London and North-Western 3% Deben-
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()
Egyptian Government Irrigation
Trust 4% Certificates . . . . . . . . ... 200 0 0
Cape of Good Hope 33% Inscribed
Stock . . . . . . . . . . . . . ................ 200 0 0
Glasgow and South-Western Railway
4% Preference Stock.................. 228 () ()
New Zealand 34% Stock............... 247 9 6
Irish Land Act 23% Guaranteed Stock 258 0 0
Corporation of london 2;% Stock,
1927–57 .............................. 438 2 4
Jamaica. 3%% Stock, 1919–49 ......... 132 1.8 6
Mauritius 4%. 1937 Stock............... 120 12 1
Dominion of Canada C.P.R. 3% Land
Grant Stock, 1938..................... 198 3 8
Total ............... f4,065 6 0
Subscriptions.
1909. £ s. d.
Oct. 15, Greig, James () 5 ()
Oct. 15, Jacomb, A. E. () 5 ()
Oct. 16, Hepburn, Thomas O 10 6
Oct. 16, Trevelyan, G. M. .
Oct. 16, “Haddon Hall ”
Oct. 22, Jessup, A. E. © *
Oct. 25, Whishaw, Mrs. Bernhard
Nov. 5, Dixon, A. Francis .
Nov. 6, Helledoren, J.
Dec. 4, Tearle, Christian
Dec. 9, Tyrell, Miss Eleanor .
Dec. 17, Somerville, Miss Edith OE.
1910.
Jan. 12, Riley, Miss Josephine
Jan. 13, Child, Harold H. . e º
Jan. 14, Desborough, The Right Hon.
the Lord, K.C.V.O. o g
Jan. 27, Lion, Leon M. .
Feb. 7, Fagan, J. B. . º
Feb. 10, Newton, Miss A. M.
March 7, Smith, Bertram .
Donations.
1909.
Oct. 16, Hodson, Miss A. L.
Oct. 16, Wasteneys, Lady .
Oct. 18, Bell, Mrs. G. H. . º
Nov. 3, Turnbull, Mrs. Peveril .
Nov. 4, George, W. L. &
Nov. 25, Tench, Miss Mary
Dec. 1, Shedlock, Miss
T)ec. 3, Esmond, H. W.
Dec. 9, Hewlett, Maurice . lº
Dec. 17, Reynolds, Mrs. Baillie .
Dec. 17, Martin, Miss Violet
1910.
Jan. 1, Robinson, J. R.
Jan. 1, Mackenzie, Miss J. (2nd dona-
tion
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
1, Northcote, H. e e
3, Watson, Mrs. Herbert A.
3, Fursdon, Mrs. F. M.
3, Smith, Miss Edith A.
4, Pryce, Richard - º
4, Wroughton, Miss Cicely .
6, Kaye-Smith, Miss Sheila
6, Underdown, Miss E. M. .
6, Carolin, Mrs. . g
8, P. H. and M. K.
8, Crellin, H. R. -
10, Tanner, James T..
10, Miller, Arthur
10, Bolton, Miss Anna
10, Parr, Miss Olive K.
17, Harland, Mrs.
21, Benecke, Miss Ida
25, Fradd, Meredith
º
:
2
()
l
1
I
5
1l
(
:§
## p. (#603) ################################################
TISIE AUTISIOR,
207
S.
Jan.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
29, Stayton, F. .
1, Wharton, L. C. .
4, Bowen, Miss Marjorie
5, Cameron, Mrs. Charlotte
7, Pettigrew, W. F. .
7, Church, Sir A. H. .
8, Bland, Mrs. E. Nesbit
8, The XX. Pen Club
10, Greenbank, Percy
11, Stopford, Francis .
11, Dawson, A. J. . e
12, Ainslie, Miss Kathleen .
16, W. D. . &
16, Gibbs, F. L. A.
17, Wintle, H. R. g
21, Thurston, E. Temple
23, Dawson, Mrs. Frederick
24, Williamson, C. N. *
Feb. 24, Williamson, Mrs. C. N.
Feb. 25, Westell, W. P. .
March 2, Toplis, Miss Grace
March 3, Hawtrey, Miss Valentina
March 5, Smith, Bertram
March 12, Yould, A. .
March 16, Loraine, Lady . g
March 29, Macdonnell, Randall .
April 6, Blake, J. P. . e &
April 8, “Patricia Wentworth *
April 14, Hinkson, Mrs. K. Tynan 10
Aſl fresh subscribers and donors previous to
October, 1909, have been deleted from the present
announcement.
The names of those subscribers and donors which
are not included in the lists printed above are
unavoidably held over to the next issue.
|
1
I
lI
—e—º-e—
COMMITTEE NOTES.
HE Committee of Management of the Society
of Authors met on Monday, April 4. The
first item on the agenda was the election of
chairman of the committee for the current year.
On the proposal of Mr. Douglas Freshfield,
seconded by Dr. S. Squire Sprigge, Mr. Maurice
Hewlett was unanimously re-elected. Mr. Hewlett
expressed his willingness to undertake the duties
of the post for another term.
The minutes of the previous meeting were then
read, approved, and signed, and the committee
proceeded with the election of the sub-committees.
Those who have kept themselves informed of the
work of the society will know that there is a stand-
ing Dramatic Sub-Committee which meets once or
twice a month; a standing Copyright Sub-Com-
mittee, to which questions dealing with the law of
Copyright are referred; and a standing Art Sub-
Committee, before whom questions dealing with
the illustration of books, reproduction, etc., are
laid. All the sub-committees were re-elected, and
the name of Captain Basil Hood was added to the
Dramatic Sub-Committee to fill the vacancy caused
by the resignation of Mr. W. J. Locke. The
Society is to be congratulated not only on the
present strength of its Dramatic Sub-Committee,
but on having gained the adhesion of Captain
Basil Hood.
The next business was the election of members.
Sixteen members and associates were elected,
bringing the total elections for the current year up
to eighty-seven. This is a lower average than in
the two former years, 1908–9, but it is hardly
possible to keep the elections as high as they were
in those two years. There were two resignations,
bringing the total number of resignations up to
fifty-nine. The latter the committee accepted
with regret.
The Secretary made a detailed statement of the
work undertaken by the Dramatic Sub-Committee
during the past month. He reported that the
repertory agreement was finally settled; that the
agreement between the dramatist and the agent
had, subject to one slight alteration, been passed,
and that a warning in regard to the employment
of dramatic agents had been added to the standing
matter of The Author. He further explained that
the Dramatic Committee were anxious to appoint
agents abroad and in different colonies, in order
that the Society might be kept informed of any
infringements of performing right that might occur.
The Dramatic Sub-Committee had recommended
that these agents should receive 10 per cent. of the
damages recovered, and, in the case of an injunction,
a small fee for their work. The Committee of
Management willingly accepted this proposal,
leaving the amount of the fee to the judgment
of the Dramatic Sub-Committee.
Mr. Maurice Hewlett, as chairman and as a
member of the sub-committee appointed to deal
with the question of the Relations of Authors,
Publishers, and the Libraries, then reported to the
committee the work the sub-committee had done;
how they had met the Publishers’ Association and
discussed the matter in detail. He understood
that at present no steps would be taken. The
committee desired that all the information that
could possibly be collected as to the further censor-
ship of authors’ books and the further action of
publishers should be carefully gathered and laid
before the committee at their next meeting in
May.
Dr. S. Squire Sprigge, chairman of the Sub-
Committee on the Price of Novels, then laid before
the Committee of Management the formal report
## p. (#604) ################################################
208
TISIES A DfTISIOIR,
of that sub-committee. The report was adopted
by the Committee of Management, and is printed
as a supplement to the current issue of The Author.
The secretary then raised an important point
respecting the registration of works in the United
States. It was decided after some discussion and
after full explanation of the difficulties of the
position not to take any further steps at present,
but should a definite case arise in the United
States, to support it with all the power of the society.
The publication of the agreements of certain
publishers with their names, which was decided
upon at the last meeting of the committee, came
up again for discussion, owing to a letter which the
Secretary read to the committee bearing on the
legal point of infringement of copyright. The
committee instructed the secretary to take two
typical agreements and write articles on them for
the consideration of the committee at their next
meeting,
The Music Publishers’ Agreement, which was
Settled by the Copyright Sub-Committee, was laid
before the Committee of Management, and the
report of that sub-committee was formally adopted.
Mr. Harold Hardy's suggestion, put forward at the
general meeting of the society, was considered, but
the committee thought it was inexpedient to make
any alteration in the work of the committee at the
present time.
Cases before the Committee.—A case which had
been carried forward in Germany was mentioned
by the secretary. He had been unable to obtain
any assistance from the member concerned, and
could not therefore proceed with the matter. The
committee decided to send the member a wire, and
instructed the secretary to supplement it with a
letter informing the member that it would be
necessary to abandon the case unless full informa-
tion for the benefit of the German lawyers was
forthcoming. In a case of infringement of dramatic
copyright, the committee authorised the secretary
to put the papers into the hands of the Solicitors,
instructing them to take action as soon as possible.
There were two cases of account. In one the com-
mittee decided to appoint an accountant to go
through the books, and in the other, as the pub-
lisher had refused to produce the necessary
vouchers, the committee decided to take the matter
into court on behalf of the member.
Owing to the fact that a member had desired a
full statement of a case, with the name of the
publisher, to be published in the correspondence
column in The Author, the secretary read an
opinion received from the solicitors and the letter
from the member. After considering all the facts
the committee decided that it would be inexpedient
to make the publication, and instructed the
secretary to write to the member to that effect.
The secretary finally reported that the Canadian
lawyers of the Society had recovered an amount for
infringement of copyright on behalf of a member
of the society. -
–0—-º-0–
DRAMATIC SUB-COMMITTEE.
I º
THE Dramatic Sub-Committee of the Society of
Authors met at the offices of the society on Tuesday,
March 22, at 3 o'clock. In the absence of Sir
Arthur Pinero, Mr. Henry Arthur Jones took the
chair. After the minutes of the last meeting had
been signed, the first question that came forward
for discussion was some paragraphs in the Referee
of March 20 misrepresenting the society and its
attitude towards dramatic authors. The committee
settled a short letter which, with the approval of
Sir Arthur Pinero, was sent to the editor of that
paper. The following is the text :—
March 23, 1910.
THE EDITOR, The Referee.
DEAR SIR,--I have been authorised by the Dramatic
Sub-Committee to send this letter to your columns.
They have read with some interest the statement
contained in your dramatic gossip of March 20 in
regard to the Society of Authors, as it shows entire mis-
conception of the purposes for which the Society was
founded and the work it has accomplished and will continue
to accomplish for dramatic authors. Your correspondent
states as follows:–
“The Society of Authors, I believe, has of recent years
extended its sphere of usefulness with particular reference
to dramatic authors. But what it has accomplished I
am sure I do not know.”
Why does not the writer know He could easily have
found it. If he had referred to the report for 1909 this
knowledge would have sufficed. During the past twelve
months the society has spent £500 or £600 on behalf of
dramatic authors and their cases.
Your correspondent is again inaccurate in his statement
that -
“he was told by a responsible journalist who had
written more than a score of plays in his time that it had
been intimated to him that he had not been invited to
enter the ring simply because it was not intended to
admit any writer for the newspapers to the privileges of
the Fellowship of Dramatists.”
There is no ring, and there is not, and, in the nature of
- things, there could not be, any exclusion from the ranks of
the society of journalists or members of any branch of the
literary profession. The Society of Authors is only too
glad to welcome any writer who desires its assistance and
advice in regard to his dramatic property, whether that
property has been staged or not. Indeed, in many cases it
is the dramatist who has not had his pieces performed who
needs advice more than he who has gained. Some degree of
experience.
I remain, Yours &c.,
(Signed) G. HERBERT THRING,
Secretary,
The Incorporated Society of Authors.
The final settlement of the Repertory Agreement
by the addition of an account clause was next
## p. (#605) ################################################
TFIE A CITFIOR*.
209
discussed. The secretary submitted a draft clause,
which was passed. He was instructed to send the
agreement to the printers of the society to be set
up. The final draft of the Agency Agreement was
then placed before the committee and passed.
A draft agreement for a run at a West End
theatre was next laid before the committee, but
consideration had to be deferred till the next meet-
ing, as the previous matters had occupied a
considerable time in discussion. -
A letter received from the society’s Indian
solicitors was read to the committee with reference
to a case in which the society had instructed them
to act, giving information that the defendant in
the case was about to start for England. It was
decided to defer taking action till the defendant
on his arrival could be present and could discuss
the matter with the secretary.
Further letters were read to the committee
dealing with the appointment of agents, and these
matters were deferred for future consideration.
II.
A MEETING of the Dramatic Sub-Committee
was held at the offices of the Society on Tuesday,
April 12, at 3 o'clock. After the signing of the
minutes of the previous meeting, the Repertory
Agreement was again discussed, and in the absence
of some of the prominent members of the sub-
committee it was decided to adjourn the matter
until their presence could be assured. -
An agreement between a dramatic author and
agent was considered and settled. All dramatists
who are members of the Society, and who are
thinking of appointing dramatic agents, should
apply to the secretary for advice and for copies of
the agreement. -
A letter from a member referring to a section of
the standing matter was read to the sub-committee,
who, after due consideration, referred it to the
Society's solicitors, so that their opinion, with
the letter, might be laid before the Committee of
Management.
The secretary reported to the Dramatic Sub-
Committee Capt. Robert Marshall's resignation, and
the sub-committee recommended to the Committee
of Management that Mr. Arthur Shirley be appointed
to fill the vacancy. -
The secretary reported the receipt of a large
number of answers to the recent circular issued by
the Dramatic Sub-Committee, but asked for a
definition of “dramatist’ in order that he might
be able to compile a correct list. The committee
decided that the author of any play that had been
represented in a place licensed for public enter-
tainment should be considered a dramatist, but that
such performance must be something more than a
mere performance for copyright purposes.
The next subject that arose was a matter in
regard to agents in the Colonies, and it was
decided to asked Messrs. French to supply, through
their agents, such information as they could gain
about the production of plays. The secretary was
instructed to furnish Messrs. French with the
list of those dramatists who are members of the
Society as soon as it is complete and in order.
With the sanction of the Committee of Management,
it was decided to pay 10 per cent. on any sums
recovered by the society through information
Supplied by the agents, and to pay a small fixed fee
where an injunction only was obtained.
A question of the liability of a manager of a
theatre to pay damages for infringement of copy-
right was referred to the solicitors of the society,
and the Secretary was requested to ask the Com-
mittee of Management whether it would not be
possible, through the Foreign Office, to get the
Consular Service to assist in reporting infringe-
ments of the rights of dramatic authors in foreign
countries.
A letter received from the secretary of the Italian
Society of Authors was then laid before the meeting,
and the sub-committee decided to ascertain the
terms for entering that society, and to consider the
report at their next meeting. -
A case of infringement of authors' rights in India
was next considered, and it was decided to invite
the Committee of Management to press the matter
with vigour, in order to stop the wholesale piracy
of dramatic authors’ works.
Letters received from the Theatres’ Alliance were
carefully considered, and the sub-committee decided
to ask a representative of that body to attend the
next meeting, which was fixed for April 26.
The consideration of the agreement for a run
was adjourned.
—º-º-º-
Cases.
DURING the past month the secretary has had to
deal with seventeen cases. Two of these were
claims for money. One has been settled, but the
other will most probably have to go into the hands
of the society's solicitors. Two dealt with money
and accounts. These have both been terminated ;
the money and accounts have been forthcoming
and been forwarded to the authors. One difficult
case of settlement of contract is still in course of
negotiation. There were six claims for accounts.
Four of these have been settled, one has been
referred to the publishers’solicitors, and the last, after
reference to the committee, has been placed in the
hands of an accountant. The accounts will be
## p. (#606) ################################################
210
TISIE A DITFIOR.
checked at the society's expense. There is one
case of infringement of copyright which is still in
course of negotiation, but as the defendant has
acknowledged liability the amount to be paid is the
only point left in dispute. The secretary’s inter-
ference has been claimed in five cases for the return
of MSS. In two of these cases the MSS. have been
returned, but the others have only recently come to
the office.
There were four cases left open from last month.
Three, which dealt with matters outside England,
are still open ; the fourth will most probably be
closed shortly, as the offending party is in satis-
factory negotiations with the secretary.
—º-º-º-
April Elections.
Atkinson, Mabel . . 26, Denning Road,
Hampstead, N.W.
Bayliss, Kathleen Jessie. Northend, Tewkesbury,
Glos.
Bigelow, Mrs. Poultney . Bay Tree Cottage,
Aylesbury.
Belcher, George . 14, Cathcart Studios,
S.W
39, Hertford Street, W.
Compton House, Sher-
borne, Dorset.
Dauber, J. H. •
Goodden, Cecil P. .
Honey, Frederick H. 10 — 12, Copthall
Avenue, E.C.
Hood, Capt. Basil . 88, St. James Street,
S.W.
Lefevre, L. A. Vancouver, British
Columbia.
2, Alma Studios, Strat-
ford Road, Kensing-
ton, W.
Morley, Harry
Patricia Wentworth
Ross, Madge Wallace 4, Ethel Terrace,
Morningside Drive,
Edinburgh.
Stitt, Rev.S.Stewart, M.A. Stretham Rectory, Isle
- of Ely.
Tassinari, Herbert D. . 5, Bolton Studios, Red-
cliffe Road.
—e—6–e—
B00KS PUBLISHED BY MEMBERS OF
THE SOCIETY.
—º-º-o-
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 Cffice
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.
100 POPULAR PICTURES IN Colour. Facsimile Repro-
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World's Great Galleries. With an Introduction by
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• Il.
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143 × 11%. 59 pp. Fisher Unwin. 5s. n.
JAPANESE ART. By LAURENCE BINyon. 14%
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BIOGRAPHY.
MEMORIES OF SIXTY YEARSAT ETON, CAMERIDGE, AND
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Lane. 14s. m.
THE PASSIONS OF THE FRENCH ROMANTICs. By
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158. In.
By ARTHUR SYMONS.
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WHAT THE PUBLIC WANTs. A Play in Four Acts. By
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7# x 5.
## p. (#607) ################################################
TISIE A DITISIOR,
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ANCIENT PLANTS. Being a Simple Account of the Past
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5%. 252 pp. Watts. 3s. 6d. n.
THE BRITISH CHURCH. A Paper read by MAJOR F.
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TRAVEL.
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º —0–Q–e—
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New York : P. F. Collier & Son. 50 cents.
THE CARDINAL's PAWN. By K. L. MONTGOMERY. 293 pp.
Chicago : A. C. McClurg & Co. 75 cents.
THE INTRUDING ANGEL. By CHARLES MARRIOTT.
316 pp. New York : John Lane Co. $1.50 n.
THE SCAR. By WARRINGTON DAWSON. 381 pp. Boston :
Small, Maynard. $1.50.
EAST LONDON VISIONS. By O’DERMID LAWLER. 305 pp.
New York : Longmans & Co. $1.75 m.
## p. (#608) ################################################
212
TFIE AUTHOR,
GLORIA. By G. F. TURNER.
Dodd, Mead. $1.50.
THE HISTORY OF MR. Polly. By H. G. WELLS.
New York : Duffield. $1.50.
THE FASCINATING MRS. HALTON. By E. F. BENSON.
285 pp. New York: Doubleday, Page & Co. $1.20.
HISTORY. -
INDIA THROUGH THE AGES. By FLORA ANNIE STEEL.
368 pp. New York: Dutton. $1.25 n.
MISCELLANEOUS.
TELEPATHIC HALLUCINATIONS: The New View of Ghosts.
By FRANK PopMoRE. 128 pp. New York: Fredk. A.
Stokes Co. 50 cents. n.
TECHNICAL.
ENGLISH LEADWORK : Its Art and History. By LAWRENCE
WEAVER. 268 pp. New York : Scribner. $10 n.
TRAVEL.
PEAKS AND GLACIERS OF NUN KUN : A Record of Pioneer
Exploration and Mountaineering in the Punjab Himalaya,
with a map and 92 illustrations. By FANNY BULLOCK
355 pp. New York:
283 pp.
WORKMAN and W. HuntER WORKMAN. 204 pp. New
York : Scribner. $4.50.
—e—º-e— ,
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
—º-º-º-
E understand from the Publishers’ Weekly
(New York) that the winner of the £300
prize in the competition held by the
Stratford-on-Avon Shakespeare Memorial Theatre,
on the terms of which we commented in a recent
issue of The Author, is Josephine Preston Peabody
(Mrs. Lionel Marks). Mrs. Marks is an American
lady who has already produced one or two
plays, including “Marlowe, a Tragedy” (1905);
and “Her Fortune and Men's Eyes,” the latter a
play written round Shakespeare. -
“Rita.” (Mrs. Desmond Humphreys) is at pre-
sent in America, where she proposes to stay for two
or three months and to visit various important
cities and notable places.
“Winifred Graham ” has a serial in the Daily
Express, entitled “Can a Man be True 2 " It
commenced at the close of March.
Mary L. Pendered, is engaged upon a work deal-
ing with the Mystery of Hannah Lightfoot, which
Messrs. Hurst & Blackett announce among their
forthcoming publications. For nearly a year she
has been collecting all available information from
various sources, and claims to have seen the only
authentic documents relating to the “Fair Quaker”
known to be in existence at present.
The Princess Karadja's two lectures, “The
Esoteric Meaning of the Seven Sacraments” and
“The Ancient Therapeuts,” are now obtainable in
print from Messrs. Wodderson, 4, Great Russell
Street, W.C.
The April number of the Celtic Monthly contains
the first of a series of articles on “Gaelic Legends
in the Light of Old Irish History,” from the pen of
Mr. W. J. Edmonston-Scott.
Mr. Wynford Dewhurst has presented to the
Bucks County Council an oil-painting in token of
his friendship for the Council, on which he served
from 1907 till the present year. -
Messrs. Watts have published a new book by
Mr. F. H. Perry Coste, entitled “Ritual, Faith, and
Morals.” It deals mainly with the influence of
religion upon civilisation considered in its moral
aspect.
A shilling edition of Miss Mary C. Rowsell's
romance, “The Friend of the People,” is announced
by Messrs. Simpkin, Marshall & Co.
Prof. E. H. L. Schwarz, of the Rhodes University
College, Grahamstown, has written a book on
“Causal Geology,” with special reference to the
Planetismal Hypothesis of Professor F. T. C.
Chamberlin, which Messrs. Blackie will shortly
publish.
“The Way Up,” a new novel by Miss M. P.
Willcocks, author of “Widdicombe,” “The Wingless
Victory,” and “A Man of Genius,” will be published
this spring by Mr. John Lane. It deals with the
question of the conflicting claims between a man's
duty to the State and to the individual—in this
instance, his wife. The leading figure is an iron-
master, whose career recalls, in some respects, the
life of Jean André Godin, the pioneer in industrial
co-partnership. - - -
Mrs. Cherrie (Jane) Rowland, who has lately lost
her husband, has given up her home in South Wales
and all her country pursuits in order to devote the
remainder of her life to literature. She is now
engaged in her home at Golders Green upon a novel,
“An Understanding Woman,” which will be
published by Mr. John Ouseley.
The Oxford University Press have just issued the
new edition of the Rev. Professor Skeat's (larger)
Etymological Dictionary. Nearly every article
has been revised and a large number rewritten.
Mr. T. Werner Laurie announces “The Old
Testament Story,” by Gladys Davidson. In
writing this story of the Old Testament for young
readers, Miss Davidson has endeavoured to present
the stories and incidents in accordance with the
views of those modern scholars who regard and
teach the Bible from a wide and reasonable stand-
point. At the same time, it has been her object,
whilst avoiding the treatment of legendary and
allegorical matter as history, to preserve the
religious character and beauty of these wonderful
stories of old time, and to set them forth with love
and reverence. In the preparation of this work
## p. (#609) ################################################
TISIE AUTISIOR,
213
she has been greatly helped and encouraged by the
Rev. C. A. Goodhart, M.A., of Lambourne
Rectory, Romford, who has generously given
her the benefit of advice on many points
of difficulty. Miss Davidson is also pub-
lishing, through Sir Isaac Pitman & Sons, a
children's natural history story book, which she
calls “A Zoo Book.” The animals in the Zoo tell
their own stories in amusing conversation. All
are eager to appear in print, and so vie with one
another in making interesting “copy.” All the
principal animals are dealt with.
In “Ruskin and His Circle "Miss Ada Earland
tells the life story of Ruskin, with special regard
to the influence of environment on the development
of his genius. The “circle” includes Turner,
Millais, Holman Hunt, Burne-Jones, D. G. Rossetti,
Kate Greenaway, Coventry Patmore, Carlyle and
many others. Messrs. Hutchinson & Co. are
the publishers.
Messrs. Digby, Long & Co. are publishing,
early this month, a novel by Francis Bancroft,
author of “Of Like Passions.” The title of the
new volume is “Richard Beverley.” - -
The last issue of the Irish Church Quarterly
contains an article entitled “Ethical Foundations,”
by the Rev. J. N. Shearman.
“South African Snapshots for English Girls”
is the title of a little volume appearing early this
month. It is written specially for “superfluous
daughters” by Miss Eleanor Tyrrell, and is illus-
trated with photographs. Messrs. Gay & Hancock
are the publishers.
Messrs. J. M. Dent & Co. have just published
a volume on “Nature Photography for Beginners ”
by E. J. Bedford. It contains a coloured frontis-
piece and one hundred stereoscopic photographs
taken by the author. The chapters refer to the
choice of suitable apparatus, developing, printing,
lantern-slide making, stereoscopic photography,
photography of birds and their nests, animals,
insects, and flowers.
The Dial (Chicago) of April 1st contains an
article by Lewis Nathaniel Chase on “Bernard
Shaw in France.”
Mr. J. Bloundelle-Burton's new romance, “A
Fair Martyr,” is about to be published by Everett
& Co. It will have for its mainspring one of
the numerous incidents to which the great Plague
of Marseilles gave birth ; a plague which resulted
in the death, or disappearance in several cases, of
about 150,000 persons, and the effects of which,
as regards the subsequent careers of many, were
very far-reaching. The heroine, “the first martyr,”
represents one of these latter, or, rather, many of
the latter, and her history, though founded more
or less on fact, lends itself to romance. Mr.
Bloundelle-Burton dealt with this plague some
years ago as a feature in his novel “Servants of
Sin,” but in this case it serves as a prologue to
the moving, true story which, with modifications,
he has now to tell.
Messrs. Sampson Low & Co. are publishing
Mr. Archibald Little's posthumous work “Across
Yunman.” The book, which Mrs. Archibald Little
is editing, is illustrated.
The Walter Scott Publishing Company are issuing
a new and enlarged edition of Mr. Havelock Ellis's
book “The Criminal.”
The same publishers have also added to their
“Great Writers Series " a volume on “John
Ruskin,” by Ashmore Wingate.
Gertrude Warden's new novel, “Stand and
Deliver,” is published by Messrs. F. W. White & Co.,
and contains a portrait of the author by L. Caswall
Smith. The tale consists of twelve episodes in
twelve different towns by which a clever and
unscrupulous girl gets the better of her dupes while
steering clear of the law.
Messrs. Dent & Co. are bringing out in “Every
Man's Library’ a new and largely revised edition
of Lieut.-General Trotter’s “Life of Warren
Hastings,” published in 1878 by W. H. Allen &
Co.
An article by Mr. W. G. Edmonston-Scott on
“The German Basques of Britain'' will appear in
the May number of Guth na Bliadhna.
Miss Lily Grant Duff has recently completed a
novel called “Vocation,” which will be published
by Mr. John Murray.
Under the heading “London's Unwanted
Women,” Mr. Basil Tozer, in an article in
Chambers's Journal for May, describes Miss Olive
Christian Malvery's philanthropic scheme for
opening at Charing Cross a night refuge for desti-
tute women. Our readers will remember that Miss
Malvery (Mrs. Archibald Mackirdy) is author of
“The Soul Market,” “Baby Toilers,” and other
works which deal with the underworld of London
and other great cities.
Miss Elizabeth Banks, one of our American
members, has just brought out a volume of short
stories entitled “The Luck of the Black Cat,”
published by Messrs. George Allen & Sons. Miss
Banks came to London about fifteen years ago and
has written her experiences in several books. Ilast
year she published “The Mystery of Frances
Farrington,” her first novel, a dual personality story.
Her latest book is made up of sixteen stories.
They deal with various subjects and varied emotions.
We do not know how many of them have appeared
in magazines, but, apparently, Miss Banks has
learned to retain her rights of book publication, for
in her opening “mote ’’ she seems to have been
obliged to “acknowledge the courtesy” of but three
editors for allowing her to reprint in book form.
## p. (#610) ################################################
214
TISIES A UTEIOR.
The three acknowledgments deal with the first
three stories.
E. Nesbit is publishing this month a book called
“Fear,” which deals with various aspects of fear,
of the supernatural and physical, which confront
human beings in particular situations. The same
author is also engaged upon a new novel, and a
play for children. E. Nesbit's usual children's
serial is now appearing in the Strand Magazine and
will be published in volume form by Messrs. Mac-
millan & Co. in the autumn. It is called “The
Magic City.” A weekly column for children in
the Daily Chronicle is also contributed by
E. Nesbit.
Mr. E. F. Benson is engaged upon a comedy.
The same writer has also a serial which will start
in the Queen next July, prior to its publication in
book form in the winter.
“The Other Side,” a story by Mr. H. A. Wachell,
which has been running serially, will appear in
book form on June 1st. During the past year
Mr. Wachell has been working upon a political
novel, entitled “John Werney,” which deals with
the future of the hero of “The Hill.”
Miss A. E. Keeton will give two studies of
Modern British Song on Thursday afternoon,
June 2nd, at 3.30, and Thursday evening, June 9th,
at 8.45, at the Imperial Club, 6, Lexham Gardens,
S.W. (by kind permission of the management).
Vocal illustrations by Miss Grainger-Kerr. The
studies will include songs by Ernest Austin,
Granville Bantock, Hubert Bath, Dora Bright,
Josef Holbrooke, Frederick C. Nicholls, Norman
O'Neill, Roger Quilter, Katherine Ramsay
(Marchioness of Tullibardine), Percy Rideout,
Cyril Scott, Ethel Smyth, Ernest Walker, William
Wallace, R. H. Walthew, and Dalhousie Young.
Tickets, 5s. each, or 7s. 6d. for the two studies,
obtainable from Miss Keeton, 84, Redcliffe
Gardens, S.W., or Miss Grainger - Kerr, 38A,
Clanricarde Gardens, W.
A new one-act play by Mr. Leon M. Lion,
entitled “The Touch of the Child,” adapted from
a story by Mr. Tom Gallon, was produced at the
Grand Theatre, Blackpool, last month.
“Prunella,” by Laurence Housman and
H. Granville Barker, originally produced at the
Court Theatre, was revived at the Repertory
Theatre last month. Miss Dorothy Minto was in
the title part.
Another revival at the same theatre was Sir
Arthur Pinero's early play, “Trelawney of ‘the
Wells.’” This play has been in the bill for the past
few weeks.
We understand that early this month, at the
same theatre, a comedy in three acts by Anthony
Hope and Cosmo Gordon Lennox will be produced:
The cast will include Miss Irene Vanbrugh and
Miss Mary Barton ; and Mr. J. M. Barrie's
“Twelve Pound Look’ still continues in the bill.
“The Naked Truth,” by George Paston and
W. B. Maxwell, is a farcical comedy which was
produced at Wyndham's Theatre last month. It
relates the effect of a ring possessing a property
compelling the wearer to veracity of statement
upon an individual hitherto accustomed to deviate
from the truth. The cast included Mr. Charles
Hawtrey, Miss Phyllis Embury, Mr. Eric Lewis,
and Mr. Arthur Playfair.
Sir Arthur Conan Doyle's new one-act play, “A
Pot of Caviare,” was produced at the Adelphi
Theatre last month. Mr. Murray Carson played
the principal part. • *:
—e—º-e—
PARIS NOTES.
—t-sº-e—
& 6 A BARRIERE" is another novel by René
Bazin founded on the subject of religion.
Marie Limerel is a charming and ex-
tremely serious French girl who is determined
never to marry a man whose religious ideas
are not her own. Her cousin Félicien, who is
devoted to her, has lost his faith. She is in
love with him, but will not risk marriage under
the circumstances. A young Englishman, who
has become a Catholic, is also in love with her,
and confides all his doubts and difficulties to
her. His father, a rigid Protestant and Church-
man, disinherits him. Marie is not convinced
that they are destined for each other, and the
book ends unsatisfactorily. Marie is left with
her mother, having refused two men for the
sake of her religion. She appears to be quite
satisfied that she has done her duty. Such
religion does not appear to her at all narrow, and
the reader is left with more anxiety about the
fate of the two men than this extremely religious
girl appears to have.
“L'Ombre de l’Amour,” by Marcelle Tinayre,
is of as great literary value as “La Maison du
Péché.” The figure that stands out in the book
is that of Dr. Cayrol, just as the figure of the
stern mother stood out in the earlier volume.
The psychological study and the clever portrait
of this man are masterful. The analysis, too, of
the consumptive young man who is sent to be
under the care of the noted doctor is also very
clever. But, alas ! the inconsistency of the woman
betrays itself in the portraiture of the principal
woman in the story. The greater part of the book
seems to be written from life, whilst the dénouement
sounds like a mere slander. It seems that so fine
a character would have remained fine to the end
## p. (#611) ################################################
TISIE AUTISIOR,
215
Otherwise we must have mistaken Denise Cayrol,
and given her more credit than she deserved. In
either case this dénouement is unsatisfactory and
improbable. The little serving-girl is delightful
and perfectly consistent. The book is certainly
a strong one, the descriptions admirable, and the
construction faultless.
M. René Doumic, who has just succeeded
M. Gaston Boissier at the French Academy, has
been elected president of the Société des Gens de
Lettres in place of M. Georges Lecomte. M. René
Doumic has written several remarkable books, and
he was one of the founders of the Lecture Society,
which has now become quite an institution in Paris.
At the general meeting of the Société des Gens de
Lettres, M. Pierre Decourcelle spoke of its flourish-
ing state from a financial point of view. It is at
present worth 5,682,000 francs.
With a view to getting America to agree to the
Berne Convention, the Société des Gens de Lettres
has for some time past been endeavouring to interest
prominent Americans in the subject. At one of
the dinners given by the Société Mr. James Hyde
was invited to preside. Mr. Melville Stone was
also a guest, and Mr. Bliss Perry. Mr. Hyde is the
founder of a chair of French literature at Harvard
College, and of American literature at the
Sorbonne.
M. Jean Julien recorded the deaths during the
past year of the following members of the Société:-
Albert Pinard, novelist ; Adolphe Pieyre, the
historian of Nîmes; Adolphe Paban, poet ; Hugo
Spiller, correspondent of Italian and Austrian
papers; Paschal Grousset, the ardent revolutionist
of 1871, afterwards on the staff of the Temps ;
Henri de Parville, well known for his popular
science writings; Adolphe Mony, doctor and
-author'; Charles Diguet, the author of “Nos amis
les bêtes”; Paul Guirand; Emmanuel Delbousquet;
Elie Fourés, who has left his history of the Trouba-
'dours unfinished ; Ernest Praron ; Adolphe Rosay :
Charles Joliet ; Armand Lapointe ; Paul Rouget,
and Charles Louie Philippe. To this long list the
inames of Edouard Rod, Mme. Jeanne Marni, and
Félix Nadar must also be added.
Among the new prizes that have been founded
are those by Jacques Normand, Paul Robiquet,
Jean Revel, Mme. Barratin, M. Mourrier, M. Frantz
Jourdain, and M. Rodocamachi. Prince Roland
Bonaparte has also placed at the disposal of the
Société five annuities of 3,000 francs. The first
annuity has already been awarded to M. Rosny,
the elder of the two authors of that name.
Four members of the Société have been elected
Academicians: Jean Aicard, Eugène Brieux, René
JDoumic, and Marcel Prevost.
The national literary prize has been awarded to
JEdmond Pilon. Among members of the Société
who have won Academy prizes are the following:—
Fortunat Strowski, Ernest Gay, André Lichtenberger,
Henri Bordeaux, and Hugues Lapaire.
The death of Vicomte Melchior de Vogué occurred
after only a few days’ illness. He was born in 1848,
and during the war of 1870 he received a medal
for his fine conduct. In 1871 he was secretary to
the French Embassy at Constantinople. Later on
he lived for a time at St. Petersburg, where he
married a Russian wife. His celebrated book on
the Russian novel appeared in 1886. Among
his other volumes are “Souvenirs et Visions";
“Heures d’histoire "; “Les Morts qui parlent ";
“Le Maitre de la Mer”; “Sous l'horizon.” In
1888 he was elected a member of the French
Academy. His articles in the Revue des Deua.
Mondes, the Journal des Débats, and the Figaro
were always greatly appreciated, and he was himself
most highly esteemed in French literary circles.
The poet Jean Moréas died on March 30,
at the age of fifty-four. He was a Greek by birth,
but had lived in Paris for very many years. His
first volume dates back to 1884 and was entitled
“Syrtes.” This was followed by “Cantilènes.”
Moréas started as a symbolist. In 1891 he pub-
lished “Le Pelérin passionné" and declared sym-
bolism dead. His “Stances * are his best-known
and most admired poems.
A gold medal has just been presented to Henri
Fabre, the celebrated entomologist, whom Victor
Hugo called the “Homer of the insects,” and
whom Darwin styled the “inimitable observer.”
Henri Fabre is now eighty-seven years of age, and
he has devoted sixty years of his life to the study
of insects. On the committee which was formed
to do him honour are the names of Prince Roland
Bonaparte, W. M. Doumergue, Lord Avebury,
Maeterlinck, Mistral, Hébrard, Salomon Reinach,
Professor Pozzi, and many others.
Mr. Percival Lowell gave a lecture last month
on “Mars and its Vegetation.” M. Baillaud,
Director of the Observatory, took the chair, and
M. Camille Flammarion also spoke.
Mr. George Moore also gave a lecture last month
in Paris.
In the Revue hebdomadaire there are articles on
“Mlle. Clairon et le Baron de Staël,” by Comte
d'Haussonville ; on “Les Idées de l’Alliance
républicaine démocratique,” by M. Paul Deschanel;
on “Théodore de Banville,” by Jean Richepin ;
and a curious article entitled “Lettre d'un pro-
testant détaché à un catholique anxieux.”
In La Revue Louise Cruppi writes on “La
Duchesse Cajanello”; Comtesse de Puliga (Brada)
on “La Maison d'Amour et de Mort ’’; G. Saint-
Aubin on “Le Roman Américain”; and Auguste
Rodin on “La Pensée dans l’Art.”
ALYS HALLARD.
## p. (#612) ################################################
216
TISIES A PrºTIFIOR.
THE EDITORIAL ATTITUDE.
—º-º-º-
BY AN EDITOR.
S one who has the temerity to be an editor,
as well as a member of the Incorporated
Society of Authors, I hope to be allowed to
make some reply to the article “The Editorial
Attitude,” by “A Contributor.” With an editorial
experience of eighteen years, I have yet to meet an
editor, and I know many, of the discourteous, dis-
honest, and unbusinesslike species to which, as
“A Contributor’’ courteously alleges, all editors
belong.
Let me deal with some points in this amazing
attack upon those engaged in work which, though
interesting, is as harassing as that of any other
calling upon those who have earned their positions
in a field in which there is much competition, and
in which fools are not suffered at any price. Why,
in the name of all that is businesslike, should an
editor acknowledge the receipt of contributions f
It would be sheer waste of time and of the pro-
prietor's stamps. Even if the precious MS. has
been lost in the post, what has that to do with an
editor P With a paper that receives many contri-
butions it is necessary to number them, though
personally I have this done on the envelopes. And
certainly no MS. has ever had to be re-typed
through my harsh treatment (assuming that it is
typed, and not in a handwriting which it is an
insult to expect to be read, even by an editor).
It is certainly possible that a suitable contribu-
tion may be rejected on one occasion when it
would be accepted on another. Last week I
rejected an excellent story dealing with a high-
born chauffeur who won the heart of his parvenu
employer's daughter. The theme is not particu-
larly novel—if only themes for novels were novel
themes, how happy the lot of the poor editor —
but the story was a good one. I refused it because
only the preceding week I had accepted a story,
not quite so well written, on the same lines. The
MS. went back with the usual printed form ; I
gave no reasons for rejection. Why should I?
Ilike the curate, I have “all the time there is,” but
my periodical has to appear at certain stated
intervals. As for MSS. of unknown writers not
being read, that is all nonsense. Naturally writers
who have “won through * are often commissioned,
and I take it that most writers would like to be
one of this kind. While on this matter, I may say
that never a day passes without the receipt of a
MS. from an “unknown '' one that is hopelessly
unsuitable, either through length, treatment, or
topic ; yet there is my paper for would-be con-
tributors at least to glance at before entrusting me
with their masterpieces.
The money question is, from the author's point
of view, probably the most important one. Now I
claim that the magazine writer does get his mone
when it is due, i.e., when his work is published.
With a big publishing firm no other practice is
possible, and it would be easy to show that this
benefits the author. The “waiting for years”
notion is far from being anything like the rule,
sporadic cases notwithstanding, and with it may
be bracketed the notion that editors publish con-
tributions and try to wriggle out of paying for
them. I am writing of responsible editors of
established journals. Mr. X. Y. Z. seems to
assume, too, that the editor is, as a rule, the pro-
prietor; as a matter of fact, this is very rarely the
case, so that even were the editor willing to
defraud a contributor it would not benefit his own
pocket, and I have never come across a proprietor
who wishes to make money by such means.
Mr. X. Y. Z. should send his contributions to
reputable journals, but as he seems to have got in
with such a queer lot it is possible that his con-
tributions would be dear even if paid for in cigars
or whisky. I am judging Mr. X. Y. Z. by his
experiences as related in his article.
After all, the editor is more useful to the author
than the latter is to the former. An editor could
always fill his journal by commissioning writers of
proved merit. That so many new writers are
continually coming along proves that the work of
the unknown ones is read. But there are too
many authors, and many of them would do better
at French gardening—or paper-making.
There is much more that I could say with
regard to editors and authors, and the subject is
certainly an interesting one. I have been led to
write these remarks by the continual unjust and
ignorant diatribes of those who wish to have their
contributions accepted by editors, and who use
The Author as a vent to their disappointment.
And the splenetic attack of courteous Mr. X. Y. Z.
was the “limit”—-if I may be permitted the
unwonted luxury of using slang in print. As a
matter of fact, the average writer has most
extraordinary notions about the production of a
journal, and entirely overlooks the fact that an
editor really desires to make his production attrac-
tive. I could fill a number of The Author with
examples, and very funny many of them are.
I withhold my name and that of the journal I
edit, fearful lest the excellent editorial qualifica-
tions I have doubtless revealed should induce “A
Contributor’’ to call upon me with a bundle of his
MSS. I believe I should grudge him even a
cigarette, and my cup of tea—the sole refreshment
I permit myself in the office—I refuse to give up,
even in exchange for an appreciation of myself
from the gifted pen of Mr. X. Y. Z.
## p. (#613) ################################################
THE AUTHOR.
217
VICTOR HUGO AND CHARLES DICKENS.
THEIR MEETING IN PARIs.
LTHOUGH Dickens made numerous and
occasionally lengthy sojourns in Paris, and
Victor Hugo was for twenty years a refugee
on British soil, the meeting of the two great nine-
teenth century authors was brief and unique.
The scene of this interview—Hugo's Parisian
residence of 1846—is now, so to speak, public
property, the Municipality of Paris having organ-
ised and opened a “Victor Hugo Museum ” in this
fine old mansion in the corner of the Place des
Vosges. The square itself is worthy of a special
visit, not only as one of the architectural features
of Paris—a spacious quadrangle of Louis XIII.
houses, with steep slate roofs and cheerful red-and-
white frontages of intermingled brick and stone
work—but as the historical “Place Royale.” It
has often been stated that the poet's house Was
actually inhabited by the heroine of one of his
dramas—Marion de Lorme, but it is probable
that the real residence of the seventeenth century
beauty was in the cul-de-sac Gueménée, just behind
the mansion, as the house itself seems to have been
occupied by the de Rohan family at this epoch.
There is, however, a quaint old-world aspect
about this charming little corner of Paris which
may well have tempted the leader of the romantic
school to take up his residence here in 1832. For
fifteen years he inhabited the house, only leaving
it shortly before his exile. Here he wrote “Ruy
Blas” and “Marie Tudor ’’ and several other
historical dramas, as well as three volumes of poems.
Here he married his daughter “Didine,” then a
girl of eighteen ; here, not many months later, he
mourned over her premature death, drowned,
together with her husband, while boating in
Normandy.
When Dickens came to spend the Winter of
1846–7 at Paris, he rented a house in the rue de
Courcelles, on the other side of the city, but during
Forster's visit (he spent a fortnight in France in
January) the two made numerous literary and
historical pilgrimages—amongst others, an evening
call on Victor Hugo.
The French poet of that epoch had little
resemblance to the hoary-haired bushy-bearded
idol of more modern Republican France. Author
of several ultra-Royalist “odes,” newly created a
Peer of France, he was then a close-shaven, long-
haired man of forty-four, and held a veritable little
literary court in the “grand salon” hung with
immense curtains of red damask and adorned with
the curious mirrors, gilt chandeliers, and the
mediaeval carved furniture in which he delighted,
several specimens of which are preserved in the
Museum. His “appartement’’ or flat was on the
Second floor, where the relics more intimately con-
nected with the poet's personalty (including a re-
constitution of his death chamber) are now gathered.
Maclise's drawings have rendered us familiar with
the personal appearance of the young and beard-
less Dickens ; he was, of course, Hugo's junior by
ten years. His French was never fluent, but
usually sufficient, and Victor Hugo's quiet and dis-
tinct enunciation on this occasion seems to have
Smoothed over all linguistic difficulties. The
conversation ran on the theatrical topics dear to
Dickens, and the recollections of the First Empire
and his childish souvenirs of Spain, which were ever
two of Hugo's favourite themes. Both men had
now reached a position of comparative fame and
ease, though neither had gained their latter pinnacle
of international popularity. Yet each could look
back on stern trials during youth, for almost at
the same time that Dickens was odd boy in a
blacking factory Victor Hugo was living (on £28
a year or SO) in a garret in the rue du Dragon.
The gaunt ancient house now bears a gilt inscrip-
tion recording the date of residence, but naturally
Omitting these more intimate details,
Ten years later Dickens made another long stay
in Paris, but it was then the capital of the Second
Empire, and Victor Hugo was in exile in the
Channel Islands. In 1871, when the French poet
returned in triumph to his native land, the author
of the “Tale of two Cities” was already laid to
his last rest in Westminster Abbey.
F. ASHFORD WHITE.
—e—º-e—
MAGAZINE CONTENTS.
—º-º-º-
BOOKMAN.
Maeterlinck. By Alfred Sutro.
Maurice Maeterlinck: The Man and His Work.
Holbrook Jackson.
The Mysticism of Maeterlinck.
By
By Jane T. Stoddart.
ENGLISH REVIEW.
A Singer Asleep. A poem by Thomas Hardy.
Les Dieux asiatiques aux première Siècles de l’Ere
chrétienne. By Anatole France.
Strauss’s “Elektra,” and the Future of Music-Drama.
By E. A. Baugham.
Reviews: On Humanism. By R. A. Scott James.
Two Women Poets. By Edward Storer.
FORTNIGHTLY.
The Tragedy of “Macbeth.” By Maurice Maeterlinck,
Alfred de Musset, after George Sand. By Francis Gribble.
The Worship of Beyle. By A. F. Davidson.
NATIONAL REVIEW.
Laureate Whitehead. By Austin Dobson.
Dr. Wallace's “New Shakespeare Discoveries.” By George
Greenwood, M.P.
## p. (#614) ################################################
218
TISIES AICTEIOR-
HOW TO USE THE SOCIETY.
—e—º-0–
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; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society.
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
7. Many agents neglect to stamp agreements.
The
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.
—e—º-0–
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
Further, the Committee, if they
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.
º 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 The Author.
IV. 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.
In ea.IlS.
(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.
—e—Q-e—
WARNINGS TO DRAMATIC AUTHORS.
—º-º-º-
EVER sign an agreement without submitting it to the
W 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.
## p. (#615) ################################################
TFIE A DITFIOR.
219
(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.e., 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 (b.) 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, OD
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.
sº -*—a
w-v- vºy
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
—e-º-º-
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 & 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.
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.
[NOTE.—At the request of Mr. W. Morris Colles we
state that the above notice is framed as the result of a
general consideration of the present state of the law of
agency, and without any intention to make particular
reference to any case or individual. Its sole purpose is to
give what is deemed useful advice to the dramatic authors
who are members of the Society.]
—e—º-e—
WARNINGS TO MUSICAL COMPOSERS.
—e—º-º-
ITTLE can be added to the warnings given for the
L assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musica}
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.
*—º-a
v-u-w
THE READING BRANCH,
—º-º-º-
- 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.
## p. (#616) ################################################
220
TISIES A UITISIOR.
GENERAL NOTES.
—º-º-º-
THE ANNUAL DINNER.
THE Annual Dinner of the society will be held
at the Criterion Restaurant, Piccadilly, W., on
Thursday, June 9, at 7 for 7.30. The chair will
be taken by the chairman of the Committee of
Management. Tickets can be procured at the
offices of the society, the price being 7s. 6d.
exclusive of wine. Formal notice of the dinner
will be sent to all the members early this month.
THE CHAIRMAN, 1910.
THE Committee of Management have elected
Mr. Maurice Hewlett chairman for the current
ear. We must congratulate the Society on
Mr. Hewlett's re-election. The ordinary member
can have no idea how arduous and exacting
are the duties of the position. In addition to
presiding at all the meetings of the Committee
of Management, the chairman has much work on
the sub-committees, and the settlement of many
of the minor questions are left entirely in his
hands and subject to his authority ; in conse-
quence the secretary has to be in almost daily
correspondence with him.
With a full knowledge—having conducted the
affairs of the society successfully through the
past year—Mr. Hewlett has consented again to
undertake the duties.
Members of the society should be grateful to Mr.
Hewlett for devoting so much of his attention and
valuable time towards supporting the aims and
objects of the society, and maintaining the rights
and property of its members.
COLONIAL SALES.
IN the réport of the Publishers’ Association of
Great Britain and Ireland we find the following
paragraph :-
“At the request of the Authors' Society, who complained
of a great drop in the sale of Colonial editions, a committee
was appointed to investigate this matter. The Authors'
Society were, however, unable to substantiate the state-
ment that there had been an unusual drop or to bring any
tangible evidence on the subject, though it was suggested
that the reduction, if any, in Colonial sales was due to
the production of cheap cloth reprints, and this opinion has
recently been emphasised by one of our New Zealand
agents.”
It is not quite true that the Authors’ Society was
unable to substantiate the statement mentioned.
It never endeavoured to do so. The point to
which it did draw attention was not that there
was a great drop in the Colonial sales, but that
there ought to have been a great increase in past
years, considering the large markets that are
covered, and that there had been no sign of such
increase. Many statements of account come to the
society's office, and it is curious to notice how small
are the Colonial Sales compared with the sales in
England. It is quite evident that something is
wrong. The publishers are inclined to think that
the fault does not lie with them, but the result of
the inquiries made by the society in Australia, New
Zealand, South Africa, and Canada tends to show
that the English publishers are exceedingly slack
in pushing the Colonial sales, while the travelling
agents of the great American houses are constantly
present, pushing their wares into all out of the way
corners as well as in the more familiar places. We
are inclined to think that it is not the cheap
reprints so much as the energy of the American
book agent that accounts for the lack of circulation
of English books in the Colonial markets.
We feel bound, however, to give considerable
weight to the opinion of one of the foremost
publishers in England. He states distinctly, in a
letter lying before us, that it is the cheap seven-
penny editions that are killing the Colonial sales,
as the Colonial booksellers refuse to stock Colonial
editions which are liable to be undersold at any
moment. At the beginning of last year the
society issued a circular with regard to the seven-
penny reprints and recommended that their
publication should be delayed as long as possible,
if not altogether abandoned, after the publication of
the six-shilling edition. If the publisher's opinion
is correct, it would be as well to insist that the
sevenpenny reprint should not be exported to the
Colonies.
The matter deserves serious consideration from
all members of the society.
TRANSLATION RIGHTS.
WE have often complained in these columns that
authors will transfer a great many of their subsidiary
rights to their publishers. We have pointed out
that by this not only do they lose a large percentage
on the returns, as the publisher generally claims
50 per cent. if these rights are placed instead of the
usual agency, 10 per cent., but they also lose, in
many cases, the chance of placing these rights
satisfactorily, as the publisher, not being an agent
himself, often omits to market these rights, or, if
he does market them, takes no trouble to keep up
the authors’ prices.
We have just been favoured with a note from a
gentleman in Sweden, who has, for some time past,
been endeavouring to keep up the prices of
English authors, and has very largely succeeded in
doing so; but he constantly finds the market being
## p. (#617) ################################################
THE AUTHOR.
22].
undersold by English publishers who are offering the
Swedish rights of English authors at half the price
he is able to obtain on the Swedish market when
acting independently.
He asks us to give publicity to his complaint,
and we gladly do so, as it is scarcely necessary to
point out that it is for the authors' benefit not to
be undersold in their various markets.
Again, therefore, we would impress upon authors
never to allow their publishers to control the
translation rights.
ſºm-º-º-º-º-º-ºº ºmºmºn
TECHNICAL WRITERS.
A CASE has come before the society recently in
which a publisher asked a technical writer to write a
book of 80,000 to 90,000 words for the sum of £50.
The subject was a difficult one and needed some
study and could only be written by a specialist.
The author consulted the society and the secretary
suggested that £100 was the very lowest that he
should think of accepting. The letter the author
received from the publisher was a refusal to accept
the offer, and the following remarkable sentence
finished the letter : “As a matter of fact it will be
easy for us to get another competent writer to do
it for what we had arranged with you.” Over and
over again we have remarked in The Author that
there is a danger that technical writers will under-
sell their own markets. Many technical writers do
not look to live by their writing, but, living by their
work, like to obtain a slightly increased income by
their writings. They are, in consequence, ignorant
of market values, and, further, forget the years it
has taken them to acquire their special knowledge,
thinking only of the ease with which it is possible
for them to write the book required.
Was the publisher's statement correct or a mere
piece of bluff 2 We should be sorry to think that
it was the former.
*mº ºmºmºmº
MUSICAL COMPOSERS AND THEIR CONTRACTs.
WE have much pleasure in printing in another
column of The Author an agreement which has
been settled by the Copyright Sub-committee and
approved by the Committee of Management on
behalf of composers. For many years the society
has been struggling to gather composers into a
united body in order that by such a combination
they may obtain some increased advantages from
the publication of their compositions, but in every
attempt the efforts of the society have been frus-
trated. At length a firm of publishers, Messrs.
Stainer & Bell, who were anxious to draw up a
more equitable agreement, approached the Society,
and, after discussion extending over Some months
With the Copyright Sub-committee, the agreement
printed in another column has been finally settled
and approved.
While great credit is due to Messrs. Stainer &
Bell, the Society of Authors must also be con-
gratulated on the work done by its sub-committee
for the benefit of that branch of the society with
Which composers of music are specially concerned.
We only hope that the composers will recognise
this, and will come into the society and support
the work which it has so ably begun.
WE regret exceedingly that we did not mention
in the last number of The Author that the photo-
gravure reproduction of the society's president,
Mr. Thomas Hardy, was made from a photograph
by Messrs. Elliott & Fry. We hasten to correct
the omission and to give the credit to these photo-
graphers for the excellent likeness of Mr. Hardy.
S. L. CLEMENS.
—º-º-º-
R. S. L. CLEMENS (Mark Twain) has died
in the fulness of years. From all his work
as a writer perhaps two books stand out
beyond the rest as illustrations of his inimitable
style, that mixture of humour and pathos. We
refer to “Tom Sawyer" and “ Huck Finn.” It is
no disparagement to the rest of his work to draw
these two from the bundle. Humour, no doubt,
there is in abundance in the other works, such as
“The Mississippi Pilot,” “The Tramp Abroad,” and
“The New Pilgrim's Progress,” but in these books
the humour is not so closely blended with the life.
as in the two first mentioned. It is needless to
repeat in these pages the struggle of his early
years; their history has been fully chronicled in
all the papers; nor is there need to dwell upon that
sad time when as a publisher he lost all his money.
Then well on in years, he refused all aid and assist-
ance, and with indomitable vitality started work
again to wipe off his debts. Perhaps his keen
sense of the ludicrous made him appreciate more
keenly the irony of fate in his own position.
Perhaps the same sense helped him to be up and
doing when others would have thrown up the
Sponge.
Every fellow-member of the profession of letters
must have watched that struggle with interest and
marked the triumphant issue with pleasure.
Only once had we the pleasure of meeting Mark
Twain, but as the occasion was interesting, it may
be worth while to tell the story. When Sir Walter.
Besant was alive he brought Mark Twain to one of
the dinners of the Old Authors’ Club. The dinner:
## p. (#618) ################################################
222
TISIES A UſTISIOR,
was crowded, and Mr. Clemens as one of the guests
was made much of.
His health was proposed with enthusiasm, and
in his dry manner, with much sly humour, he
thanked those present for the welcome he had
received.
His speech was finished, and he was about to take
his seat, but rising again, he stated that, as he had
been called a humorist, he thought perhaps that
it was incumbent upon him to maintain his
reputation and make some kind of joke.
At that time Mr. Rudyard Kipling was seriously
ill in America, and the United States papers had
been full of concern regarding his recovery. It
is impossible to reproduce either Mark Twains
exact words or manner. If the story then loses
point in the telling it is our fault.
In hesitating voice he said that the American
people had been seriously concerned about the ill-
ness of Mr. Kipling, that great English author.
He hoped that, as the two nations had been joined
together in Kipling, they would not be sundered in
Twain.
The evening will not easily be forgotten by
those present. No one could look upon Mr.
Clemens, with his dark eyes and long grey hair,
without feeling there was a personality before
him, and no one could speak to him and hear
his kindly voice without feeling assured that his
first judgment was confirmed.
Mr. Clemens was elected to the society in 1897,
and joined its council in 1908.
* —dº-
w - wº
THE SOCIETY, THE COMPOSER, AND
MESSRS. STAINER & BELL.
; HE agreement printed below has been settled
by the Copyright Sub-committee of the
Society of Authors in consultation with the
firm of Messrs. Stainer & Bell.
The Committee of Management have adopted the
decision of the sub-committee, and have much
pleasure in giving their approval and their active
support to the methods proposed by Messrs. Stainer
& Bell in the conduct of theirbusiness, as exemplified
in this agreement. They believe that Messrs.
Stainer & Bell are the first firm of music publishers
to make any serious attempt to meet the composer
on an equitable basis, and the committee consider
that every credit should be given to the firm on
that account.
As we have already stated, the document has
been settled after consultation between the Copy-
right Sub-committee and Messrs. Stainer & Bell. It
is so far ahead of any agreement which has been
put before composers by responsible firms of music
publishers that at the present time, at any rate, the
committee are not only willing to approve it, but
cordially recommend any composer to sign a contract
containing these terms. -
In order to show the contrast between the old
common form of agreement put forward by other
houses and the present draft accepted by Messrs.
Stainer & Bell, and in order to justify the strong
approval expressed by the Committee of Manage-
ment, we print a form of agreement (if, indeed,
it can be called an agreement) which is a common
form put forward by some of the big publishing
houses in London. We understand that it was
drawn up under counsel’s advice, that it is con-
sidered a sufficient safeguard for both parties,
and that the publishers seldom experience any
difficulties arising out of its signature. This is
the document :—
I hereby assign to you the whole of my copyright
(including the right of public performance) for Great
Britain and Ireland and the Colonies, in my song entitled
{ % ,” in consideration of your paying me a royalty
of per copy on all sold of the same ; 13 copies to be
considered as 12, and the first 200 copies not to be subject
to royalty.
Members of the society may recollect that when
publishers of books had a series of agreements
Settled they made a similar statement ; but it
is quite clear to any one who knows anything
about legal matters that if instructions are placed
before counsel, counsel will only draft an agree-
ment which is favourable to his clients. The fact
then that this agreement has been settled by
counsel, though it may sound of great importance
to an ignorant composer, is really of no value
whatever from the composer's point of view. The
Statement that it is a sufficient safeguard for both
parties is too palpably absurd on the face of it to
need any refutation, and the statement that the
publishers have never had any difficulties is merely
an argument in favour of a more strenuous asser-
tion, on the part of composers, of the rights which
they possess in their property. Attention should
first be drawn to the fact that this document is an
assignment by one party only of all his rights,
subject to the payment of a royalty, and according
to this equitable document the publisher, who
Ought to be the Second party, undertakes no
responsibilities whatever. Indeed, he could refuse
to publish and laugh at the composer's remon-
strances; he does not bind himself to publish at
all, but if he had done so it would have been
necessary that a time should have been fixed when
the work should be properly dealt with. In fact,
this document is as equitable as “heads I win, tails
you lose.” In other words, the composer gives
everything and the publisher promises nothing.
In a musical composition there are two rights:
## p. (#619) ################################################
TISIES A UſTISIOR,
223
the right of performance and the copyright, or
the right of reproduction in printed form. In no
circumstances should the composer assign either of
these rights. It is, perhaps, needless to refer again
to the case of Warwick Deeping, which the society
carried through. This case is sufficient to show
the danger of the transaction, but it is not the only
danger for authors who transfer all their rights.
It is quite sufficient, both for the protection of the
publisher and of the composer, if the latter grants
to the publisher a licence to produce the work in a
certain form only at a certain price only, with
limitations as to country, and, if necessary, as to
number. This grant can be made an exclusive
grant to the publisher, and the publisher can easily
protect himself against other grants by the com-
oser. It must be a personal contract with the
publisher, but it can be made for the whole term
of copyright, subject to sufficient protection of the
composer in case the publisher refuses to keep the
work on the market or advertise it properly in his
lists. There are other minor points which might
be urged in order to make the contract equitable
between the parties, but, in the first instance, we
should like to impress upon composers this point,
the most important point of all—never transfer
your copyright, never transfer your performing
right.
Members of the society can now compare the
two forms of agreement and study the differences
carefully. In the agreement proposed after con-
sultation with Messrs. Stainer & Bell the
performing right remains the property of the
composer, subject to certain conditions, and the
copyright is not assigned. The licence to publish
applies to certain countries only. If desired by
both parties, it can be widened to include other
countries. The publishers use their best endea-
vours to print and publish. In the other contract
the publishers do not undertake to do anything.
Messrs. Stainer & Bell undertake to publish in
a certain form and at a certain price. In the
assignment the publishers are free to publish in
any form and at any price they think fit. Indeed,
it is hardly necessary to draw further attention to
the obvious advantages which the composer gains
under this new form of agreement. We only hope
that the move made by Messrs. Stainer & Bell in
this direction will bring them the advantage that
it deserves. -
Agreement made this day of , between 5
hereinafter called the composer, of the One part, and 5
hereinafter called the publishers, of the other part, in respect
of a musical composition intituled “ ,” hereinafter
referred to as the composition the copyright and performing
right of which belongs to the said composer, whereby it is
agreed as follows:–
1. The copyright and performing right shall remain the
property of the composer.
2. Subject to the provisions of paragraphs 9 and 10 of
this agreement, the publishers shall have for the full term
of copyright (renewal or future extension included) the
sole licence to make, print, publish, and sell copies of the
Said composition in Great Britain and Ireland, her colonies
and dependencies. During the currency of this agreement
neither the composer, nor his heirs, executors, or assigns
shall print, publish, or sell any copies of the said composi-
tion, or of any part thereof, or of any adaptation or arrange-
ment thereof within the said limits, and the publishers
shall not publish any arrangement of, alteration in, or
Yariation in or of the music of the said composition without
the consent in writing of the composer.
3. The publishers shall use their best endeavours to
print and publish the said composition on or before y
and to sell copies of the same in accordance with their
usual course of business.
4. The composition shall be printed in form, at the
price of , or, if occasion requires, in such other form,
or at Such other price as may be mutually agreed between
the composer and the publishers.
5. The publishers agree to pay the composer, his heirs
or assigns, the royalty of in the shilling on the full
published price of all copies sold (or on all copies sold
after the sale of copies), 13 copies being counted as
12 *; it being further agreed that no royalty is to be paid to
the composer on copies given away for the purpose of
advertisement, and the publishers undertake to stamp
º music with the Words “specimen copy presented
y .”
NOTE. –” This is, at present, the usual custom of the
trade. Whether it is right or not, it can probably only
be altered by general agreement between composers and
publishers.
6. Should the publishers obtain any fee from the hire of
copies of the said music, or any parts thereof, then in that
case the fee shall be divided between the composer and the
publishers in the following proportions: per cent. to
the composer, and per cent. to the publishers.
7... If required in writing by the composer, before the
signing of this agreement, the publishers shall comply with
the provisions of the law relating to notice of reservation
of performing rights.”
NOTE.- Under 45–46 Vict. ch. 40, if a composer desires
to retain the right of public representation or perform-
ance, a notice to that effect must be printed on every
copy of the composition, as in the absence of such notice
his exclusive performing right is lost. Composers are
referred to the Act. In the case of songs public perform-
ance is usually free.
In the case of scores and parts it is usual to print the
notice reserving the right of public performance, together
with an intimation that the purchase of the scores and
barts gives the purchaser a licence to perform the music
of the scores and parts in public. If the parties desire
to adopt this course, the written notice from the composer
contemplated by this clause should require the publisher
to print the notice accordingly. -
8. The publishers undertake to make up the statement
of accounts semi-annually to the day of , and
the day of in each year, and to render the account
and pay the composer the amount due within three calendar
months from the said dates.
9. If at any time during which there is a bond fide
demand for the composition the publishers allow the same
to be out of print or off the market, then, if within three
months after receipt of written notice from the composer
they do not print an edition of at least Copies, or use
the ordinary methods for putting the work again on the
market, the licence hereunder to make, print, publish, and
sell shall cease, and the composer shall have the option of
## p. (#620) ################################################
224
TISIES A lºſſ`ISIOR.
purchasing the plates of the said composition and all
unsold copies at a valuation.
10. In the event of the publishers, or any of them, becom-
ing bankrupt (in the case of a limited company substitute
“going into liquidation *) the licence hereunder to make,
print, publish, and sell shall cease from the date of the
adjudication (or in the case of a limited company substitute
“winding-up order ’’).
11. The composer undertakes to correct the proofs of his
work within days of their receipt. Should he fail to
do so, then the publishers shall be at liberty to make the
usual proof corrections.
12. If either party has reasonable cause for believing
that the copyright in the said composition has been
infringed, he or they shall give immediate notice to the
other party. If the composer takes proceedings in respect
of the infringement and if the publishers desire to be joined
in the action, they may give written notice to the composer
to that effect, and on an undertaking on their part to pay
an equal share in the entire costs of the litigation the com-
poser shall join them as parties. In such case the composer
shall diligently prosecute the action, but shall retain control
of the proceedings, and may make any reasonable Settlement
with the defendants in the interests of composer and pub-
lisher, and the damages, if any, recovered shall be firstly
applied in payment of costs, and if there is any surplus,
shall be divided equally between composer and publisher.
If the composer, after the infringement has come to his
notice, refuses or neglects to take proceedings in respect
thereof, the publishers shall be entitled to take proceedings,
and, on giving the composer a sufficient and reasonable
indemnity against liability for costs, shall be entitled to
use the composer's name as a party to such proceedings.
In such case the publishers shall retain control of the pro-
ceedings and may make any reasonable settlement in the
interest of composer and publisher, and the damages, if
any, recovered shall be firstly applied in payment of costs,
and if there is any surplus, shall be divided in the propor-
tion of one-third to the composer and two-thirds to the
publishers.
—e—sº-o-
IDEAS, AND HOW TO PROTECT THEM.
—t-º-º-
BY CRUSADER.
I.
HERE are many tragedies in the history of
letters, and among the greatest is the fact
that men and women with ideas have seldom
had that other form of capital which is able to
write big cheques and to buy brains in the open
markets of the world. A person with ideas may
be compared, as a rule, to a piece of common land
upon which all animals may graze, or to a public
fountain into which any one may dip a cup and
drink—and walk away refreshed. But in these
times of wild-cat rivalries in trade, none can afford
to lose any part whatever of a marketable idea with-
out adding to his or to her means of self-support.
For it is with ideas alone that authors pay their
rents, rates, taxes, and other household expenses,
which constitute the main working costs of a
literary life. Every writer knows to a penny, the
minimum supply of money upon which he and his
family can live for a year, and he knows, too, what
kind of life is best fitted for his particular outlook
in literature. It may be essential for him to go
from place to place, seeking fresh local colour and
new types of character, but, whatever special call
may be made upon his purse, he is dependent on
three forms of capital :—
(a) The realised ideas known as books and the
profits they bring in over a space of time ;
(b) The ideas that he wants to make real; and
(c) Health, which at any moment may fail him
and put a stop to work. Then he becomes depen-
dent on his old efforts and their financial results;
and if his realised ideas have not been exploited to
the utmost of their commercial value, or if he has
been fooled under profit sharing agreements, his
lot becomes a terrible one. He is caught in a
storm, he ought to lie quietly in harbour, but he
has no anchor nor is he able to command his own
boat outside in the rough waters.
These are trite things to say, perhaps, but trite
things are often neglected truths to the meaning of
which we are made dull by custom ; and very few
young authors have a clear conception of any phase
of business in the perilous calling out of which
they must earn their bread. It is not usual for
them to know even the difference between their
trade outlook and that of a publishing firm. “We
have no capital expenditure,” they say, often with
pride, as if their education counted for nothing ;
as if their apprenticeship were a thing to be thrust
aside as of no value ; as if the use of ideas during
months of hard work were a bagatelle ; and as if,
by an effort of will, they could escape from all
household expenses during the writing of a book.
No capital expenditure indeed It is precisely the
capital of the world’s authors—their own ideas
invested day by day in work done—that keeps
publishers, newspapers, printers, booksellers, book-
binders, paper-makers, periodicals, and all other
trades and traders connected with the literary life.
Let an edict prevent all authors from writing for
a year, and this cessation in the flow and circula-
tion of ideas would stop all contemporary progress
in the transference of new thought from print
to mind. None but dead copyrights and work
already published could be used. Not even the
day’s news could be published, for it has to be
written, and so made a part of our current traffic
in literary ideas. Yet authors, for the most part,
are unaware of their extraordinary power, and
hesitate to act together in their self-defence. Any
trading company is able to beat them down, and
into submission. There is, for example, at this
moment a steady fall in the prices paid for the
capital of ideas invested week by Week in short
stories. And yet, where is the combination of
active protest against this cruel injustice P Suppose,
## p. (#621) ################################################
TFIE A CITISIOR,
225
by way of contrast, that the jerry-furnishers of
England had set themselves to lower the trade
union rates for chair-making and cabinet-making,
a general strike would follow, and those jerry-
furnishers would be taught a lesson not at all easy
to forget. Yet the trade unions for furniture-
making have but a trifling power in comparison
with that which authors could wield if they united
and acted together in downright good-fellowship.
My first point, then, is this—that ideas rule the
world, and have done so since men of the Mammoth
Time made the first great inventions—pottery,
engraving, sculpture, wall-painting, and stone
weapons of self-protection. This was the birth of
art, and all ideas of value are intimately connected
with art. Tradesmen have never been anything
more than servants to the ideas which artists have
put into circulation ; and as servants have seldom
loved their masters, tradesmen have generally been
hostile to the producers of necessary ideas. They
have formed the big battalions, and, not unlike
bacteria, have lived by destroying lives infinitely
more valuable than their own.
It is true that civilisation has tried to set limits
to this preying of inferior minds on those whom
nature has endowed with creative abilities. The
Church was the first to protect the arts; then
social pride and rivalries between towns gave birth
to a lay patronage of ideas; afterwards, but very
slowly, the law threw into a bemuddled shape its
Patent Acts and its Copyright Legislation ; but
during all this halt-footed progress, from the
earliest time to our own, the tradesman has been a
watchful outsider, not only waiting to pounce upon
whatever artist he could catch, but to get that
artist's own capital, his ideas, without paying a
just price. Nor is this game of grab in business
at all difficult to play with success when the artist,
the producer of ideas, has no experience of trade,
and a wide acquaintance with poverty and dis-
appointment. Any sort of offer for his time and
work seems good to a starving author. When his
poverty, not his will, consents, he will sign a
thievish contract just to help him to buy food for
a few weeks or months. The bad times passed, he
understands what he has done, and bemoans
his servitude. A mere tradesman has got him
under a cruel contract, and all the laws of the land
cannot free him while that contract lasts. Perhaps
he has sold a novel for £15, and arranged to write
six others for that princely wage apiece. What
then 2 The law says that he acted as a free agent,
and must make what he can out of his tragic
bargain. He has sold cheap what is most dear,
only to learn that an author may starve and yet be
very useful to his publisher.
This privilege, indeed, is one which is forced
upon authors to-day by business agencies of a very
powerful kind. I am speaking, of course, about
authors in the lump, their rank and file. Popular
favourites are able to defend themselves, but the
rank and file haven’t a chance unless they keep
shoulder to shoulder and fight in regiments,
because they have to face the serried ranks of keen
tradesmen, bound together not only by partnerships
and companies, but by a routine of business
trickery and discipline which the practice of
generations has evolved. Also—and this has a
great importance of its own—a host of outsiders,
under the title of shareholders, now claim their full
share of profit on the ideas that authors invent and
make fit for all the many markets in the trade of
letters. Once in a way an author alone can face
all this and yet win his just measure of success and
reward; but the lottery is so vast, so complex, and
So uncertain, that it is best to lay down the rule that
no author ought ever to fight without known
Support from the whole brotherhood and sisterhood
of literary workers. For it is impossible ever to
say what the British public will like or dislike, and
the British public and its waywardness are the only
protective force between the mass of authors and
the tradesmen who exploit their ideas. One of the
most popular comedies of the last three years was
laughed at during rehearsals, and another play
was put in rehearsal to meet the probability of
failure, for it was considered hopeless. The most
unlikely things often succeed, while the most
promising may fall flat and die in a week or two.
Nor is this at all surprising when we remember how
the popular mind is fevered by a daily carnival of
news from all parts of the world. What with the
yelp of headlines and the shriek of contents bills,
what with the unfocussed importance given to any
event that can be made sensational, the people have
lost all sense of reasoned judgment in their outlook
on life, and soon find novelties both old and stale.
An earthquake of Messina attracts them for a day
or two, like a cricket match, and is then forgotten ;
and the last South African campaigns now seem
even more remote from their interest than the
battles of Trafalgar and Waterloo. The popular
memory has grown lax and flabby, like india-rubber
when stretched beyond its reach of elasticity ;
and all this tells against the appeals made by
authors in their books. How can novelists and
dramatists hope to retain the people's suffrage
when events of the most vital kind to the nation
soon fade out of recollection ? As to other authors,
historians, essayists, art-writers, and so forth, they
must either unite and help themselves or remain as
pawns in the game of finance played by publishers.
A most interesting game—that. It consists in
rolling over the same capital three or four times in
a year, so that it may gather interest with each
turnover, often without much benefit to writers,
## p. (#622) ################################################
226
TISIES A DITFSIOR,
For, indeed, that game of finance is in fundamental
opposition to the just needs of authors, though few
Writers have had experience enough to enable them to
understand that this assertion of mind is quite true.
It seems incredible at a first glance that a
publisher may be very prosperous while the bulk of
his authors may not know how to pay for their next
night's lodging. Yet, though this looks impossible,
it is well within the sphere of modern publishing,
as a little practical thought will make evident.
Writers, like other artists, when they look at a
question of business, are handicapped by their
native honesty in work. “We’ve done our level
best,” they say ; “we’ve spared neither time nor
pains; we wanted to get certain results, and we
went on trying till those results came, more or
less. Surely a publisher knows all this, and he,
like we, stands to lose or gain. Why, then, should
he be careless in his part of book production ?
Why should he fail to push our work 2 °
One hears this run of arguments week after
week, and recently it appeared in print. An
author wrote anonymously to a journal and said
that although he had written and published a long
row of books, all very well received, he earned less
than a farm labourer, his subject being one which
the public did not like, so that the publishers could
not afford to pay him well. Balderdash There is
a public for all special subjects if publishers take
pains to find it ; but they prefer to use authors,
not as men who must live and pay their debts, but
as mere items in the game of finance, and, this
being so, let us look carefully at that game and see
what it is in its relation to ourselves.
First, then, a publisher has a certain amount of
working capital to be rolled over three or four
times in twelve months. This, of course, presents
no difficulties when the capital is small, but when
the capital is vast the difficulties are enormous too,
and have to be met by starting new sources for the
investment of money—new magazines, for example,
and books and papers on many different subjects.
As long as you deal personally with a “ small ”
publisher you have some control over him, and
neither he nor his few assistants will steal your
ideas and projects ; but no sooner do you begin to
launch your work in one of those giant companies
having many departments than you know not pre-
cisely where you are. The game of finance is now
So big and so greedy that you are less important to
it than is a sack of flour to a great mill. Your book
may have cost a year of hard work as well as many
years of preparation ; but all that is your affair, and
has no effect whatever on the routine methods of
finance. Your book is valuable only because, in
an edition of 1,000 copies, it will give a single
turnover to a tiny sum of money. It is a novel of
ordinary length, let us say, which can be published
and advertised for about £115. Now, under a just
agreement, you should earn about £25 if the
Whole edition of 1,000 copies be sold, while the
publisher on a single turnover earns about £25
interest on £115. He has reason to be satisfied,
While you have hungry days in front of you. And
there's no trade reason why he should push to get
a second edition ; he has got his turnover, and
another novel is waiting to be treated in the same
routine Way, and another after that one, and
perhaps even a fourth before the end of the year.
Do you understand now 2 If three novels are
published in twelve months with the same bit of
capital (i.e., £115), and if the tradesman on each
turnover gets the same interest (i.e., 4:25), his total
profits are £75 on a capital of £115, whereas each
of the three novelists gets only £25. And suppose
two of the novels run into a second edition ? What
then * Why, the publisher risks nothing at all,
for the public has called for the second edition on
the book's merits, so your book is now self-support-
ing and should bring you a higher royalty than
you get on the first 1,000 copies.
(To be continued.)
*-º-º-º-mºs
OF THE MAKING OF Books.
“Success is in the silences,
Though Fame be in the song.”
CCLESIASTES says that of the making
E many books there is no end. That surely
would depend on how many ; but I take it
that he means if once you begin, you can't stop.
And the moral of that appears to be, Don't begin,
—since to do anything endlessly, even to draw
breath, must pall in the long run.
Personally, I believe the only possible hope of
stopping people from writing books is to prevent
them from beginning ; as doubtless Ecclesiastes
found out too late, hence the note of extreme
Weariness. -
Unfortunately, I began ; and I have been going
On ever since.
I am one of those in whom Ambition's gnawing
tooth doth ever goad to malcontent. I have called
it ambition for want of a better word ; as a matter
of fact I believe it is no more that than it is
ambitious of grass to push, or hens to lay. Certainly
I want to see my book lying bound (and cut), on
Somebody else's table ; certainly I want to open a
banking account in consequence of that beatific
vision ; but I have an intuition that if I knew that
to the end of time I should never be printed, I
## p. (#623) ################################################
REPORT OF THE SUB-COMMITTEE
ON THE PRICE OF NOVELS,
PASSED MARCH 11, 1910.
APPROWED BY THE COMMITTEE OF MANAGEMENT
APRIL 4, 1910.
## p. (#624) ################################################
REPORT OF THE SUB-COMMITTEE ON THE
PRICE OF NOVELS.
WE, the Sub-Committee appointed to consider the question of the price at which
new novels should be issued, beg to submit our conclusions to the Committee. -
In an interim report made to the Committee on December 6th, 1909, and published in
The Author in January, 1910, we explained that the collecting of evidence from the booksellers
would take some time and that its result would require sifting and classification. We also
alluded to the fact that we were promised the outcome of certain definite experiments in the
change of price of new novels, which experiments were then being conducted ; and we said that
we would elicit further information from novelists. For these reasons it was necessary that
there should be some delay before we could make a final report, but the serious nature of the
situation appeared to us to warrant the laying before the Committee an interim opinion. We
have now received the further information for which we were waiting, and are enabled to
submit our conclusions.
We have collected since the issue of the interim report evidence from other novelists as to
the advisability of an initial reduction of their prices from the usual figure of 6s. Twenty
authors replied. Seventeen were opposed to reduction, two were indefinite, and one thought
that he would benefit by the lowering of price. In the interim report the figures were thirty
opposed to reduction and seven more or less in favour of it. Forty-seven, therefore, are opposed
to reduction and eight in favour.
Through the courtesy of Mr. H. W. Keay, we have been placed in possession of the
replies of 243 booksellers to the four questions which he submitted to them. . The questions
have served to elicit valuable, if doubtful, expressions of opinion. The figures placed beside the
questions indicate the views taken —
Questions. Yes. JW0.
1. In your opinion would you obtain a larger sale for a new
copyright novel of the Ordinary length at 2s. Or 38, net
than for one at 6s. subject º o e tº
. If an author brings out a new copyright novel at 28, or
3s. net, in your opinion weuld his sale of a subsequent
novel at 6s. subject be liable to be prejudiced 2 . dº 156 56
. Would the increase (if any) in the sales at a cheaper rate -
compensate for the smaller figure received per copy. In
other words, would the larger circulation (if that is so)
149 72
2
3
compensate for the reduction in price 2 & g 111 84
4. Would you get sufficient return out of which to make a
good living wage if the author reduced the prices of
publications 2 . cº & o e ge tº tº 84 93
The booksellers, therefore, believe that a larger sale would be obtained for a new copyright
novel of the ordinary length at 2s. or 38. net than for one at 68. Subject to discount ; that the
issue of a new novel at the lower rate would damage the chances of an author desiring to return
to 6s. ; and that the bookselling trade would make as much or more under original issues.
at the lower prices. But the opinion is by no means unanimous, the minority replies being
substantial in number. The fourth question was answered from such various points of view
that we are justified in considering that the bookselling trade as a whole has no opinion. The
conclusion most generally expressed was that for the selling of fiction to be a remunerative
business to the bookseller it was necessary for him to be able to sell at a profit of at least
25 per cent, an important point to which further allusion will be made. º
Mr. Heinemann has communicated to us the result of his interesting experiment in changing
the price at which new novels should be issued. He was obviously unable to give us the exact.
## p. (#625) ################################################
(, 3 )
figures in respect of each of the books without the permission of their authors, and it has not
seemed to us either right or necessary to beg him to obtain the permission. We are satisfied
that the want of success attending his interesting and enterprising plan of making the price of
a new novel depend roughly upon its length is a most powerful argument against a general
change from the hitherto accepted price of 6s. There were circumstances apart from its novelty
which certainly fought against the plan, but these do not lead us to regard the result as
anything but a warning to authors not to lower their price of issue. One author, on the other
hand, whose book was published at a higher price than 6s., but in two volumes, met with con-
siderable success. The raised price was based on the length of the work, and the success was
obtained in spite of the refusal of the libraries to supply it. We wish to record our sense of
Mr. Heinemann's courtesy in giving us all the assistance that he could, while he respected the
confidential nature of the relations with his clients.
Our conclusions, it will be seen, are so close a confirmation of the interim report that we
have thought it advisable to publish the two reports together.
Conclusions.
We find that novelists would be unwise to allow themselves, or their agents for them,
to enter into any contract whereby it is agreed that the initial price of the new novel should be
lower than 6s.
There is no evidence from authors or publishers that the lowering of the initial price leads
to any substantial increase in circulation ; while there is evidence that in certain circumstances
the opposite has occurred. The opinion of the booksellers on the question is too inconclusive
to alter our view. The majority of the booksellers believe that the lowering of the original
price would lead to a larger sale, but if their profit is to come by an improvement of their terms
with the publishers, as appears to be their suggestion, the author will have difficulty in main-
taining his royalties at their proper figure. The booksellers' evidence confirms our previous
view that where authors lower the original prices of their novels they will not be offered the
same proportionate royalties as they have hitherto received.
We strongly advise authors to maintain 6s. as the standard price of issue of new fiction
save in special cases.
We feel that these conclusions need be in no way modified by the temporary success of any
publishing scheme where far lower prices of issue are employed. In one prominent venture of
this sort the large prices which are understood to have been obtained, are what might have
been expected from the status of many of the authors.
We suggest that a certain deterioration in the outward aspect of novels, the cheaper paper
and the catch-penny cover, often insecurely sewn, is partly responsible for the cry for cheaper
books. If the 6s. novel, quite apart from its merits as a novel, looked better value for 68, and
were in fact better “turned out ’’ than it is possible to turn out a 2s. novel, we are of opinion
that it would be distinctly easier to maintain the higher price.
. M. A. BELLOC-LOWNDES.
CHARLES GARVICE.
E. W. HORNUNG.
W. W. JACOBS.
S. SQUIRE SPRIGGE.
INTERIM REPORT.
WE, the sub-committee appointed to consider the question of the price at which new novels should be
issued, think that we ought to make an interim report, having regard to the serious nature of the present
situation. We feel, also, that a conclusive and comprehensive report upon the matter can hardly be expected
from us, remembering the variety of directions in which evidence must be sought, and the distinct understand-
ing that we have received that the results of certain experiments in the change of price of new novels—which
experiments are now being conducted—will be given to us.
Our first step was to invite the opinion of seventy-eight novelists, almost all being members of our society,
who were selected as far as possible because they seemed to us to represent varying degrees of position as men
and women of letters and greatly different conditions of popularity. Further, we gave preference in our first
letter of inquiry to those authors whose works we knew had been made the subject of some experiments in the
lowering of the original price of issue. The result of that inquiry was that thirty authors declared themselves
uncompromisingly opposed to any systematic reduction of the usual publishing price of the new novel, viz., 6s.,
believing that the reduction would bring to them, having regard to the reduced royalties offered, no return
which would compensate them for the loss which they would sustain by not receiving the larger royalty upon
## p. (#626) ################################################
( 4 )
the larger prices; seven authors believe the reverse of this, but their convictions were not expressed with any
great force in all instances.
Of the remaining authors to whom we wrote, fourteen were non-committal in their statements, certain of
them giving information in answer to our questions, but without expressing opinions and leaving us to make
deductions from the facts; nine stated that they were unable to give useful information, and from the
remainder we have not yet heard. Much of this unclassified evidence was informatory to ourselves, and the
deduction we have drawn from it is that it contains no definite arguments in favour of the lowering of the
original ſº of the new novel from 6s. either for the benefit of the author, the publisher, the bookseller, or
the public.
We propose to collect further evidence from novelists during the time that must elapse before we can
report finally.
Our interim conclusion, that novelists would be unwise to allow themselves, or their agents for them,
to enter into any contracts whereby it is agreed that the initial price of the new novel should be lower than 6s,
is much strengthened by the replies which we have received from the list of publishers to whom we addressed
a letter asking whether the circulation obtained for novels published originally at a lower price than 6s. would,
in their opinion, result in a proportionate increase if the price were lowered. The basis on which we asked for
information was a 6s. novel of the ordinary length of about 80,000 to 100,000 words with a circulation of at
least 3,000 copies; and, further, we asked if it would be practicable to pay an author royalties on a 2s., a 2s. 6d.
or a 3s. net book at so high a rate as on a 6s. book; and if it would be practicable to consider raising the Original
price in certain cases.
We desire to record our sense of the valuable and courteous manner in which our questions, necessarily of
a searching nature, were responded to by the publishers.
Several publishers said that at the present moment they were not prepared to answer definitely, while one,
who may be mentioned by name, because his position has been made public by his own letter to The Publishers’
Circular, viz., Mr. Heinemann, pointed out to us that he was at the present moment engaged in an important
experiment in the alteration of the prices at which new novels should be issued, of the results of which he would
be in a position to inform us in February. Other publishers who have issued new fiction at lower prices than
6s. have given us details showing that the experiments had failed.
The consensus of opinion from the publishers is to the effect :
(1) (a) that from 9,000 copies at least, to 12,000 (the highest figure mentioned) must be sold at 2s. net ;
(b) that 8,000 must be sold at 2s. 6d. net ; and -
(c) that 6,000 copies must be sold at 38. net before the author would receive the amount equivalent to that
which he usually receives on 3,000 copies at 6s., i.e., 4s. 6d. net.
(2) That leaving exceptional cases out of count, it does not appear probable that the author's circulation
would be proportionately enhanced by a reduction in the price of the original issue. On this point figures
relating to particular cases have been submitted in proof of the opinion.
(3) That the same proportionate royalty could not be offered upon the lower prices. On this point the
publishers are all very clear.
Regarding these publishers, as we do, as thoroughly cognisant of the business side of the publication of
fiction in the present conditions, and as competent to guide us as to the probable result of modifications or
developments of those conditions, we think that their opinions constitute a grave warning to authors who may
be invited to issue new novels of the ordinary length at any price below 68.
With regard to the issue of new novels in cloth binding at the initial price of 2s., we hope that this
innovation is not likely to affect any large number of writers. Few publishers will make the attempt to
produce a new work of fiction in such enormous quantities for a first edition as would be required to pay the
author and recoup themselves. There can be no guarantee that the large prices which have been offered to
authors as payment for serial rights and royalties in advance under this system will be maintained.
We have definite information that, with regard to the 7d. reprints, the publishers are already offering far
smaller sums in advance than in the first instance ; and that even in the cases of authors whose books have
practically earned these advances they are not now willing to make new contracts on the old terms.
We possess a large amount of evidence from the booksellers upon the various questions involved, but this,
which has only just reached us, requires sifting and classification,
We have received scattered information from several authors who have actually experienced the results of
the issue of new novels at prices lower than 6s. In every case the author has suffered.
Having, then, regard to the weight of opinion from those novelists whom we have consulted, to the
responsible remarks of leading publishers, and to details which we have received of the actual experience of
authors, we repeat the recommendation that the novelist should maintain the price of the original production
of his works at 68. There is no evidence that a low price means a large circulation.
ADDENDUM.
One of us, having particular knowledge of the business side of literature in France, wishes to point out
that even in the days when the regular price of the new novel in France was Fr. 3.50, all the leading French
novelists, Daudet and Zola among them, greatly regretted the lowering of the standard price to that figure.
France has since been flooded with new novels at 9%d., and the result has been most disastrous to French
literature as well as to French authors. It has meant that the great mass of writers have now to produce
novels that are short and sensational, and dependent for their popularity upon their violent appeal. .
(Signed) M. A. BELLOC-LOWNDES.
CHARLES GARVICE.
E. W. HORNUNG.
W. W. JACOBS.
S. SQUIRE SPRIGGE.
J)ecember 27-d, 1909.
## p. (#627) ################################################
TISIES A CITISIOR,
227
should not be able to help going on making
manuscript.
Ambition— most kinds of ambition, it seems to
me—is just the push of inherent energy; the
insistence of the ego on spreading itself. Not until
those who have storage of this energy have
expressed themselves in the manner proper to their
nature can there be peace for them ; and even S0,
it is peace in snatches. The cosmic energy accu-
mulates anew, and then there is a fresh explosion,
and the air is clear again ; but only for a time, and
times, and half a time.
This is how motors mote, and birds sing, and
poets poetise, and musicians make music, and
painters pictures, and authors books. If some
artists never cease creating, the theory does not
break down. It simply means that they have
terrific and unusual power of accumulating energy,
and so the explosions are more or less continuous.
And this is why, when you have made one book,
there is a blank time, while fresh energy is getting
stored; and then, at a certain moment, which the
psychologists of the future will be able exactly to
predict, by special stations established for the pur-
pose, the storage bursts bounds, and you make a
second book—quite apart from whether you think
it is good business or not.
It is about the worst business in the world.
My heartfelt advice to the literary aspirant is—
if his inherent energy be so positive that it must
up and out—let him pick from the unlimited choice
of more hopeful channels into which it can be
directed. Stone-breaking is a profession which
requires considerable strength and moral courage,
and also an element of physical danger which
goggles do not wholly exclude : the néedful dex-
terity soon becomes mechanical, which is soothing
to the nerves, and the mind is left free to meditate
with humble pleasure on the fact that one is smooth-
ing the path of civilisation. Success in stone-
breaking, granted moderate ability, is assured ; the
same cannot be said of the writing of books. And
surely it is better to make good roads than to pro-
vide for good bonfires when we go hence and are
{\O IOOTe SééI).
But the aspect of the case is altered when you
have once begun to write. It would be affectation
on my part to suggest, under these circumstances,
that the energy should be directed into more hope-
ful channels. I know that it cannot be. Doggedly,
dourly, dumbly, with brief spells of sweetness and
light caused by the nibble of a publisher, you cast
your bread upon the waters, praying with all your
might that you will not receive it after many days.
But the publishers have no idea of swallowing ; the
bread always comes back, slightly the worse for
being nibbled.
One never can tell until things happen to one's
Very self; but I have strained imagination to the
limit, and am positive I could cheerfully contem-
plate making books without end (which after all is
a figure of speech, in spite of tales of ghost-worked
typewriters)—if only they materialised now and
then between cardboard covers, with their name
and mine in gilt letters.
I should not like to pay anything towards this
apotheosis; I should not like to have to make up
publishers' deficits after production ; but barring
actual loss, even if I did not make one penny profit
on each book, I should still joyfully continue to
write them, if only they blossomed into PRINT.
Articles, short stories, and one poem have so
blossomed ; but what gardener who has been
Successful with mustard-and-cress on a flannel
does not stake his all on pumpkins in a tub 2
Ye gods,--the secret, warming bliss of finding a
Copy of one's own book on someone else's table,_
even one's charwoman's. . . . As I say, one never
can tell, and I might still greedily cling to life;
but I feel that I could see that and never require
a charwoman again. . . . -
And then, sitting over the fire in the twilight
and dreamily wondering how many people had read
It ; and whether any of them liked It to the extent
of describing It in letters to friends; or put It
down, underlined, when someone asked them for a
list of good — or even “nice” books. . . . And
whether anyone copied anything out of It ; and if
anybody read it twice ; and how many bought It
to give away. . . . And if anyone felt they would
like to know the author. . . . And if they
thought he was a man or a woman—or perhaps
an infant prodigy. . . .
I am aware that it sounds vain and childish as
it is set down ; but these, to my mind, are the
exquisite concomitants of publishing a book.
After all, one's thoughts are one's children ; and
one does not blame a mother for wondering whether
people will think her offspring interesting, or clever,
or pretty, nor for hoping someone will fall in love
With it.
Somebody once told me that when a certain
world-famed English novelist at last made her
mark, she was a changed woman ; that is to say,
from not being good to live with, she became the
reverse; which I suppose is a variant of Becky
Sharp's aphorism, “It is so easy to be good on a
thousand a year !”
I have given birth to three thought-children in
ten locust-eaten years.
It is not easy to be good when the locusts
are busy all the time eating off every sprout you
grow. -
To spend long months in carefully, lovingly
fashioning to the best of one's power a little
image of Life, and, after hawking it assiduously
## p. (#628) ################################################
228
TISIES A DITFIOR.
round the market-place, to have to put it perma-
ºnently on the shelf, is not conducive to a sunny
temper. The reflection that possibly one's little
image is not very well made is curiously devoid of
consolation. -
The literary microbe cannot be hid, and generally
appears early in life ; with me, the disease, mani-
fested itself at the tender age of ten. All one’s
relations and friends know when one is writing
a book ; it “outs” like murder; and from time
to time one has to bear up under kindly enquiries
as to what is happening to the child. Can it run
alone yet 2 Has it a nice disposition ? What does
it get its teeth into ? . . . Gradually, after the
lapse of several locusty years, they learn tact, and
do not mention it ; and the parent bitterly hopes
they have forgotten that she is the author of a
paralysed infant. More hateful far than a Dead
Sea Apple in the mouth are the reflections which
this aspect of failure breeds. To continue for ten
years to batter the doors of publishers and never
to be let in bears on the face of it the stamp of
incapacity. . . . And yet, what of the stacks of
futility which are printed—aye, and read “Dis-
appointed Mother” knows that her own work is as
a swan to these geese ; but her children remain
paralytics; and her friends are sorry for her, while
concluding that the fault is hers. . . . It is this
crude and humiliating fact—that you have aimed
at a mark, and missed—which cankers like a Worm
i’ the bud. It is much worse than being a briefless
barrister, or a jobless architect, or even a bankrupt
horse-dealer, for that sort of failure can always be
entered to Bad Luck. Only a limited number of
people employ barristers ; a majority prefer to live
in ready-made houses; and only one person out of
ten can afford a horse. But everybody in the
world reads books; so that if you are any good at
all, there is room for you ; if there is no room, you
are no good.
Yes; after ten years' failure to sell a single one
of your commodities—otherwise than mustard-and-
cress—you get up in the morning, you go about all
day, and you lie down at night with the realisation
sitting on your chest like a half-done suet pudding,
that you are No Good.
No good at the one thing you have strained
every nerve to be good at ; at the one thing which
is the instinctive, imperative expression of yourself,
at the one thing your soul delights in.
Realisation, did I say ? Not quite that. If
the suet pudding once settled down into such
a bed-rock I, should advertise my typewriter in
the Exchange and Mart, and found a Society for
the Suppression of Superfluous Books. It is just
the indestructible, semi-conscious conviction that
it is the publishers who are no good which prevents
the suet pudding from proving fatal.
After all, I have had something more encouraging
than native obstinacy to keep me keeping on. It
is unusual for my “works” to come back with a
bare note of refusal. Some publishers would
evidently take the plunge if they had an ounce
more of the sporting spirit ; others wish me and
themselves to share the sporting spirit between
them ; others again wish me to have it all ; instead
of which, I am not having any.
Success may be in the silences, but I am
beginning to find silence a little monotonous. I
would barter it for a mere snatch of song—the song
of the modest fame of a couple of thousand
readers.
But I shall continue to write, whether there is
silence or song ; firstly, because I cannot help it ;
and Secondly, on principle.
The principle is, that to stop trying to do a
thing because you haven’t done it yet is to sink
below the level of a spider, which always tries
again. To say that the spider always does it in
the end is neither here nor there ; it can’t know
it is going to do it.
Another part of the principle is, that Failure is
such excellent ethical discipline. I might have
been nicer to live with if I had published all my
works, but it would have been no effort to me, and
therefore of no value. I have had to practise jujitsu
in order not to be more fractious than I am ; and
the resiliency which results from bounding up
again after being hurled to the floor with violence
is an acquirement only won by becoming the foot-
ball of fate. The stoical exterior with which one
learns to receive parcel after parcel of returned
manuscript as though they were samples of house-
hold linen is a thing not to be learnt in the School
of success. The dogged pertinacity with which
you pour forth stamps like a tape-machine, and
renew your orders to the Army and Navy Stores
for foolscap, is a quality akin to that shown by
arctic explorers of old, who for ever bought pro-
visions and never found the Pole. The grim and
secret struggle with the giant whose name is
Despond, and whose henchmen are the discouraging
remarks of Those who Don't Understand, is excellent
for the moral muscles.
In fact, I am convinced that success is very
unwholesome. g
So are sour grapes, of course.
Still, if I could reach the grapes, I would risk a
pain; it can't be worse than the pain of not having
amy.
L. T. BAGNALL.
—OP-e—“G-
## p. (#629) ################################################
THE AUTHOR.
229
INTERNATIONAL COPYRIGHT.
—º-º-º-
- E print from a recent number of Le Droit
V V d'Auteur a statement of the steps which
are being taken by the different countries
for the ratification of the revised Convention of
Berne, better known as the Berlin Convention.
As far as the United Kingdom of Great Britain
and Ireland is concerned, Le Droit d'Auteur merely
republishes a statement taken from a recent issue
of the Times. This does not give at all a full
account of the work that has been done by the
Government to prepare the way for the ratification
of the Berlin Convention as far as Great Britain is
concerned. It is unnecessary to repeat in detail
the steps which have been taken. They have been
chronicled in past issues of The Author, to which
we would refer our readers. . .
GERMANY.—A Bill respecting the confirmation
of the revised Convention of Berne was deposited
with the Reichstag on March 12th. The Association
of German music dealers had already, on March 2nd,
addressed a petition to the Reichstag asking for
the suppression of the modification suggested in
the Bill dealing with article 14 of the law of 1901.
In accordance with this article, the rights of trans-
lation, adaptation, and arrangement are reserved to
the author in the case of the assignment of his
rights, and in the absence of provision to the con-
trary, to which is now added by the Bill the right
of utilising the workfor reproduction by mechanical
musical instruments. The Association opines that
the adaptation of musical works to mechanical
instruments, in the form of rouleaux, discs, etc.,
constitutes an integral part of the right of repro-
duction. According to their view the two kinds
of reproduction are being continually more and
more closely assimilated, and they can with difficulty
be distinguished in principle, constituting a single
method under different aspects; so that the assign-
ment of the said rights would comprise one kind of
reproduction as well as the other.
The Reichstag discussed the Bill at a first reading
in its sitting of the 12th of April, and on the
recommendation of M. Lisco, Secretary of State,
referred it for examination to a committee of
fourteen members.
BELGIUM.–At the sitting of March 15th, 1910,
a Bill approving the revised Convention of Berne
was deposited by the Government with the Chamber
of Representatives. The text of the Convention
in French and Flemish accompanied this Bill,
which is preceded by a report, signed by M.
Davignon, Minister of Foreign Affairs, and by
M. Descamp, Minister of Arts and Sciences. The
Ministers lay particular stress upon “the work of
unification and simplification ” of the Berlin
Conference, upon the “excellent and lucid provisions
of the text,” which has resulted from the delibera-
tions of the Conference, and upon the happy results
obtained, inasmuch as “the domain of the inter-
national protection of intellectual works has been
extended without rendering more difficult the
accession to the Berne Convention of States
which have not hitherto joined it.” The report
shows that the Convention, in the course of its
progressive evolution, approaches ever more and
more closely to the work realised by the Belgian
legislation of 1886 ; as the new Convention does
not affirm any provision which goes beyond that
national law, there will be no occasion to make use
of the reservations permitted by article 27.
This same fact and these same conclusions are
asserted in the very full report which the member
M. P. Wauwermans (one of the Belgian delegates
at the Conference) deposited with the Chamber at
the sitting of April 5th, 1910, in the name of the
preconsultative commission of five members, pre-
sided over by M. Bernaert. At its conclusion it
asks that the Government should be authorised to
adhere to the Convention, also for the Belgian
Congo ; whilst, at the same time, this declaration
of adhesion would be deferred until the protection
of authors’ rights has been assured by the internal
legislation of the colony.
FRANCE.-The explicit report which M. Théodore
Reinach has deposited with the Chamber “in the
name of the commission of instruction and the
fine arts * charged with the examination of the
Bill approving the revised Convention of Berne
has met with warm and universal praises. Whilst
making several serious critical remarks on the new
text, the Commission recommends its ratification,
but invites the Government to enter immediately
into new negotiations with England and Switzer-
land to persuade them to withdraw their opposition
to the obligatory protection of works of art applied
to industry and thus to bring about at the date of
the ratifications an exchange of notes, or an addi-
tional declaration regarding the protection of works
of art “irrespectively of their merit or destination.”
If these negotiations should not lead to a successful
result, the French Government ought, with respect
to the last paragraph of article 2 of the new Con-
vention, to avail itself of the opportunity of making
reserves provided by article 27. With respect to
works of industrial art France would then be bound
by the older texts of the Convention of 1886, revised
in 1896, including article 2, paragraph 2, respect-
ing the accomplishment of the conditions and
formalities required by the country of origin.
“The provisional maintenance of this arrange-
ment would signify that there would be protected in
France only works of applied artwhich were protected
in the country of origin, and that this protection
## p. (#630) ################################################
230
THE AUTHOR.
would be accorded these works of art only in such
measure and under such conditions as the foreign
country itself gave in return protection to our
artists; that is to say, on terms of an absolute
reciprocity.” The Chamber after ashort deliberation,
and without opposition, adopted the Bill already
mentioned at its sitting of April 1st, at which
sitting M. Louis Rénault, the eminent reporter
of the Berlin Conference, assisted in the quality
of commissioner for the Government. It is in
consequence of his declarations, in reply to M.
Prache, that the Government has engaged to
proceed in the manner indicated below ; that is to
say, “if, as is possible, the Government should not
succeed, between this and the month of June, in
obtaining a declaration or something else which
may place works of art applied to industry on the
same footing with other works of art, the Govern-
ment will make use of the power afforded it by
article 27, and will make a reserve.” According
to M. Rénault, this article furnishes a safety-valve,
and there may be occasion to make use of it, but
only regarding this one particular point ; for an
absence of reciprocity here will be disadvantageous
to France. This has occasioned some bitter
criticisms on the part of “art industries and the
artists who are their auxiliaries.”
GREAT BRITAIN.—According to the Times of
April 7th, 1910, the conference of the representa-
tives of the British Government and of the self-
governing colonies (Australia, New Zealand, South
Africa, etc.) will take place in London next month,
probably on May 18th, under the presidency of
Mr. Sydney Buxton, President of the Board of
Trade. This conference will have to examine the
revised Berne Convention, and the attitude which
the British Empire will take with regard to the
rights of authors. The principal question to be
determined will be to settle whether it is preferable
to elaborate an Imperial law of copyright, which
shall be applicable to the whole Empire, which
the Commission suggests, or an Act dealing only
with Great Britain (a British domestic Act) to
which the colonies may ultimately adhere. The
Times considers it possible that a measure which
shall permit the adhesion of Great Britain to the
revised Convention of Berne might be submitted
to Parliament in the present session, but that, in
the present situation of public affairs, it can be
hardly anticipated that any progress could be made
with this Bill during the present year.
SWITZERLAND.—At its sitting of April 14th,
the Council of the States ratified, as the National
Council had already in December ratified, the
revised Convention of Berne. The Federal Council
will, therefore, be able to give its adhesion to the
diplomatic act without any reserve.
* –". *.
y ~-
THE FEMININE NOTE.3%
N extract from the preface will best indicate
A the scope of Miss Whitmore's work: “The
Writings,” she says, “ of many of the women
considered in this volume have sunk into an oblivion
from which their intrinsic merit should have pre-
served them. This is partly due to the fact that
nearly all the books on literature have been written
from a man's standpoint.” Woman's work in
fiction, that is to say, has been jealously kept in
the background by man's work in criticism. The
book, it is not unjust to say, is exactly the kind of
book that one would expect to follow that kind of
preface. It assembles a good many out-of-the-way
facts about such forgotten novelists as Mary
Manley, Sarah Fielding, Eliza Haywood, Charlotte
Lennox, Clara Reeve, Sophia Lee, Mary Brunton,
Lady Caroline Lamb, Anna Eliza Bray; but the
value of the criticism is negligible. The feminine
note is sounded on a rather shrill instrument; that is
all that there is to be said. The book, we gather,
was originally put together as a “thesis” for an arts
degree at an American university, and it confirms
us in our opinion that this system of awarding
degrees (in Arts at all events, though not neces-
sarily in all other subjects) is a bad one. It results
in the production of books which are not wanted
by persons whose talents better fit them for some
other occupation. We have noticed the same thing
in connection with some theses for the doctorate
at the University of Paris, and the standard of this
sort of thing is considerably lower in the United
States than in France.
*&^*** f tams -º-º-e—
CORRESPONDENCE.
- —º-º-º-
MAGAZINE EDITORS.
DEAR SIR,--The suggestion of your contributor
that a pillory should be set up (in the columns of
The Author) for inefficient and unconscientious
editors is a good one enough. It might, however,
be difficult of realisation. I do not know whether
it would be libellous or not. Bnt it would be
hardly just unless both sides were heard, and
the impugned editors could scarcely be expected to
attend for cross-examination at 39, Old Queen
Street. Where correspondence showed the true
state of the case, some action (at least by way of a
“black list”) could perhaps be taken.
* “Woman's Work in English Fiction,” by Clara H
Whitmore, A.M. Putnam.
## p. (#631) ################################################
TISIES AUTISIOR.
231
Meanwhile a list might be published of the
literary record of editors of magazines or of
periodicals that deal in literature. My own experi-
ence has been that editors who had any claim to
be called men of letters were nearly always pleasant
to have to do with. But of some among the
others I will reserve my knowledge until that
“pillory” is in working order.
Yours truly,
C. F. KEARY.
—º-º-e—-
REVIEW COPIES.
SIR,-Might it not be to the advantage of pub-
lisher and author if the publisher stamped free
copies of books sent out for Press reviews 2
While I was in a bookseller's shop the other day
a lady came in and handed four books to the
bookseller. The bookseller read over the titles,
names of authors and publishers, and consented to
purchase at a low figure the books for his circulating
library. The books were review copies, which the
lady sells at a cheap figure for circulating libraries.
I have received an account from my publisher
for a book brought out at Christmas, at 68. net,
and find that some eighty free copies have been sent
to the Press for review. I wonder how many of
these have been sold to libraries P Do those who
feel how difficult it is to realise a paying circulation
of their books know of and approve of the above
system of retailing free Press copies to libraries
where authors look for the purchase of a copy of
their books 2 Perhaps some of the readers of The
Author would answer the question.
I am, Sir,
ONE WHO KNOWS.
P.S.—I was told this lady sold twenty-one review
copies to this bookseller for his library.
—e—sº-e—
THE “GREAT UNACTED.”
DEAR SIR,-May I take up a small amount of
your space in order to ventilate the grievances of
“The Great Unacted,” which I am sure a great
number of your members can endorse ?
The average London manager seems to be
surrounded by a prickly hedge of conventions, in
which he dwells serenely unapproachable like the
Sleeping Beauty, while the unfortunate aspirant to
his favour loses time and money, and not infre-
quently his work, vainly trying to penetrate to that
holy of holies.
Much is talked and written in the papers that
every young dramatist has his chance of succeeding
now, through the assistance of the various play-
societies. Yet what does it all amount to ? That,
with one exception, he must pay, and pay heavily,
for the chance of seeing his work produced, and
most beginners are unfortunately possessed of more
brains than money.
Then, again, the Authors’ Society warns us ex-
pressly, and no doubt wisely, against dramatic
agents, so what remains but our own blundering
efforts 2 If we are very lucky perhaps this results,
after many weary months of waiting, in a charming
letter of praise, regretting only that “your play is
not precisely suited to our requirements, etc.”
Now, Mr. Shaw has said “that members should
use the Society.” Would it be “abusing ”it, therefore,
to suggest that the Readers’ Department might
extend its scope and become a sort of Dramatic
middle-man 2 No doubt some more businesslike
author than myself could indicate the exact manner;
the fees and royalties, etc., could be determined by
the Committee.
It seems to me that in this way a sort of “Labour
Bureau’’ would be established, putting the right
authors in touch with the right managers and
saving years of hopeless waiting.
I hope the question may be taken up by some of
your other readers, as I am sure there must be
many who feel like myself, yet who do not wish to
advertise their wares in the literary market in the
same desperate way as the lady who yesterday
patrolled the West End as a sandwich-man,
announcing to all and sundry that she had a play
for sale.
Apologising for trespassing on your valuable
space, and trusting that some more able pen than
mine may continue this vexed question,
Yours faithfully,
X. Y. Z.
—t—sº-º-
THE REVIEWING OF BOOKS.
SIR,--The remarks of “Authoress” on reviewing
are true. It is becoming rare for reviewers to read
the books they describe. Perhaps in some cases it
is really needless, they would not understand
them.
Sometimes the critic is an author, who dips his
critical pen in jealousy. In many other instances
he may be only an aspirant. Froude complained
that in literature the raw aspirants sat at once on
the judicial bench, whereas in law they had to
serve a long apprenticeship first.
Properly, a critic should not only read an
author’s work, but also make a genuine attempt to
find out the author's point of view. The right of
a critic even to insist at large on his own opinions
is doubtful. He may attack style or condemn
## p. (#632) ################################################
232
THE A DTEIOR.
conclusions, but a true criticism is not an essay in
rivalry with the author's essay. .
So far, however, have we got from true criticism
in some quarters that a whole review may be
devoted to the ridiculing of an author's style,
without a word as to what the subject-matter of
the book is. This may be because the reviewer
hates the author's opinions, but dares not try and
refute them, and therefore ignores them altogether.
In other cases an amusing method has crept in
of alleging that the author has imitated various
other writers (some of whom, perhaps, he has never
read at all), and ignoring, as before, the matter
of the book under pretence of dealing with its
manner. This, perhaps, is not very amusing to the
author, but even he cannot resist a smile when he
comes across a notice in the following style :-
“In this book we recognise the outcome of the
celebrated work of our fellow-townsman Horatio J.
Jiggins, entitled ‘Down in the Dumps.’ True,
the writer of the work before us has missed the
felicities of Jiggins and has loaded his book with
mistakes of his own,” etc., etc.
The reviewed one best sees the fun of this sort of
thing when he has never heard of Jiggins before.
If your book is reviewed in a paper the function
of which is to disseminate political or social views
opposed to your own, you will probably be snubbed.
This will be done by extracting from your book a
single line which, taken by itself, has a ludicrous
aspect, and quoting it, with three lines of comment,
tending to show that the whole work (which has
cost you years of toil) is a farce or a piece of
lunacy.
Towns, cities, and other collections of possible
readers of your book, people to whom you are
especially appealing on matters of the last im-
portance, are by these ingenious arts prevented
from buying your book, or learning the truths
which you wish to convey.
I am, etc.,
- AN OBSCURE WRITER.
e-Q-9–
THE LITERARY YEAR-BOOK.
DEAR SIR,-May I be allowed to draw your
readers' attention to an error on the part of your
reviewer in his notice of the “Literary Year-Book ''
in the March issue of The Author, which, in view
of his criticism, is important. He says: “Last
year’ (i.e., 1909) “343 pages were devoted to
authors. As the list this year occupies only one
page more” . . . etc. If your reviewer will again
refer to the 1909 and 1910 issues, he will find that
this year's edition contains over 30 pages more in
the list of authors, equivalent to an increase of
about 200 new names, allowing for obituaries
during the past twelve months. This is a larger
increase than in any other past year, and I can
assure your reviewer that it is not by any means
the easy task to get particulars of new writers to
add to this list that he seems to imply. I can also
assure him that no large sections are merely
reprinted from year to year without alterations, but
are corrected each year as necessary, though I do
not claim no mistakes appear, as I do not suppose
any referenge book is quite free in this respect.
Considering that the Year-Book is nearly double
in size to What it was when first issued at 5s. net.,
and that the paper and binding are much better,
the increase of a shilling in price is, I think,
justified.
Yours faithfully,
B. STEWART.
We are only too glad to have this error pointed
out by Mr. Basil Stewart. It arose thus:–In the
1909 edition “Authors” extend to p. 345. From
that two were deducted, giving 343. Unwittingly,
the forme numeral “2 ” was mistaken for the
reader's page number “33.” But, in the 1910
edition, in which “Authors” extend to p. 377,
the page-number “33” (at the beginning of
the list) was correctly subtracted, making 344;
QI, as We then believed, only one page more.
While apologising for the mistake, we heartily
Congratulate him on the additional names inserted.
Nevertheless, despite this improvement, the list is
still Sadly inadequate. Dead writers appear as if
living, and there are numerous omissions of names
of meritorious living authors. -
A. R.
MEMBERSHIP OF THE SOCIETY.
SIR,--I should like to use your columns in
order to put forward a suggestion in regard to
the membership of the Society. I understand that
there are some five thousand and, perhaps, more
authors in the United Kingdom of Great Britain
and Ireland. Would it not be possible for every
present member of the society to endeavour to
bring in one of those who stand outside It seems
to me that there can only be three reasons why the
profession is not completely represented in the
society : (1) ignorance of its aims ; (2) extreme
poverty ; (3) selfishness, or what, perhaps, in a
more kindly mood I might designate the ungre-
garious habit. For myself, 1 will certainly under-
take to bring in my additional member.
Yours, etc.,
A WELL-WISHER.
## p. (#633) ################################################
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The CLASSIFIED INDEX will tell you AT
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D0 WOU WRITE PLAWSp
The International Copyright Bureau, Ltd.,
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We act as Agents for placing Plays,
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Dublin Core
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Title
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The Author, Vol. 20 Issue 08 (May 1910)
Subject
The topic of the resource
<em>The Author</em>, Vol. 20 Issue 08 (May 1910)
Source
A related resource from which the described resource is derived
<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a>
Type
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Publication
Identifier
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1910-05-02-The-Author-20-8
publications
The Author