https://historysoa.com/files/original/5/530/1913-07-01-The-Author-23-10.pdf 6eff6b532e6cd2b737eac665cca0eff1 PDF Text Text ���������������������������������� 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 A name given to the resource 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=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;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. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1913-07-01 Volume 23 Issue 10 Pages Page range in volume 279–312 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che BMutbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. VoL. X XIII.—No. 10. JULY 1, 1913. [PRICE SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. ————__—__+____—__- NOTICES. + oh OR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tur Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tur Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIII. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. On and after June 13 Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respecting advertisements after that date should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. —_____+——« —— THE SOCIETY’S FUNDS. —+—~<— + 4 ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other #9  282 length, given way on both points, and the accounts had been duly vouched in accordance with the Society’s desire. The report of the Society’s accountant had been received. A question of infringement of copyright, which the Society had previously been unable to take up, was again brought before the com- mittee, as fresh evidence was now at the dis- posal of the complainant. The solicitor was instructed to inquire into the new evidence and to report to the next meeting. The solicitor reported on another case in the High Court, which will, most probably, be settled before this record appears, and that in another action the debt and costs had been paid. The next dispute referred to the proper rendering of accounts. Owing to the errors that had occurred, the committee decided to place in an accountant, when all the items would be properly vouched. The solicitors then reported on a claim by one of the members against a publishing firm, and stated that they had issued a writ, but that it was possible the firm would be unable to pay, in which case it might be necessary to take some further steps. A question of infringement of dramatic copy- right the solicitors hoped to be able to settle, as they had been in communication with the defendants’ solicitors with this in view. Another claim for infringement of dramatic copyright was before the committee, and the solicitors were able to report that they were in negotiation with the defendant and hoped to be able to settle the matter satisfactorily. A claim for a member for money for work done under a contract was next considered, and the committee decided to go forward with it. A dispute on the interpretation of a contract, on which the solicitors had been advising, was fully gone into, and the solicitors explained what they considered to be the legal aspect of the case. It was decided by the committee that the solicitors should write and report to the member concerned, with a view to deciding as to the course it might be necessary to take. The secretary then detailed a complaint raised by one of the members in regard to the publication of advertisements by publishers in the 6d. editions of authors’ novels. The com- mittee gave a careful consideration to the issue, and instructed the secretary to write to the member. The committee decided to take up a case of infringement of the dramatic rights of one of the members if it was not possible to come to an amicable arrangement. In two complaints by members of the Society against certain agents for malconduct, one of the THE AUTHOR. members agreed to make further inquiries and report to the next meeting. The committee considered the issues were of serious import- ance. It was decided to take two cases up in France, one being for infringement of copy- right and the other a claim for accounts undelivered. A case of gross infringement in America was considered, and the secretary was instructed to write to ascertain what action could be taken. Finally, the secretary laid before the committee an article dealing with a publisher’s agreement, and received instruc- tions to print the article in The Author. The question of cinematography was fully discussed, and it was suggested it might be desirable to appoint a sub-committee. On the report of the secretary, however, it was decided to leave the matter in the hands of the Dramatic Sub-Committee. Mr. Theodore Holland was elected a member of the Composers’ Sub-Committee, at the suggestion of that committee. The secretary reported the action he had taken in regard to international copyright, at an interview with certain important members of the Publishers’ Association, with a view to joint action being taken, if necessary. He reported also, in the same connection, that considerable difficulty had arisen in Holland owing to the fact that the Dutch had only recently joined the International Copyright Convention. It was decided to obtain a legal opinion from a Dutch lawyer on certain important points affecting dramatic produc- tions in that country. It was decided to rent a room for the regis- tration of scenarios, at a cost of £2 2s. per annum, as the secretary explained that the register was increasing beyond the limits of the room at the Society’s disposal. The committee decided to print in The Author from time to time the names and addresses of the dramatic agents appointed by the Society, for the guidance of members who might desire agents to act on their behalf, The secretary reported that, since February, the following had joined the Society as life members :—Gerald S. Dunn, Miles Franklin, E. Thompson Seton, Paul Hasluck, The Rev. W. Temple, Harold Cross. ee AUTHORS AND EDITORS. {cae adjourned meeting of the Committee of Management and Editors was held at Central Buildings, Tothill Street, on Thursday, June 19. The following resolution,  THE AUTHOR. which had been embodied and sent round in a circular, was accepted by the editors whose names are printed below. Resolution. ‘<The authors and artists whose articles, stories, or drawings may have been accepted, shall be paid for those accepted articles, stories, or drawings, at the next official pay- day after the publication, or within six months from the date of acceptance of such articles, stories, or drawings, whichever is the shorter period.” In favour. J. T. Herbert Bailey, The Connoisseur. Vivian Carter, The Byestander. F. Chalmers Dixon, English Review. L. J. Maxse, National Review. *G. W. Prothero, Quarterly Review. Harold Cox, Edinburgh Review. C. E. S. Chambers, Chambers’ Journal. F. H. Fisher, Literary W orld. Chas. Hyatt-Woolfe, Science Siftings. G. Binney Dibblee, The Field ; The Queen. * There was a reservation by the Editor of The Quarterly Review that the word “ shall” should be altered to “ should.” After this resolution had been put forward, it was proposed—owing to the fact that many editors, while approving the spirit of the resolution, objected to the letter, and that no voice was raised in opposition to the principle of obtaining a more uniform and businesslike practice—to discuss, either by circular or by means of an adjourned meeting later in the year, the following :— “We consider that it should be under- stood by all authors and artists whose con- tributions have been accepted, that they shall be entitled to make requisition for pay- ment at any period six months after such acceptance, and that such requisition shall not be considered in any way contrary to established precedent.” It is hoped by the Committee that it will be possible to get a still larger number of editors to consent to this more elastic resolution, which will give great relief to contributors. Many editors are quite willing to pay within a reasonable time if they are asked, but they fail to understand the author’s point of view. It is not so much natural modesty, as a fear— in many cases, we regret to say, well-founded— that any step they may take to disturb the equanimity of the editor will result in their future contributions being set aside. 283 Another point was put forward, which the committee hope to deal with in the autumn, namely, the possibility of arranging between authors and editors some form of conditional acceptance in those cases where editors feel they could not give an immediate and uncon- ditional decision. ; The committee beg to tender their very grateful thanks to those editors who have so courteously responded, not only for the interest they have shown in the issues, but also for the willingness expressed by them to arrive at a uniform and businesslike arrangement with the contributors to magazines. DRAMATIC SUB-COMMITTEE. THE June meeting of the Dramatic Sub- Committee was held at the offices of the Society of Authors on Friday, the 20th of that month, at 3 o’clock. Following the signing of the minutes of the previous meeting, a discussion took place as to the collection of fees on amateur performances. Mr. Cyril Hogg, of Messrs. Samuel French, Ltd., was kind enough to attend and confer with the sub-committee on the subject. The next matter—one of considerable im- portance—was a dispute between certain members of the Society and their agents. The full details of the case were placed before the sub-committee and discussed, and a recom- mendation was passed to the Committee of Management that the facts of the case should be put forward in The Author for the protection of other members. The delegates appointed to meet the West End managers reported what had occurred at the meeting, and the secretary laid before the sub-committee the draft of the Managerial Treaty, with the notes he had made when the clauses were being discussed. It was decided to reconsider the matter at the next meeting of the sub-committee, which was fixed for Friday, July 11. The secretary reported that the model agree- ment, which the sub-committee had instructed him to draft, was not, as yet, in its completed form, and it was decided that this matter should also be adjourned to the next meeting. On the question of foreign agents one or two letters were laid before the sub-committee, and the secretary received instructions to write for further information as to the issues and the terms.  284 Composers’ Sus-CoMMITTEE. THE Composers’ Sub-Committee met on Saturday, June 14, at 11 o’clock, at the offices of the Society, 1 Central Buildings, Tothill Street, Westminster, S.W. After the minutes of the previous meeting had been read, the answers to the circular sent round to composers were considered. These answers were classified and catalogued, and the Committee were very pleased to note that the answers received were almost unani- mous. It was proposed to make a full state- ment in the October issue of The Author, and also to call a conference of composers some time in the Autumn to determine what course should be taken to draw members of the profession closer together. It was agreed that a regular circular should be sent out to as large a number of composers as possible with a full list of agenda. A discussion then arose concerning the appointment of an agent in Germany for the collection of mechanical instrument fees in that country, and it was decided to accept the terms of the Anstalt fur Mechanisch Musi- kalische Rechte, known in Germany under the short title of ‘‘ the Ammre.”’ —— 1 Cases, THE number of cases from month to month has varied but little recently. During the month of June seventeen cases have come into the hands of the secretary. Of these four refer to disputes on agreements. It is pleasing to think that they can very often be settled by the informal arbitration of the Society. Out of the four three have already been settled, but one has only recently come to the office. Four cases of infringement of copyright have occurred, and two of these have been settled, while two are still in course of negotiation, one lying in the U.S.A. Three claims for money have come before the secretary; of these, one is eoncluded, one has had to be placed in the hands of the Society’s solicitors, and most probably the third will also have to go into the lawyers’ hands, as the party has refused to answer any of the Society’s letters. In three claims for money and accounts, one has been settled, but the other two are in an unsatisfactory position as no answer has been forthcoming ; these will also, most probably, have to be placed into the solicitors’ hands. Two claims for the return of MSS. are still THE AUTHOR. open. The last case was one for the delivery of accounts. The accounts have been delivered and the matter settled. It will be seen, therefore, that out of the seventeen cases eight have already been settled. This is very satisfactory. The remainder will no doubt be settled during the coming month. Of the cases open from the preceding months, there are three, two for money and accounts, and one referring to a negotiation for transla- tion rights. They are all in foreign countries, two lying in France and one in the U.S.A. Most probably one of the cases in France will have to be handed over to our lawyers in Paris, as no answer has been received to the letters of demand. The matter is at present waiting for an answer from the author. It may be chronicled incidentally here, though the solicitors’ cases are not generally included under this head, that during the last month the Society has been successful in the case of Corelli and Gray and Pett Ridge and the English Illustrated. Elections. Ballantyne, J. W.,M.D. 19, Rothesay Ter- race, Edinburgh. Dye House, Thurs- ley, Godalming. 5, Suffolk Place, Pall Mall, S.W. c/o Cecil Broderick, Barlow, Hilaré Brandon, J ocelyn Broderick, Mrs. Mary . Esq., 63, Queen Victoria Street, E.C. Bruce, Miss Mary Grant Lyceum Club, 128, Piccadilly, W. 5, Sheen Gate Gar- dens, East Sheen, Buckle, Henry S.W. Bullard, Arthur . cio The Macmillan Co., 64, Fifth Avenue, New York City, U.S.A: Burckhardt, Mrs. Bel Ai, Tillington, (“ Frances Burke- Stafford. Hart”) Cragg, Edward Henry . Billingboro’, Fock- ingham, Lincoln: shire. Crawford, Mrs. Maynard 113, Constable Road, (‘* Amy G. Baker ’’) Ipswich. Doyle, Miss Ruby Mackay Street, Dun- gog, N.S.W. Heydemann, Johnson, Lineham, Mrs. Dunbar, Lady of Moch- rum. Getty, Miss Alice Harris, William Charles H., Ph.D. Hill, Roland Hobhouse, L. T. . Arthur Tysilio. Andrew Wood, M.A. Lodge, Arthur 7 Low, Miss Ivy Macgowan, John Marshall, Miss Cicily Maxwell, Richard Drummond, M.D. Monsell, G. R. Moore, Paymaster John Gc, HN... (Retd.) (‘‘ M. Areno ’’). Mulliner, May Alee. Dobbin (‘‘ Page, Gertrude”’) . * Norma Karl” . Pearce, Charles E. : Piazzani Romolo Redmayne, P. Y. Scott, Mrs. Dawson Sneyd-Kynnersley, E. M. Spearing, H. G. Spence, Lewis Stockley, Mrs. Cynthia (“* Cynthia Stockley ’’) THE AUTHOR. Earnbank, Bridge of Earn, N.B. 75, Av. des Champs Elysées, Paris. *“Combe Blythe,” 73, Chambercombe Road, Ilfracombe. 165, Seymour Place, W. Author's Club, 2, Whitehall Court, S.W. 7, Broadlands Road, Highgate. Llys Llewelyn, Con- way, N. Wales. 62, Stanmore Road, Birmingham. 257, Maidstone Road, Rochester. Needham Suffolk. Castlerigg Keswick. 41, Wimpole Street, W. 9, Foulis Onslow S.W. ‘* Brooms,”’ ing. Market, Manor, Terrace, Square, Worth- Park Gates Club, Hyde Park Corner, S.W. Capital and Counties Bank, Newent, Glos. 83, Merton Avenue, Chiswick, W. Ryton Hall, Shifnal. Harden, King Street, Southall. 5, Hornsey Lane Gardens, High- gate, N. 6, Sylvan Edinburgh. Lyceum Club, W. Place, -Inpian ARCHITECTURE. 285 Symons, Major F. Gos- MOB. R.A M-C. Thomas, Mrs. Fanny S. A., Fort Roaner, port. clo Messrs. Brown, Shipley & Co., 122, Pall Mall, S.W. Prestwick, Witley, Surrey. ** Shillay,”’ Exeter. 22, Redcross Street, Rochdale. 84, Lexham Gardens, W. 10, Clifford’s W.C. 6, Mortlake Road, Kew. Bank Chambers, 111, New OxfordStreet, W.C. Webster, Mrs. Arthur . Wheatley, E. Pearse Wild, Alfred G. Wilde, A. D. Williams, Robert Inn, Wills, J. T. Wimperis, Arthur it BOOKS PUBLISHED BY MEMBERS. While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCHAIOLOGY. Tue Hawara Portrotto. Paintings of the Roman Age. Found by W. M. Frrypers Petrie (British School of Archeology in Egypt and Egyptian Research Account, Nineteenth Year, 1913). 124 x 10. ARCHITECTURE. Its Psychology, Structure and History from the First Muhamadan Invasion to the Present Day. By E. B. Haverty. 260 pp. Murray. 30s. n. ART. VisvAKARMA. Examples of Indian Architecture, Sculp- ture, Painting, Handicraft. Chosen by A. W. Cooma- RASwAMy, D.Sc. Part IV. 11 x 8}. Luzac. 2s. 6d. Srort rn Art. An Iconography of Sport during Four Hundred Years from the Beginning of the Fifteenth to the End of the Eighteenth Centuries. By W. A. Bane Gronman. 13 x 10. 422 pp. Ballantyne. £2 2s. n. THE RENAISSANCE AND Its MAKeERs. and §S. L. Brnsusan. 94 x 63. 10s. 6d. n. By J. W. Symon 456 pp. Jack. BIOGRAPHY. Tan Lirr or Joun Bricut. By Grorce MAcauLay TREVELYAN. 9 x 53. 480 pp. Constable. 15s. n. Oscar Wipe. A Critical Study. By A. Ransome. (C heap Edition.) 7 x 4}. 234 pp. Methuen, Is. n,  286 Tue Earty Lire or Motrxe. A Lecture delivered before the University of Oxford, May 10th, 1913. By Sprnour Witxinson, Chichele Professor of Military History. 9 x 6. 28 pp. Oxford: Clarendon Press. London : Frowde & Milford. Is. n. “Potty Pzacnum.” Being the Story of Lavinia Fenton (Duchess of Bolton) and “The Beggar's Opera.” By C. E. Prarce. 9 x 5}. 382 pp. Stanley Paul. 16s. n. “J”: A Memoir or Jonn Wits CLARK. By A. E. Suiptey. 9 x 5}. 362 pp. Smith Elder. 10s. 6d. n. Mapame Royatz, Daveurer or Louis XVI., anp Marre AntorneTTs. HzR YourH AND Marriage. From the French of Ernest Daudet. By Mrs. Ropotpu STawELL. 9 x 6. 264 pp. Heinemann. 10s. n. BOOKS OF REFERENCE. French Purases. By Gorpon Davyson. 54 x 32° 134 pp. Nutt. Is.n. CLASSICAL. Tue Ruxsus or Evrreepss. Translated into English Rhyming Verse with Explanatory Notes. By GiLBErt Murray, LL.D., D.Litt. 7h x 5. 67 pp. Allen. 28. n. DRAMA. Cyprus (According to Dinon 460 B.C.). A Fabulous Tragedy in Prologue and Four Acts. By J. Marriorr Hopexiys. 73x 5. 90 pp. John Long. Qs. 6d. n, EDUCATIONAL. THE StupDENT’s ELEMENTARY CoMMERCIAL BOOK-KEEPING. Seventeenth Edition. By Arrnur FIELDHOUSE. 74 x 43. 358 pp. Simpkin. 2s. THe STUDENT'S ComMPLETE ComMERCIAL BOOK-KEEPING. AccounTING AND Banxina. Eighteenth Edition. By ARTHUR FIELDHOUSE. 7} x 43. 902 pp. Simpkin. 4s. Tue StrupEent’s Business MretTnops or ComMMERCTAL PRACTICE AND CORRESPONDENCE. Sixth Edition. By ArtHuR FrevpHousE. 7} x 43. 372 pp. Simpkin 2s. 6d. Key To Tur StupEnt’s ApvANcED (Part II.) CommERcraL Boox-Kerrinc, Accounting AND Banxkine. Third Edition. By Artuur Fre.pHousr and Epwin WIson. 82 x 53. 487 pp. Simpkin. 16s. FICTION. Barry anp A Stnner. By Joun Barnett. 73 x 5}. 307 pp. Smith Elder. 6s. THe Litrte Maister. By R. H. Forster. 7} x 5. 320 pp. John Long 6s, Tue Witt Hanp anv THE Brack. By Bertram Mrr- ForD. (Cheap Reprint.) 64 x 4}. John Long. 7d. n. A GarpEN or Srices. By A. Kerra Fraser. Hodder & Stoughton. Tue WILDERNESS Lovers. By E. R. Punsuon. 72 x 5. 308 pp. Hodder & Stoughton. 6s. Tue Story or Mary Dunne. By M. E. Francis (Mrs. Francis Blundell). 7} x 5. 312 pp. Murray. 6s. Waite tHe Music Lasts. By JutiaA Macponaxp. 7% x 5. 320 pp. Holden & Hardingham. 6s. THE ParRapise or Foots, By Derek VANE. 74 X 5. 320 pp. Everett. 6s. Ducks anp Drakzs. 7% x 5. 320 pp. By Marie Connor Leicuton. Ward Lock. 6s. THe Human Boy. By Eprmn Puuuports. 64 x 4}. 183 pp. Methuen. 7d. n. A Durr with Cuorus. By A. Conan Doytz. 256 pp. Hodder & Stoughton. 7d. n. THE AUTHOR. Tae Norruern Iron. Everett. 7d. n. Tae Unworrtny Pacr. By Dorornna Grrarp (Madame Longard de Longgarde). 73 x 5. 312 pp. Stanley Paul. 6s. THE TRANSFORMATION oF TimorHy. 367 pp. Mills & Boon. 6s. THe Forpineron Twos. By E. Newton Bunaey. By G. A. Brrmincuam. 255 pp- By T. Cops. 72 x 5. 7% X 43. 320 pp. Lynwood. 6s. A Goppgss or Stonz. By R. W. Wricut Henperson. 7% x 5. 312 pp. Methuen. 6s. Tue Fire Wrrniy. By Parrrcra WENTWORTH. 275 pp. Melrose. 6s. AvERNo. By B. Mrrrorp. Lock. 6s. WINE OF THE LzEES. By J. A. Srevarr. 347 pp. Hodder & Stoughton. 1s. n. Tar Emprror’s CanpLestioks, By Baroness Orczy. 288 pp.; Brau Brocape. 307 pp. By Baroness Orczy; Opp Crarr. By W. W. Jacozs. 248 pp. Hodder & Stoughton. 1s. THE GaRDEN or REsuRRECTION. 12 Xx 8. 7% x 5. 311 pp. Ward 7k x 44. By E. Temrie Tuours- TON. 74 x 5. 367 pp. (New and Cheaper Edition.) Chapman & Hall. 2s. n. DorornEa. A Story of the Pure in Heart. By Maarten MaarTens. 573 pp. Constable. 3s. 6d. THE Goop Comrapn. By Una L. Smperrap. 367 pp- Constable. 3s. 6d. THe Outcast oF THE Famity. 63 x 44. 353 pp.; CHARLES GARVIOR. Stoughton. 7d. Lema aAnp Her Lover. By Max Prmperton. 310 pp. Ward Lock. 6s. THE WINNING OF GWENORA. By Eprra C. Kenyon. 73 X 5. 320 pp. Holden & Hardingham. 6s. Darropi’s Love Arrairs. By Lovisr M. STacrooLe By Cuaries GaARvVICE. Her Hearts Desire. By 63 x 44. 384 pp. Hodder & 12 x 0. Kenny. 74 x 5. 320 pp. Holden & Hardingham. 6s. BupsLe anp SquEaK. By Watrer Emanvgn. 7} x 5. 224 pp. Hutchinson. Is. n. Tue Nicut Nursz. Fourth Revised Edition. By the Author of “THe Sureron’s Log.” 74x 5. 311 pp. Chapman & Hall. 6s. HISTORY. Mexico, THE LAND or Unrest. Being chiefly an account of what produced the Outbreak in 1910. Together with the Story of the Revolution down to this day. By H. BaERLEIN. 9 X 6. 461 pp. Herbert & Daniel. 16s. n. SELEcT STATUTES AND OTHER CONSTITUTIONAL DocUMENTS It.ustRative oF THE Reiens or ELizaBETH AND James I. Edited by G. W. Prornero, Litt.D. 72 x 5}. 490 pp. Fourth Edition. Oxford: Claren- don Press; London: Frowde & Milford. 10s. 6d. n. LITERARY. Mysticism in EncuisH Lirrrature. By Carorre F, E. Spurcron. 6} x 43. 168 pp. (Cambridge Manuals of Science and Literature.) Cambridge University Press. Ils. n. MISCELLANEOUS. Tur LecrurE YEAR Book. Vol. I., 1913—14. Edited by Bast Stewart. 11} x 83. 56 pp. Heath, Cran- ton and Ouseley. 3s. 6d. n. NatuRrE’s MysTEeRIES ; or How TaHErosopHy ILLUMINATES Tuem. By A. P. Srynerr. 7 x 43. 60 pp. The Theosophical Publishing Society. 6d. n.  THE AUTHOR. MUSIC. CuamBer Music. A Treatise for Students. By T. F. Dunumu. 83 x 53. 311 pp. Macmillan and Stainer & Bell. 10s. 6d. n. NATURAL HISTORY. Tae Boptey Heap Natura History. By E. D. Cumine. Illustrated by F. A. SepHerp. Vol. I., British Birds, Passeres. 6} x 5}. 120 pp. Lane. 2s. n. POETRY. THe Woorne or A Goppzss. A Tale Re-told, with some Poetic and Mythological Licence. By B. Burrorp Rawiines. 64 x 4. 45 pp. Isaac Pitman. 2s. 6d. n. Sones From Letyster. By W. M. Lurts. 7} x 5. 114 pp. Smith Elder & Co. 2s. 6d. n. THe Wes oF Lirs. By Morean Dovetas. 75 pp. Edinburgh: William J. Hay. REPRINTS. Tue Vision or Prers tHe Prowman. An English Poem of the Fourteenth Century. Translated into Modern Prose, with an Introduction by Karn M. Warren, Lecturer in English Language and Literature at West- field College (University of London). 74 x 5. 168 pp. Arnold. 2s. 6d. n. SOCIOLOGY. Tse FurtHer Evotution or Man. A Study from Observed Phenomena. By W. Hatt Catvert, M.D. 7k x 5. 324 pp. Fifield. 5s. n. TECHNOLOGY. Printing. A Practical Treatise on the Art of Typography By C. T. Jacozpr. (Fifth Edition Revised.) 7 x 4%. 409 pp. Bell. 7s. 6d.. THEOLOGY. Tue Fourrotp Gospret. By E. A. Aspporr. 9 x 54. 178 pp. Cambridge University Press. 2s. 6d. n. TOPOGRAPHY. A Hanpzsook or Lancasnrre Prace-Names. SzpuTon. 8} x 54. 74 x 5k. ls. 6d. n. By J. 256 pp. Liverpool: Young. 6s. TRAVEL. THrovueH Frxuanp In Carts. By Mrs. Atec TwrEepiE. 64 x 43. 476 pp. Nelson. ls. n. ‘Tue Surczon’s Loa. By J. Jounston ABRAHAM. Seventh and Cheaper Edition. 7} x 5. 302 pp. Chapman & Hall. 2s. 6d. n. = 5 LITERARY, DRAMATIC, AND MUSICAL NOTES. R. G. M. TREVELYAN’S “Life of John Bright,” is published by Messrs. Constable & Co. in one volume, price 15s. net. “University and Historical Addresses,” a collection of lectures delivered in the United States by the Rt. Hon. James Bryce, will Bey be produced by Messrs. Macmillan 0. The “ Collected Works ”’ of the late Francis Thompson have appeared in three volumes, two of poetry and one of prose, with some notes 287 by his literary executor, Mr. Wilfrid Meynell. The volumes are obtainable singly or in sets, 6s. net each. Messrs. Burns and Oates are the publishers. Mr. B. T. Batsford has issued the first six volumes of a new series, small in size but ambitious in scope. They are entitled, collec- tively, ‘‘ The Fellowship Books,” and aim at reviving “‘ the elemental things whence springs all that makes life worth living, the factors that increase our common enjoyment of nature, poetry, and art.” The general editor is Mrs. Arthur Stratton, and the opening contributions to the series are: ‘‘ Friendship,” by Clifford Bax; ‘‘ The Joy of the Theatre,”’ by Gilbert Cannan; ‘‘ Divine Discontent,” by James Guthrie ; “‘ The Quest of the Ideal,’ by Grace Rhys; Springtime,’ by C. J. Tait; and ‘“The Country,” by Edward Thomas. In “The Philosophy of Faith” (Messrs. Longmans, Green & Co., 3s. 6d. net), Mr. Bertram Brewster defends belief against the rationalists and scientists, discussing such conceptions as Truth, Virtue, Freedom, Beauty ete., up to the Highest Good. To him the inevitability of the new birth, or entry of the divine life into the soul, is ‘‘ the true hope of man : the only hope remaining to him, possibly in the long run.” Miss Ethel Colburn Mayne is bringing out in the autumn, through Messrs. Chatto & Windus, a book on the female characters in Browning’s works. ‘* The English Poems of John Milton,’ from the edition of the Very Rey. H. C. Beeching, D.D., has been published by the Oxford Uni- versity Press in the World’s Classics Pocket Edition, 1s. net. Miss Kate M. Warren’s translation into modern prose of ‘‘ The Vision of Piers Plow- man,’’ with an introduction from her pen, has been republished by Mr. Edward Arnold. The text has been entirely revised since the two earlier editions of 1895 and 1899, and the annotations have also been revised and added to. Mr. W. Pett Ridge’s collection of short stories, “‘ Mixed Grill,’ has been issued by Messrs. Hodder & Stoughton at 38s. 6d. Miss M. P. Willcocks is publishing her new novel, “‘ The Power Behind,” in England with Messrs. Hutchinson, and in America with the Maemillan Co. By a curious chance, the first two titles selected, ‘‘ Fortune’s Fool” and “The Mouse Trap,’’ were found to have been already used. The book is said to be in many ways a return to the style of ‘“‘ The Wingless Victory.”  288 Mrs. Francis Channon’s new book, ‘ Miss King’s Profession,” will be published by Messrs. Mills & Boon early this month. It deals with the early experiences of a young author. Messrs. John Long, Ltd., will shortly publish a new novel entitled ‘‘ His American Wife,”’ by George Henry Jessop, author of “ Judge Lynch,” ete. The subject of this story is a serious misunderstanding between husband and wife, arising out of the question how much of his time a public man can afford to devote to his wife. The same publishers have brought out, at the price of 3s. 6d., ‘‘ Wanderings and Wooings East of Suez,” a novel descriptive of a tour round the world, by Miss Ethel Boverton Red- wood. Messrs. Holden and Hardingham are the publishers of two new novels—* The Winning of Gwenora,”’ by Miss Edith C. Kenyon, author of “ The Wooing of Mifanwy ”; and ‘“‘ While the Music Lasts,” by Miss Julia MacDonald. Another historical romance from the pen of Miss May Wynne is announced by Messrs. Stanley Paul & Co. The scene is laid at the time of the French Revolution, during the siege of Carpentras by the followers of an Irishman named Patri, who band themselves together as the “‘ Brave Brigands ”—a _nick- name which gives the story its title. The same firm announces a new story by Miss Dolf Wyllarde, to be published during the holiday season. The book deals with the problem of a wife’s duty to her husband when he is serving his country in climates which would be disastrous to her health and to that of her baby. The title of the story is “ Youth Will be Served.” Miss Arabella Kenealy’s “‘ The Irresistible Mrs. Ferrers,’’ will be re-issued by Messrs. Stanley Paul & Co., its original publishers, in their 2s. net library. They announce also a 2s. edition of “The Unholy Estate,” by Mr. Douglas Sladen, whose latest novel, “The Curse of the Nile,” is now in its fourth edition. Immediately after her husband’s death fifteen years ago, Mrs. Alec-Tweedie went off to Finland and wrote a book, “ Through Fin- land in Carts,” which was her first professional venture. She has now brought this thoroughly up to date, adding a new political appendix on present-day events in Finland and the position of women there both in and out of polities. Messrs. Thomas Nelson & Co. publish the new edition at 1s. ‘‘ Thirteen Years of a Busy Woman’s Life,” by the same author, which THE AUTHOR. appeared in October last, is now going into ¢o)u fifth edition. A fifth (revised) edition has just appeared of bow “Printing: a Treatise on the Art of Typo qyt graphy,” by Mr. Chas. T. Jacobi, of thea %& Chiswick Press. It is published by Messrs, G@) = Bell & Sons, at 7s. 6d. Mr. Humphrey Jordan, author of “ Theil?” Joyous Wayfarer,” has published a newoa romance, ‘‘ Patchwork Comedy.” In this, asi .4i in its predecessor, there are many vivid scenes, 91> which take place in France, where the author ii lived the life of a student for several years, and as ~ where he has spent much of his time wandering)! about with a knapsack. Mr. Jordan also. occupied the position of schoolmaster in Franee 37 and has been a lecturer in a provincial French. university. Messrs. Putnams publish ‘“‘ Pateh- dois’ work Comedy” here, and American and ins Australian editions have also appeared. The author who writes under the name of 5 »! “Sursum Corda” has published, through fue Messrs. McCorquodale & Co., a pamphlet sic entitled ‘‘ Broken Empires of the Past : Shall [ed@ Britain Join Them?” being six lectures 917 primarily intended for village use, for which bir lantern pictures can be supplied. The price of 0 © the pamphlet is 6d. (7d. post free). “A Trip on a Trader, or Holidays Afloat ? © 46: is the title of a book, by Mr. Herbert W. Smith, Asis shortly to be published by Messrs. Madgwick, Jor Houlston & Co. The narrative opens with a 4 4 schoolboy’s departure from Liverpool on board 91 a Spanish cargo-boat, and ends with his return 171 to London on an English steamer, having 96 visited Carril, Ferrol, Vigo, Corunna, Cadiz, Lisbon, Malaga and Gibraltar. Many _ inei- dents enliven the journey, and the places #9» called at are fully described. Mr. F. Walcott Stoddard’s ‘‘ Tramps through # Tyrol” has recently appeared in a second § edition. The author is now engaged in writing = a book on Sweden. A volume of poems, “‘ The Web of Life,” by 44 Morgan Douglas, has been published by the ©! firm of William J. Hay, John Knox’s Houses, ©? Edinburgh. An article by Mr. Gilbert Coleridge on 10 London beggars appeared in the June © number of the Cornhill. Its title is ‘“* The Little Brother of the Pavement.” We have received from the Authentic Infor- mation Agency, of Chancery Lane, the first 1 number of a ‘‘ Weekly Index of Publications” (other than works of fiction), which the agency is issuing for the use of its clients. It is not 4? critical, but aims at clearly indicating the scope and contents of each work mentioned. Sub- -¢  THE AUTHOR. 289 jects and authors are classified alphabetically at the end. The price is 2d. a number, or 5s. a year, post free. " Mr. J. Arthur Hill has an article in The World’s Work for June, entitled “ The Truth about Hypnotism.” “4 Turkish Woman’s European Impres- sions,’ with a Preface, is the title of a work published by Messrs. Seeley, Service & Co. In this work Miss Jane Ellison has published letters written to her, providing an insight into the mind of the Eastern woman. The letters express the feelings of the woman of the Kast, in her secluded environment, and confronted with all those paradoxes called civilisation. They show how one of these women, wearying of the restraints imposed upon her, drifted into alien cities, only to realise that the life of London and Paris was unsuitable for one brought up as she had been. Mr. Morgan Douglas has issued through William J. Hay, of Edinburgh, a volume of lyrics and poems. The title of the volume is * The Web of Life,” and it contains thirty-five lyries and short poems. Mrs. Florence L. Barclay’s publishers, G. P. Putnam’s Sons, will publish in September a new long six-shilling novel by Mrs. Barclay, entitled ‘“‘ The Broken Halo.” We are glad to notice the attendances of Mr. Hall Caine, with other authors, at the dinner of the Associated Booksellers of Great Britain and Ireland, held last month. The dinner was held too late to enable us to deal with the various interesting questions covered by Mr. Hall Caine in his speech, proposing the toast of the Booksellers’ Association. Among the topics he mentioned, we notice the question of “the cheap reprint,” ‘the relations between authors and booksellers,” and the conditions of the bookselling trade generally. We notice that his speech has stirred Mr. Murray to write in reply, but Mr. Hall Caine has decidedly the best of the argument. DRAMATIC. Sir Arthur Pinero’s ‘“‘The Second Mrs. Tanqueray ” has been revived at the St. James’s Theatre, with Sir George Alexander and Mrs. Patrick Campbell in their original parts. Mr. Bernard Shaw’s ‘‘ Androcles and the Lion ”’ is announced for production at this theatre on September 2. At the Apollo Theatre, on June 17, “ The Perfect Cure,’ a new three-act comedy by Mr. Stanley Houghton, was produced by Mr. charles Hawtrey. Mr. C. Haddon Chambers has adapted the novel “ Tante ” for the stage, and is in negotia- tion for a London production. The American rights have been secured by Mr. Frohmann. Mr. Justin Huntly McCarthy’s “ If I were King ” was revived at the Coronet Theatre on June 23. On June 8 and 9, Miss Ella Erskine gave at Cosmopolis, 201, High Holborn, two special performances of an entirely new version of *¢ Adrienne Lecouvreur,” freely adapted from the French by Mr. Cecil Howard-Turner. Miss Erskine herself undertook the title rdle. A new play by Mrs. Florence Eaton, author of “ The Triumph,” was recently produced at the Abbey Theatre, Dublin, under the title of “ Playing with Fire.” Mr. Herman Scheffauer’s play, “ The New Shylock,”’ has been accepted for publication and production in Germany—perhaps the first instance of the acceptance of an English or American playwright’s work in Germany prior to its production in his own country. The translation has been made by Herr L. Leon- hard, Mr. John Galsworthy’s translator. Mrs. Irene Osgood’s drama, ‘‘ Une Aventure du Capitaine Lebrun,” has been published in book form in Paris. MUSICAL. Mr. Frazer Gange sang at the Bechstein Hall on June 9, “‘ From a Distance” (Heimweh), words from the Japanese, music by Mr. G. Jerrard Wilkinson. The song has been pub- lished by Messrs. Stainer & Bell. > PARIS NOTES. <9 < A MARCHANDE de Petits Pains pour les 1, Canards,’’is the title of René Boylesve’s latest book. It is a collection of short stories, each one of which is a masterpiece of psychological study. The woman who gets her living by selling bread for the ducks in the Bois de Boulogne is as simple and naive as Anatole France’s Crainquebille. She and her family are provincials, and their ideas as to the utility and all-powerfulness of members of Parliament are most amusing. The story of ‘* Mesdames Desblauze,”’is told with great skill and delicacy. The author is a past master in these provincial stories. He gives us a picture of Poitiers and of some of its inhabitants. We see the immense importance of the most trifling events, we hear  290 the gossip of the town, and we have an example of the simple heroism of two women who sacrifice their material well-being to their religious principles. It is one of the many hundreds of humble romances lived every day, romances which would pass unnoticed by all novelists not gifted with the rare observation and psychological insight of René Boylesve. The story entitled “ Les Quinqueton,”’ is one of the longest in the volume, another of the delightful provincial pictures, with the values, colouring, and atmosphere peculiar to this artist. Jean Bertheroy is singularly fortunate in giving us the atmosphere and local colour needed in_her old-world books. In “ Les Tablettes d’Erinna d’Agrigente,” we go back to the Sicily of the second century. Erinna is married to Isée and they have two children, a boy and a girl. Sicily is under the Roman yoke, and Erinna, in her diary, or tablettes, gives us an account of the daily life of herself and her household. The plot of the story is remarkably like that of “‘ The Guarded Flame,” with the exception that, in this case, the hus- band’s forbearance is no doubt actuated by the consciousness of his own delinquencies. Erinna has married a man nearly old enough to be her father. They are, nevertheless, very happy in a peaceful, quiet way. The young wife’s troubles begin when her husband engages a Roman steward. The great charm of the book is in the simplicity of its style. Erinna takes us back to the days of Marcus Aurelius. She shows us Sicily and the life of its people. She tells us of the beliefs and the various rites and ceremonies of her compatriots. There is a poetry in the everyday life of the little family which is most touching. The story is a modern one transplanted into the old world and made more picturesque by its setting. “Témoins de Jours Passés,’” by Etienne Lamy, is the second volume of this series. The book is divided into three parts. In the first, the author gives us a study of Nicolas Bergasse, un Négateur de la Souveraineté populaire. Nicolas Bergasse was an advocate, and a member of the Paris Parliament, who lived through the stormy period between 1750 and 1832. The second part of the book is devoted to the psychology of a man with revolutionary ideas, ‘‘ Le Conventionnel, André Dumont,” and the third to “La Renaissance de l’Etat Bulgare.”” The last study appeared first in Le Correspondant, so that some of the events foretold have now become accomplished facts. Many interesting historical facts are to be arnt from this chapter. THE AUTHOR. “* L’Autre Miracle,”’ by Aimée Blech, is a clever psychological study. The story turns on the difficulties which ‘arise in a marriage between a woman who is staunch to her religion and a man who is an idealist, but who professes no religion at all. It is an essentially modern novel, showing us various types of so-called religious people. Amon the types chosen, we have an absolutely sin- cere Protestant, a Catholic, and a Theosophist. We then have certain professedly extreme Catholics, whose religion is in name only. As we so frequently see in real life, it is the man with no religious creed, whose life appears to be the finest and whose principles and ideas are carried out in every detail of his every-day life, whilst the lives of many of the so-called religious people are absolutely contemptible. From this book, we have a clear idea of the aims and doctrine of Theosophy. We see its wide outlook when one of its disciples explains to the rigid Catholic the unity of religions. The story itself is well told, and all the characters are living. The theatres are beginning to close for the summer. The Odéon, the Gymnase, the Bouffes Parisiens, the Comédie Royale, the Capucines and the ThéAtre des Arts have all closed their doors already. A play entitled, “Vouloir,” by M. Gustave Guiches, is extremely modern and curious. The theme which the author has chosen is that of will-power, but the doctor who preaches it is not able to practise it when his own inclinations are con- cerned. The Théatre Réjane is now giving ““Le Divorce de Mlle. Beulemans,”? and the Renaissance, ‘‘ Le Minaret.”’ At the Salle Villiers we have had three excellent performances by Mr. Cecil J. Sharp’s English Folk Dance Society. The picturesque Morris and Sword Dances were quite a revelation to the French public, and the audience each time was most appreciative and enthusiastic. These performances, in Paris, were organised by Mr. Philip Carr, and on all sides we hear regrets that the Society is not staying longer. The dancing was perfect and the folk-songs charming. It was a revelation, not only to the French public, but to the English and American colonies in Paris, so that Mr. Sharp’s Society may count on an enthusiastic reception on its next visit to Paris. M. Tiersot, the well-known Librarian of the Conservatoire, introduced the English Company to the French public, and Yvette Guilbert gave the members a cordial welcome for their second matinée. M. Camille de Sainte-Croix, the Director of  THE AUTHOR. the French Shakespeare Company, is most - anxious to have an outdoor representation of the dances, during his season in the Saint- Cloud woods. M. de Sainte-Croix is inde- fatigable, and promises us a series of Shake- speare plays from June to October or November on Sundays and Thursdays. It is also sug- gested that the French Shakespeare Company should give a series of performances in England during the season. It would be interesting to see the same play given in English and F rench, on consecutive nights. Axtys HALLARD. ‘La Marchande de Petits Pains pour les Canards,’ (Calmann- Lévy.) “Les Tablettes Lévy.) « Pémoins de Jours Passés.” (Calinann-Lévy.) “TAutre Miracle.” (Perrin.) @’Erinna d’Agrigente.” (Calmann- t ——_____. + —__—_ A SAD AGREEMENT. —+- + HE attention of the members of the Society of Authors may well be called to the following agreement :— Memoraxpum or AGREEMENT thade this sixth day of March, 1911, between —— (hereinafter termed the author) of the one part, and Joun Lanz, of the Bodley Head, London (hereinafter termed the Publisher) of the other part. Whereby it is mutually agreed between the parties hereto, for themselves and their respective executors, administrators and assigns (or successors as the case may be) as follows :— 1. The Publisher shall at his own risk and expense, and with due diligence, produce and publish the work at present intituled by and use his best endeavours to sell the same. 2. The Author guarantees to the Publisher that the said work is in no way whatever a violation of any existing copyright, and that it contains nothing of a libellous or scandalous character, and that he will indemnify the Publisher from all suits, claims and proceedings, damages and costs which may be made, taken, or incurred by or against him on the ground that the work is an infringement of copyright, or contains anything libellous or scandalous. 3. ‘The Publisher shall during the legal term of copyright have the exclusive right of producing and publishing the work in the United Kingdom, the Colonies, India and in the United States of America. The Publisher shall have the entire control of the publication and sale and terms of sale of the book, and the Author shall not during the continuance of this Agreement (without the consent of the Publisher) publish or allow to be published any abridge- ment, portion, translation, or dramatized version of the work. 4. The Publisher agrees to pay the Author the following royalties, that is to say :— (a) A royalty of ten per cent. (10%) on the published price of all copies sold (13 being reckoned as 12) of the British and American Edition jointly beyond 2,000 copies. (b) In the event of the Publisher disposing of copies 291 or editions at a reduced rate for sale in the Colonies, or elsewhere, or a8 remainders, a royalty of ten per cent. of the amount realised by such sale. (c) In the event of the Publisher realising profits from the sale of serial, Continental or other rights, or from claims for infringement of copyright, a royalty of fifty per cent. of the net amount of such profits remaining after deducting all expenses relating thereto. (d) No royalties shall be paid on any copies given away for review or other purposes. (e) The Author shall be entitled to six gratuitous copies, and any further copies required at trade price. (f) In the event of the Publisher deciding to re-issue this work in a cheaper form, the royalties payable to the Author upon such copies shall be the same as upon the English and American editions as hereinbefore stated, provided such do not exceed ten per cent. of the published price, which shall be the maximum, upon all copies sold (13 being reckoned as 12). 5. The Author agrees to revise the first, and if necessary to edit and revise every subsequent edition of the work, and from time to time to supply any new matter that may be needful to keep the work up to date. 6. The Author agrees that all costs of Author’s correc- tions and alterations in the proof sheets exceeding 20 per cent. of the cost of the composition shall be paid for by him. 7. In the event of the Author neglecting to revise an edition after due notice shall have been given to him, or in the event of the Author being unable to do so by reason of death, or otherwise, the expense of revising and prepar- ing each sueh future edition for press shall be borne by the Author, and shall be deducted from the royalties payable to him. 8. During the continuance of this agreement, the copy- right of the work shall be vested in the Author, who may be registered as the proprietor thereof accordingly. 9. The Publisher shall make up the account annually to December the thirty-first and deliver the same to the Author within three months thereafter, and pay the balance due to the Author on the same date. 10. If the Publisher shall at the end of three years from the date of publication, or at any time thereafter, give notice to the Author that, in his opinion, the demand for the work has ceased, or if the Publisher shall for six months after the work is out of print, decline, or, after due notice, neglect to publish a new edition, then and in either of such cases this Agreement shall terminate, and, on the determination of this Agreement in the above or any other manner, the right to print and publish the work shall revert to the Author, and the Author, if not then regis- tered, shall be entitled to be registered as the proprietor thereof, and to purchase from the Publisher forthwith the plates and moulds and blocks or plates of illustrations , (if any) produced specially for the work, at half-cost of production and whatever copies the Publisher may have on hand at cost of production, and if the Author does not within three months purchase and pay for the said plates or moulds, blocks or plates of illustrations, and copies, the Publisher may at any time hereafter dispose of such plates or moulds, blocks or plates of illustrations and copies, or melt the plates, paying to the Author in lieu of royalties ten per cent. of the net proceeds of such sale, unless the Publisher can prove from his books that the publication has resulted in a loss to him, in which case he shall be liable for no such payment. 11. If any difference shall arise between the Author and the Publisher touching the meaning of this Agreement, or the rights or liabilities of the parties thereunder, the same shall be referred to the arbitration of two persons (one to be named by each party) or their umpire, in accordance with the provisions of the Arbitration Act, 1889.  292 12. The term ‘“ Publisher ”’ throughout this Agreement shall be deemed to include the person or persons or Com- pany for the time being carrying on the business of the said John Lane, under as well its present as any future style, and the benefit of this Agreement shall be trans- missible accordingly. 13. The Author agrees to give the Publisher the offe of his next three books on the following terms :— : (a) On the British edition of his first book a royalty of ten per cent. (10%) on the published price of the first fifteen hundred (1,500) copies sold, and once per cent. (15%) on all subsequent copies sold. (b) On the British edition of his second book a royalty of twelve-and-a-half per cent. (124%) on the published price of the first fifteen hundred (1,500) copies sold, and fifteen per cent. (159%) on all subsequent copies sold. (c) On the British edition of his third book a royalty of fifteen per cent. (15%) on the published price © of the first two thousand five hundred (2,500) copies sold and twenty per cent. (20%) on all subsequent copies sold. 14. If the Publisher be successful in arranging for any one or all of the above books (clause 13 (a), (b), (c) ) to be published in the United States of America, he agrees to pay to the Author a royalty of ten per cent. (10%) on the published price of the first five thousand (5,000) copies sold, and fifteen per cent. (15%) on all subsequent copies sold in each instance. 15. It is understood that 13 copies be reckoned as 12 throughout this Agreement in accordance with the custom of the trade. As witness the hands of the parties. On the first and second clauses, no special remark need be made. It must be noted, however, that the words in clause 1 “ with due diligence,” as regards the date on which the book shall be published, do not, with sufficient accuracy, determine the point. The author’s interpretation may be very different from the publisher’s. In the interest of the author, to whom the date of publication may be of great importance, the date should be more definitely fixed by such words as “ on or before the day of , time to be of the essence of the contract.”” Clause 2 gives the publisher too much freedom. The author should have a certain amount of control over the costs which may be incurred by the publishers ; but as a tule in the case of an ordinary novel, it is not very likely that a claim for the infringement | Therefore, | of copyright would be brought. although from the legal point of view it is reasonable that the author should protect himself, yet, if he feels certain that his position is clear, he may sign the clause. Of course if he is to pay all costs of any libel action he will decide if such should be defended, the terms of any apology, and the conduct of the case. Clause 3 is a very important clause, and in it the author is giving to the publisher rights far beyond those the publisher should hold, especi- THE AUTHOR. ally when it is taken into consideration that in clause 4 the author is not to be paid a royalty until after the sale of 2,000 copies of the British and American editions. The publisher, in clause 8, should certainly be limited to publication in book form and to publication in the English language, and to publication at a fixed price or prices, and in fixed format or formats. It is advisable also, as a general rule, for an author to make an attempt to secure the American copyright for himself, but if he neglects or has failed to do this then the publisher should have the right to sellin sheets to the United States on proper terms. The other essential limitations as to the number of editions that the publisher should be allowed to publish, and as to the number of years during which the publisher should hold his licence have been explained at length in other numbers of The Author. Clause 4 deals with the payment of royalties. The author is entitled (a) to 10 per cent. after the number of 2,000 copies of the English and American editions have been sold. This method of payment by a deferred royalty is very dangerous for the author. Indeed, examples have been brought to the notice of the Society in which a publisher has printed only the fixed number of copies 6n which the author is not entitled to a royalty, and has then broken up the type so that it was impossible for the author ever to obtain a return from the sale of his book. This we are glad to say has not been the case under the present agreement, as the publisher produced at the first printing nearly 5,000 copies, and was certainly justified in doing so by the sales. Yet so far as the English and American editions are concerned, the author has not received a penny in royalties. That the author should, after the sale of 2,000 copies of the English and American editions, only receive 10 per cent. is wholly unfair. If, in his ignorance or folly, he allows such a large number to be sold free of royalty, the publisher will by the time that number has been reached, not only have got back his original outlay, but will also have made a good profit on the money invested. What stimulus is there to push the book further ? But if the book does sell further, then the author should be entitled at the very lowest to 80 per cent. of the published price on the next 2,000 copies and a substantial royalty after 4,000 have been disposed of. One method by which the author can protect himself, if he is foolish enough to join in this deferred royalty system, is to insist on the publisher producing  THE AUTHOR. a fixed number of copies considerably in excess _ of the number on which he is to receive no return, and to insist also on a clause in the agreement by which the publisher undertakes to advertise up to a fixed sum, and to vouch his advertisements. It is generally with the pait of wide advertising that the publisher tempts the author into the deferred royalty agreement. The next paragraph (b) in the same clause is entirely unsatisfactory. It is a matter of common knowledge that copies are sold to the colonies generally in sheets at a reduced rate, and on these copies, 3d, 4d., or even 5d. a copy is paid to the author. The sheets realise about 1s. or perhaps a little less. H they realise 1s. a sheet then 3d. a copy would be 25 per cent. If they realise 10d. a sheet then 3d. a copy would be about 30 per cent., so that when the publisher offers 10 per cent. on the amount realised he is offering a very low royalty indeed; even if the copies are sold cheaply bound in a special colonial edition, 10 per cent. is an exceedingly low royalty, but in no circumstances should the publisher be allowed to sell ‘elsewhere’? or ‘as remainders ” without some further limitations. He cer- tainly should not be allowed to sell the book as ‘remainders ” within three years from the date of publication, and the author should have the option of purchase at remainder prices. The next paragraph (c) is also greatly to the detriment of the author. The publisher should have no power to sell the rights mentioned without reference to the author, and in no _cireumstances should he be allowed to take as much as 50 per cent. for work that an agent would do for 10 per cent. If the author is willing to employ the publisher as his agent for the sale of these rights, then the clause should run somewhat on the following lines :— “Tf through the agency of the publisher any ' of the minor rights are sold, under an agreement signed and approved by the author, then, and in that case the author agrees to pay to the publisher 10 per cent. as agency charges on the amount due under the contract as and when received.” As the author’ should give to the publisher only the right of publication in book form, the question of the right of the publisher to sue for infringement of copyright will not rise, but the author should have the power in his own hands to take what action he thinks fit, though it is not unreasonable, should he be unwilling to take action, that some arrangement should be made by which the 293 publisher could take up the matter himself in order to protect his rights acquired under the contract. With regard to the next two paragraphs (d) and (e) a great deal could be written, but paragraph (f) is much more impoctant. The publisher of a work in 6s. form should not necessarily have the right to publish in a cheap edition at all unless he is a recognised publisher of booksinthat form. But if he has the right, then he should be limited in various ways. It should be clearly stated that he should not be allowed to publish in cheap edition within three years from the date of publication of the original without the sanction of the author. He should be bound to exercise the option within a certain time, say, four years in all. If he has not exercised his option, then his right of publication in cheap form should lapse, and should revert to the author. It is best, however for the author, whenever it is possible, to reserve the right of cheap publication, and only grant a licence to publish at a fixed price. Then again, it is a matter of great importance that the author should have a veto on the form in which the cheap edition will be published, for many authors dislike the more permanent form of cheap editions at 1s. or 7d., but are quite willing to allow their books to be produced at 6d. Again, some question has arisen about the extent to which a publisher may advertise in a 6d. edition. If the author has any special objec- tion to advertisements, he should guard against these in the agreement. To sum up on these two paragraphs, an author should bind the publisher to exercise his option of publication of the cheap edition within a certain time, and further should limit the publisher as to the form in which, and the price at which, the cheap edition should be produced. This is of increasing importance owing to the popular demand for cheap editions. Clause 5 is merely a case of careless drafting on the part of the publisher. The clause does not really refer to a novel, but as it happened to be in the agreement, the publisher never thought of taking it out. In clause 6 the amount that is allowed for corrections is not very liberal. Most pub- lishers will allow 25 per cent. of the cost of composition, and some publishers even more. Clause 7, again, like clause 5, has practically no reference to a novel. Clause 8 is superfluous and ill-informed. If the author only gives the publisher the exclusive right of printing and publishing  294 in certain countries, he is not thereby transferring the copyright, so that no special clause is necessary to point this out, and under the Copyright Act of 1911, all registration has been done away with. Clause 9 is unsatisfactory. A publisher ought to render accounts biennially, at any rate during the first two or three years from the date of the agreement while the book is selling freely. Clause 10, although it is a clause which has been approved by the Publishers’ Association, is drafted very indefinitely, and anything that tends to indefiniteness in a legal document is to be regretted. This remark refers to the words ‘‘if the publishers shall for six months after the work is out of print, decline, or, after due notice, neglect to publish a new edition.” To begin with six months is much too long, for if the publisher thinks there is any money to be made, he will not want to delay publication for as long as six months, whereas, if the author wants to reissue the book, he ought to get control long before six months have expired. While the term set out does not benefit the publisher, it is of considerable inconvenience to the author. Then the words “decline or after due notice neglect ” might lead to much difficulty, for the publisher might not directly decline to republish and might keep the author dragging on for a considerable period beyond six months ; and in thesame way he might not directly neglect to republish, or if he did it might be very difficult for the author to ascertain whether he had been neglectful. It / would be much better, therefore, to have a clause somewhat on the following lines :— “If after three months’ notice in writing, the publisher has not put on the market a new edition of at least 500 copies (Note, this number to show his bona fides), then the agreement shall be terminated and all rights therein shall return to author.” Here it is quite clear that at a certain fixed date, that is, three months after the notice has been given, the author regains command if the book has not been put on the market. Registration being no longer necessary, the words following in the same clause again show the unfamiliarity of the publisher with copyright law. Clause 11 is for a great many reasons very objectionable from the author’s point of view. If the publisher breaks his agreement and the matter is referred to arbitration, the publisher escapes from the publicity which is essential as a warning to other authors ; besides arbitration, especially in matters where points of law are concerned and not points of THE AUTHOR. fact, is as a rule unsatisfactory, and often very expensive. Every publishing agreement should be personal to the publisher, and it is a mistake, therefore, to allow such a clause as clause 12 to be inserted. Many authors might have no objection to their books being produced by the publisher with whom they sign an agreement, but in case of his death or bankruptcy, they might strongly object to the agreement being taken over by another publisher. It is necessary to say very little about clause 13. It is always objectionable for an author to bind himself to a publisher for more than one book, and it is more than objectionable that he should bind himself to a publisher for more than one book on fixed and inadequate terms. The publisher’s response is, “* Oh, but I can spend so much more on your first book in advertising, if I know that I shall reap the benefit by getting the publication of the second and third books.’? Note also that a similar remark may be put forward to induce the author to sign for a deferred royalty. The author should say, ‘‘ Will you undertake, in your agreement, to advertise my first and subsequent books to the extent of £ and to vouch these advertisements, should I think it necessary?” The publisher would in most cases refuse to do so. There is nothing left if the author accepts the position of this agreement but to trust in the good faith of the publisher. It has already been pointed out when dis- cussing the first sub-heading of clause 4, that if a publisher pays no royalty on the first 2,000 copies, there is a risk lest he should make no endeavour to push the sales beyond that point. The same danger arises here. A publisher, knowing that he has the next three or four books of the author, may not trouble to push the sales of the first book beyond such an amount as will bring him the return of his original outlay and a good percentage on his money. This is so much easier, where the publisher, as in the present case, pays no royalty on the first 2,000 copies sold. If any of the next three books prove a success the terms put forward are wholly inadequate. Any publisher, if a book is a success and runs into thousands of copies, would be willing to pay an author 25 per cent. from the beginning, with a considerable advance. Therefore, clause 18, even in ordinary circumstances gives all the advantage to the publisher, but if any of the books are a success he might make a con- siderable profit with but little return to the author. One more point: the date of pub-  THE AUTHOR. lication for the future works is not fixed. Now this is of vital importance to an author who is entering into other contracts for serial issue. Even if the date the publisher arbitrarily sets down for publication does not interfere with other contracts, it may for other reasons be wholly disadvantageous to the author. In clause 14 the terms which the publisher proposes for the American copyright are very unsatisfactory. It is much better for an author to have a separate agreement for publication of his American edition with an American publisher, than to allow the matter to lie in the hands of one publisher only. It has often been pointed out in The Author that a book published successfully in America will bring in to the author, even at a lower percen- tage, probably a much larger figure than it will bring in in England, because the circulation is likely to be so much larger. Now what has been the result of this agreement in actual practice? It would appear that the pubisher has sold some 3,600 copies in different countries and at different prices. As far as England and America are concerned, the sales are some 800 short of the number required to pro- duce a royalty. Out of the sales in other countries the author has made some £10 10s. Allowing that the publisher has advertised the book to a reasonable extent, he has made most probably 50 per cent. to 60 per cent. on his outlay. ——__———__+—>—_+_____ THE COMMERCIAL SIDE OF MUSIC. ACCOUNT CLAUSE. ——— + 1% the June number of The Author an article was published giving an account of the commercial side of music produc- tion, and a copy of the document that music publishers are in the habit of asking composers to sign was printed as a warning. The article explained that the document was not really an agreement in the ordinary sense of the word, as the composer assigned all of what he stood possessed and the publisher undertook practically to do nothing. Amongst the omissions. from the document was an ordinary clause for the delivery of accounts. This omission, even from the pub- lisher’s point of view, was foolish, because if the dates and seasons for accounting are not settled the composer would have the right to 295 claim a rendering at any reasonable time. But the very omission shows the off-hand manner in which the publishers treat those on whose brains they grow rich and prosper. When the attention of the Composers’ Sub- Committee was called to the omission, they instructed the secretary to write a circular letter to publishers pointing out that for their own sake as well as for the sake of the com- posers, it would be a good thing if some uniform arrangement could be come to. Accordingly the following letter was drafted and despatched to twenty-one well-known publishers :— Dear Sirs,—It appears that in many documents for the publication of their works which composers have been asked to sign, although they retain a continuing interes} by way of royalty, no formal account clause is inserted indicating when the accounts are to be rendered. As you may be aware it is the invariable custom of publishers of books to insert an account clause into their agreements. The Composers’ Sub-Committee of the above Society, therefore, have asked me to approach you in regard to this matter. They consider it would affect a great saving of the publishers’ time, and facilitate the business dealings of composers and publishers, if it were possible to come to some uniform arrangement by which publishers would undertake to render accounts at fixed dates. At present, no account clause being inserted, the composer is entitled to demand accounts from the publisher at any time, and as often as he likes, within reason; this position is clearly quite unsatisfactory. The Composers’ Sub-Committee suggest, therefore, that accounts should be rendered twice annually, made up to the 31st December and the 30th June, the accounts being rendered and the sum being paid within one month from these dates. If this suggestion meets with your approval, I should be much indebted to you if you would write me a letter to that effect, stating at the same time that you are willing to insert this clause in your agreements. The names of the publishers falling in with this sugges- tion, which is an eminently practicable one, will be pub- lished in The Author for the benefit of composers who are seeking to place their works. IT remain, Yours faithfully, From this list the following neglected to send an answer. The names are printed in alphabe- tical order so that there can be no claim to preference in discourtesy. Messrs. Chappell & Co., Ltd. Elkin & Co., Ltd. Keith, Prowse & Co. Metzler & Co. Reynolds & Co. Ricordi & Co. ,», Schott & Co. As the circular was sent out in the hope of making regular an acknowledged irregularity, and of simplifying and adjusting the relations 9° 9° 99 99 29  296 between author and publisher, there was every reason why the publishers should have welcomed the chance of meeting the composers in a fair way. It is pleasing, however, to state that twelve publishers, that is, the majority, did reply. Messrs. Novello & Co.’s reply was charac- teristic, and, as such, may be quoted in full :— “DEAR Srr,—We beg to acknowledge the receipt of your letter of the 22nd inst. “We are, Yours faithfully, ‘““NOVELLO & Co.” Messrs. Boosey & Co. beg to say that their relations with their composers are of a most amicable kind, and they see no reason whatever to make any alterations in their agreements. It is pleasant to think of those most amicable arrangements, but after all, rumours of dissatis- faction have been vibrating the air. As far as the latter part of the letter is concerned the circular asked for no alteration, but made a reasonable business proposal. The answers from the remaining publishers gave the information invited. It is satisfac- tory to composers to have the list of those whose agreements do contain the necessary account clauses; though it is not necessarily a logical deduction that because a publisher has not answered the circular, he is therefore lax in rendering his accounts. Messrs. Ascherberg, H opwood & Co. state that their accounts are made up half-yearly, on June 30 and December 31, and that these dates are mentioned in their agreements. Messrs. Augener state that it is provided in their copyright forms that “ royalties will be paid when the next succeeding edition is printed.” In answer to a further question as to the size of an edition they were kind enough to state “ that as a rule, according to their experience, they figure on printing a six months’ supply for a first edition and a one year’s supply for the following editions.” While the information that has been given is of undoubted importance to composers, still the method cannot be commended, and the very answer shows how necessary the action of the sub-committee has been. Messrs. Cary & Co. make up their royalty accounts January 1 and July 1, and discharge the same about two months later. Messrs. John Church & Co. reply that they have such a clause as the one indicated, i.e., half-yearly accounts, in their agreements with composers. Messrs. Curwen & Sons make up their accounts annually to May 81, and these are THE AUTHOR. rendered and paid within three months. This is stated in the agreement. Messrs. J. B. Cramer & Co., Litd., express their sympathy with the object the Society has in view. They have a clause in their agreements for half-yearly settlements. Messrs. Enoch & Son make half-yearly settlements to the end of June and December, but do not find it possible in every case to pay within one month. Messrs. B. Fieldman & Co. make a practice of paying royalties half-yearly, and do their utmost to make same up and settle in January and July. Messrs. Francis, Day and Hunter accounts and statements twice annually to June 30 and December 31, and render the statements and pay the amounts due within two months of the said dates, Messrs. Hawkes & Son state that two members of the Composers’ Sub-Committee for whom they publish are perfectly satisfied with their methods ‘ which, in point of fact, are a little more strictly business-like than that form requested by you.” It is to be regretted that this firm has not given information as to these methods. Messrs. Weekes & Co. enclosed a form of their agreement. (This is not the place to comment on the wording of the document.) Composers are referred to the June number dealing with transfer of copyright.) We desire ‘to express our thanks to Messrs. Weekes for their courtesy. The document states that a proper statement of account is rendered in the months of January and J uly. Messrs. J. Williams, Ltd., make settlements for all royalties due to composers and authors every six months (March and September). To sum up: Nine publishers have not answered the circular. They may include an account clause in their agreements or they may not. In some cases it is known that they donot. Of the twelve who have answered two give no information on the point, but ten have put forward full particulars, and out of these ten, nine render semi-annual and one annual accounts. The circular has been fully justified by the result and the answers will be of value to those composers who are negotiating for the production of their works. The sub- committee have to thank those publishers who have so readily and fully replied. prepare  THE AUTHOR. DRAMATISATION OF A NOVEL. INFRINGEMENT OF COPYRIGHT. Corelli v. Gray. N this action Miss Marie Corelli, the well- | known authoress, claimed damages and an injunction against Mr. George Gray to prevent him from performing a sketch entitled ‘“‘The People’s King,’’ which had been presented at certain variety theatres, on the ground that it was an infringement of the plaintiff's copyright in her novel, called “¢ Temporal Power.” The novel was written in 1902, and under the new Copyright Act the plaintiff's copyright includes the right of dramatisation. The defendant did not question the plaintiff's copyright in the novel, but alleged that the play was an adaptation or condensed version of an earlier play called ‘‘ In the King’s Name,” which he had written wholly independently of the novel and some eight years before the novel was published. There were numerous resemblances between the novel and the play in respect of the characters, situations, and dialogue ; and the defendant admitted _ similarities, but he described them as chance coincidences or “stock situations.” As an example of the similarities, it may be mentioned that in the novel a prince marries a princess for State reasons, and she tells him that she will do her duty to him and to the State, but that she cannot love him. The prince, after becoming king, joins a group of revolutionaries under the name of Pasquin Leroy. In the play, a prince marries a princess for State reasons, and she tells him that she will honour and obey him, but that she cannot love him. The prince joins a group of revolutionaries under the name of Leo Lerois. Again, in the novel the revolutionaries draw lots as to who shall kill the prime minister and the king, and before drawing lots they swear that whoever draws the signal to take a life proved unworthy shall be regarded by them as a sacred person. Leroy draws the king. He makes a speech, and then announces that he is ready to obey and that he is the king. In the play the revolutionaries draw lots as to who shall kill the two chief ministers and the king, and before drawing lots they swear that the life of whoever draws the sign of having to kill the king shall be held sacred. Lerois draws the king. He makes a speech and_then announces that he is ready to obey and that he is the king. 297 Other similarities were so substantial that it was obvious that the two compositions must have been taken from a common source, OT that one was copied from the other. The defendant, however, did not suggest any definite common source for the two works, other than the general common stock of ideas; and he expressly disclaimed in the course of the case the hypothesis that the novel was based upon his play, although he stated that he did not know what had happened to a second copy of ‘In the King’s Name” which he had lost at an early period in “‘a Flect Street hostelry.”” The defendant called witnesses to whom his earlier play had been read or submitted, but their recollection of the incidents in the play were necessarily extremely vague and they could remember little more than that it contained a floral scene, which had been one of the main reasons for the non- acceptance of the play, owing to the expense which it involved. Mr. Justice Sargant, in delivering judgment, commented upon the defendant’s evidence, which he regarded as unsatisfactory. * The defendant’s story,” his lordship said, ‘‘ falls very short of such a clear, consistent, and convincing narrative as would have been required to cast doubt on the very strong inference, amounting in my view to a practical certainty, which is to be deduced from the similarities in the two works ; and I am convinced that the defendant’s sketch has not been written independently of the plaintiff's novel.” His lordship granted the injunction and ordered an account of the profits to be taken and that the defendant should deliver up the copies of the play, which infringed the plaintiff's copyright, and pay the plaintiff’s costs. The issue in the case was a question of fact, but the judge made some observations on the law which may be quoted. “In the first place,” his lordship said, “it is fairly clear that under the new Act no absolute monopoly is given to authors analogous to that which is conferred on inventors of patents—that is to say, if it could be shown as a matter of fact that two precisely similar works were produced wholly independently of one another, I do not think that the author of the work that was published first would be entitled to restrain the publication by the other author of that author’s independent and original work. The right appears to be merely a negative right to prevent the appropriation of the labours of an author by another. The second observation is this, that the onus 0  298 establishing appropriation, of course, rests upon the plaintiff.” Haroutp Harpy. Oo RIDGE v. THE “ENGLISH ILLUSTRATED MAGAZINE” (LIMITED). R. W. PETT RIDGE, on the 12th in- oe stant, obtained a verdict and sub- stantial damages (£150) against the “English Illustrated Magazine,” Ltd., for pub- lishing under the name of “ W. Pett Ridge ”’ in their magazine a short story called ‘‘ The Man who had a Conscience,” which was not the work of its reputed author. This story bears no comparison to the genuine work of Mr. Pett Ridge, although obviously intended to imitate it, and, being very inferior, was necessarily injurious to the plaintiff's reputation as a writer, On this head Mr. Jerome K. Jerome, who gave evidence on behalf of Mr. Pett Ridge, was emphatic. He explained to the jury that, if he were still a magazine editor planning out for the future, he should, after reading ‘“‘ The Man who had a Conscience,’”? have dismissed any idea of applying to Mr. Pett Ridge for contri- butions. The one conclusion to be arrived at by reading the story was that Mr. Pett Ridge had had an illness or something which had left him unfit for further work. How the tale came to be published was graphically detailed by the temporary acting editor of the defendant company’s magazine. The manuscript was received by post, signed “'W. Pett Ridge,” and giving an address in Bournemouth, but without any covering letter. The defendant’s witnesses readily admitted that the story was not up to Mr. Pett Ridge’s level of excellence, and, in consequence, they offered, and the writer accepted, as his remu- neration, a sum of two guineas for eighteen columns ! As long ago as August last the writer of the story (whose name was not Pett Ridge or any- thing like it) wrote to the editor of the defen- dant company’s magazine advising him that “The Man who had a Conscience ” was not the work of William Pett Ridge; yet, notwith- standing this disclaimer, the editor, apparently acting under instructions, failed to apologise, or make any reparation in respect of the publication of the story. The plaintiff consultéd the Society of Authors and, as a consequence, this action was brought. THE AUTHOR. The grounds upon which the plaintiff’s claim was based were that he had been libelled in his profession as a writer and that the defendant company had passed off on the public as the work of an author of reputation the feeble attempt of an obscure penman. The Judge (Darling, J.) ruled that in law, on proof of both or either of these allegations, the plaintiff was entitled to a verdict, and, after an absence of twenty minutes, the jury returned a verdict for the plaintiff with £150 damages. The allegation of libel was interesting and novel. Obviously to call Mr. Pett Ridge “ a com- monplace scribbler ”’ was a libel, but the prin- ciple was extended in this case, it being held by the Judge that, if the jury came to the con- clusion that the natural consequence of anyone reading “The Man who had a Conscience ” would be that the reader would put the writex down as a mere commonplace scribbler, then equally a libel had been published against Mr. Pett Ridge. ——_1—»—. MAGAZINE CONTENTS. en UE British Review. The Origin and Significance of Profanity. By A. E. Beath. Herr Nikisch and “ The Ring.” By Sir Home Gordon Hart. CoNTEMPORARY. Glimpses of Thomas Carlyle. By Percy Fitzgerald. ENGLIsH. Writing Novels. By Arnold Bennett. Our “ atenphaly * Hymnal. By Professor W. H. D. Rouse. The Correspondence of Nietzsche with Brandes. FortTNIGHTLY. Lord Cromer on Disraeli. By Wilfrid Ward. Realistic Drama (11). By W. L. Courtney. Mr. Masefield’s Poetry. By Gilbert Thomas. The Death of Satire.” By Herman Scheffauer. The Chinese Drama, Yesterday and To-day. Corbe tt-Smith. By A. SCALE FOR ADVERTISEMENTS. ee [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT.} Front Page nse aes £4 0 0 Other Pages % ve we 8 O° Half of a Page .., = 2 00a Quarter of a Page - O18 6 Eighth of a Page tes es ase « 0 7 0 Single Column Advertisements perinch 0 6 0: Reduction of 20 per cent. made for a Series of Siz and of 25 per cent. for Twelve Insertions, All letters respecting Advertisements should be addressed to. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C.  THE AUTHOR. HOW TO USE THE SOCIETY. ot 1, VERY member has a right toask for and to receive EK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 8. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of thesafe. The Society now offers : (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are Tecommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members, 8. Some agents 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. ———_1— 2 —___—_ WARNINGS TO THE PRODUCERS OF BOOKS. + ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I, Selling it Outright. This is sometimes satisfactory, ¢f a proper price can be 299 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. Sa 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. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production, (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong tothe 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____——_- WARNINGS TO DRAMATIC AUTHORS. + — EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2, It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills,  300 (b.) Sale of performing right or of a licence te perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum in advance of percentages, A fixed date on or before which the play should be performed. (¢.) Sale of performing right or of a licence to perform on the basis of royalties (ie., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect, The other safeguards set out under heading (.) apply also in this case, 4. Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent, It is extremely important that the amateur rights of one-act plays should be reserved, 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important, 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration, 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced, 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning, 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication, As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. +. REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —1—~ Ne eee typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary ora qualified assis- tant. One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR, DRAMATIC AUTHORS AND AGENTS. ++ RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage’ on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ————_-—>— WARNINGS TO MUSICAL COMPOSERS. ITTLE can be added to the warnings given for the iL assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above, ————_+—~@—- STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ——————_1— >. THE READING BRANCH. ++ EMBERS will greatly assist the Society in this Vi branch of its work by informing young writer: of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but Poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —_————+— REMITTANCES. —_— The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only,  THE AUTHOR. COLLECTION BUREAU. —_+—< ag due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 9. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amonnt passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. A. REYDING. WALTER C. JORDAN. Amsterdam New York The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. —— Mempers of the Society are reminded that The Author does not appear in August or September. The next issue will be published on October 1st. Str JAMES BARRIE, BART. We must congratulate Sir James Barrie on the honour conferred upon him on the King’s birthday, an honour justly deserved. Sir James represents both sides of the profession, the literary and the dramatic. His ‘‘ Margaret Ogilvie ” on the one side and “Peter Pan” on the other have already shown that they can stand the test of time. We do not desire to criticise his position either as a writer of books or as a writer of plays, this has been done by abler hands, and the title that has been offered and accepted is the best criticism ; but if there is a point which is especially evident in all his work it is his sincerity, and sincerity is the nearest answer to that great unanswered question ‘‘ What is Truth?” The record of his books and of his plays is a long and honourable one. In this connection we should be glad to 301 ask one question : Did he write that delight- fully amusing article “ The Battle of Rupert Square” ? and, if so, where is it possible to obtain a copy? Perhaps Sir James will himself reply. Tue Eruics oF ADVERTISING. WE print on another page of this issue, on the instructions of the Committee of Management, an article that appeared in the March, 1911, issue of The Author, entitled ‘On the Ethics of Advertising.” The attention of members is again drawn to the issues as, from information recently laid before the Society, it seems that there has been no abatement of the annoyance referred to, namely, that publishers, uncontrolled in their contracts as to the manner of reproduction have reproduced these cheap editions of novels, not only with advertisements at the beginning and at the end, but opposite the final pages of the literary matter. The question really resolves itself into one of contract, and we should like to repeat the advice that has been given to so many mem- bers of the Society with regard to cheap editions. First, that no author should allow the publisher to produce his novel in a cheap edition unless he is a recognised reproducer of cheap editions; the reason being that pub- lishers who are not accustomed to reproduction in this form cannot give the same price that those publishers can give who make cheap editions part of their regular business. Secondly, if the publisher is given the right of reproduction in cheap form, then he should not be allowed to use that right, without the sanction of the author, within three years from the date of publication of the original, and if he has not exercised his option within four years from the date of publication of the original, then the right should return to the author, who should have the right of placing the cheap edition elsewhere. This statement is made, of course, on the understanding that the author desires and is willing that the book should be produced at all in a cheap edition. It pays some authors much better never to have their books produced in this form at all. Then, if the publisher exercises his option, he should be bound as to the price at which, and the form in which, the cheap edition is to be put on the market. These points are all of vital importance, because the 6d. paper edition is usually read and thrown away, but the 7d. cloth-bound edition is usually placed on the  302 shelves and read again, or lent to other readers. It will be seen, therefore, that it is more satis- factory for the author to have the book in the 6d. paper edition, which is destroyed when read, than it is to have it in a cloth-bound edition with the probability of the work being passed from one reader to another. Now we come to the important point con- tained in ‘‘ the Ethics of Advertising.”” When the form of the cheap edition is settled by a clause in the agreement, it must at the same time be settled whether the publisher is to be allowed to advertise in the cheap edition, and whether he is to be allowed to let his adver- tisements run opposite the literary matter. Those who desire to uphold the dignity of literature will prefer no doubt that no adver- tisements should appear ; those, however, who take the financial standpoint might allow advertisements to appear ; but while the former might have to forego some of his royalties, the latter would see that his royalties were increased, as the cost of production is decreased through the insertion of advertisements. The practical issue, therefore, of the whole discussion is that the only method by which the author may protect himself is by the neces- sary clauses being inserted in his agreements. Kither the publisher must be forbidden to advertise, or he must be allowed to; but whether it is the one or the other, the point must be settled in the agreement, and the royalties must be fixed accordingly. Dramatic Prracy In THE U.S.A. Mr. Water Jorpan, the dramatic agent of the Society in New York, has forwarded a cutting from the New York Review, containing details of the conviction of Mr. Byers. His conviction was the result of a crusade of the International Association of Theatrical Reproducing Managers. Byers pirated under the name of the Chicago Manuscript Company, and kept a force of stenographers for copying MSS. of plays, which he supplied to all those who sought them. Practically any New York “hit” could be bought for $5. Byers in his catalogue quoted for most New York “hits” at that figure, but cautioned his purchasers that there might be occasions when it would be wiser to change the title of the play. The conviction of Byers, it is hoped, will practically stop any future piracy of a similar kind. The Society of Authors had one or THE AUTHOR. two cases of a similar kind in England, but although this form of piracy did exist, it was not of such a universal character as in Chicago, THE CONGRESS OF THE Hacur. THE International Literary and Artistic Association will this year hold its 33rd Congress at the Hague from the 16th to the 19th of July. Further information can be obtained from M. A. Taillefer, 215 bis, Boulevard Saint- Germain, Paris. Tickets for the Congress cost members of the Association twenty frances, members of their families accompanying them ten franes, and those who are not members of the Association forty franes. The meetings will take place at the Hotel d’Orange, Scheveningen. The following sub- jects are included in the programme. Annual report on literary and_ artistic copyright. An examination of the reservations made by various States in their adhesion to the Con- vention of Berne, revised at Berlin. Conditions of reproduction of objects of art exhibited in museums and exhibitions. The author’s in- alienable right. Protection of national monu- ments. After the conclusion of the Congress of the Hague the Association proposes to hold one or two meetings at Ghent, respecting which notice will be given. —+~»— ANY CRAFTSMAN. ——+-—~<> + —_ (From the Atheneum.) AM ground down too hard by poverty : I This that I do I would’ do well; and take Time to the task; this that I make would make Not all unworthy, lest the dead men see— Those great forerunners who have left to me Their high tradition. I would keep awake My honour—for my own and all men’s sake, And let the work before the wages be. “So be it then,” doth this hard age reply, “You know the cost! ” Ah, yea, the craftsman knows : Some things well done—but poverty thereby ; One hour of joy—and many an hour of woes When he can scarce draw solace from the sky, And seeth sorrow even in the rose. FREDERICK NIVEN.  ' 2 THE AUTHOR. ALFRED AUSTIN. — O* June 2 the Poet Laureate died at the age of seventy-eight. The Society must regret the loss of one who, since 1889, supported its aims and objects with practical sympathy. He was on the Council of the Society, but resigned from that body on his appointment as Poet Laureate. What his reason may have been it is now impossible to know. It may be he considered that it would be contrary to precedent for the Laureate to hold any position on the Council but that of President. The presidency, as all members know, after the death of Lord Tennyson, had been conferred on Mr. George Meredith. Accordingly, with regret, the committee accepted his resignation, but he still continued as a private member his support of the Society’s aims up to the day of his death. He published many volumes both of verse and prose; his most forcible method of expression coming from his keen love of the beauties of the country and country life. He was a man of warm affection for the fellow-members of his profession, as those will remember who have heard him speak among and to his brother authors. He felt very keenly—indeed, it may be said he was over-sensitive—the criticisms that were made concerning his poetry and his appoint- ment; but as he had been a critic himself, he could hardly have expected to escape unscathed. It is sad to see the goodly number of those who made their names in the Victorian era grow less and less, and it is sad to see the early members of the Society, who gave it their support in the days of storm and stress, grow fewer and fewer. a LORD AVEBURY. E mourn in Lord Avebury one of the oldest members of the Society of Authors, for he had been a member of our body nearly since its foundation. He was among our most loyal supporters, serving as chairman of the Nobel Committee, and sitting on the council for some twenty years. Lord Avebury’s death, in his seventy-ninth year, was not altogether unexpected ; it occurred, as a sequel to a severe attack of influenza, on May 28, just as the June issue of The Author 303 was in the press—hence the belated character of this notice. Lord Avebury was born in 1834, and went straight from Eton into his father’s bank, but although he mastered all the details of the banking business, and became indeed . an authority in financial circles, he found time to develop both his great proclivities for natural history and his strong sense of the duty that lies upon prominent citizens to discharge public services. It is mainly to his scientific work, of course, that we owed his co-operation at the Society of Authors, for as an author he is chiefly known by his entomological researches. His observations, in particular, upon bees and ants were recognised as veritable contributions to our knowledge, and it was more especially for these that he was elected a Fellow of the Royal Society. He was a really great entomo- logist, but his scientific versatility and erudi- tion were also displayed by his writings on ethnological and _ geological subjects. His earliest work, ‘‘ Prehistoric Times,’ must have proved the introduction to systematised archeology for many readers in the ’thirties and "forties, while the books entitled respectively “The Scenery of England ” and ‘« The Scenery of Switzerland ’’ were founded on a curiously intimate knowledge of geological rules and phenomena. Outside a purely — scientific audience Lord Avebury gained the appreciation of a large public by his books ‘‘ The Pleasures of Life,” ‘“ The Use of Life,” ‘‘ The Beauties. of Nature,” and a little volume called ‘‘ The Hundred Best Books”; all these works received the reward of an enormous circulation, and promoted a public appreciation of their subjects which was both gratifying and lucrative for the author. Lord Avebury was President of the British Association in 1881. As a man of affairs Lord Avebury occupied throughout a long life a conspicuous position. He succeeded to the Lubbock baronetcy when about thirty years of age, and shortly after- wards entered Parliament as Liberal member for Maidstone; but in 1880 he became mem- ber for the University of London, whose Vice- Chancellor he had been previously, and retained the seat for twenty years, being made a peer in 1900. : In Parliament he was a recognised authority upon. all educational questions, while he was responsible for two Acts, that under which statutory bank holidays were appointed, and that regulating hours in shops, which have incaleulably increased the happiness of com- mercial and industrial workers. As a banker he was secretary of the London Bankers’  304 Association for a quarter of a century, Presi- dent of the Association of Bankers, and the first President of the Institute of Bankers, while he was also at different times President of the London Chamber of Commerce and the London County Couneil. This is a brief note upon a very full and important career, but already many biographies have made the life of Sir John Lubbock (to give him the familiar style) well known to our readers. The Society have lost in him an influential friend, and this is what we wish regretfully to record. mg eS UNITED STATES NOTES. —+~@+—__ HERE has been a good deal of groaning recently over the growth of the “ 50- cent reprint” in this country—groan- ing which, of course, finds an echo in Great Britain, where a similar problem has to be faced. The full case against the reprint was eloquently stated, at the recent annual con- vention of the American Booksellers’ Associa- tion in New York, by Mr. Christopher Grauer, of Buffalo, one of the executive committee of the Association. Mr Grauer naturally spoke from the bookseller’s point of view—which is only one of four, since there are also to be considered the author, the reading public, and the publisher. It would searcely be in place, and it certainly would require more space than I have at my disposal, if I were to attempt to go fully into the question here. But I may mention that what Mr. Grauer thought desirable, was that a time-limit of three years from original publication should be established, within which no cheap re-issue of a book should be allowed, while the 25-cent reprint was to be fought tooth and nail. To those who are accustomed, as you are in Britain, to the 1s., 7d., and 6d. editions, the latter statement may sound strange; but in the States the regular 25-cent line of novels has yet to be established, though the 50-cent books occupy a more important place every year. Optimists deny that the reprint has really a bad effect on the new book, and claim that, with certain writers at least, the sale of the 50-cent work actually stimulates the demand for new works when they appear. Which argument, alas! does not comfort those authors who have not yet succeeded in getting into a cheap edition, however it may satisfy the writer of even one “ best-seller,” THE AUTHOR. Since last I wrote, by the way, the full list of best-sellers for last year has appeared, com- piled from the lists in the Publishers? W eekly. From this the strong position of native fiction- writers in the States is evident, the top six places being occupied by “The Harvester ” (Stratten-Porter): “ The Street Called Straight ” (King); “ Their Yesterdays” and “ The Win- ning of Barbara Worth ” (Wright); ‘ The Melting of Molly ” (Daviess) and ** A Hoosier Chronicle ” (Nicholson). In non-fiction, how- ever, foreign competition is severely felt, for the first six are ‘‘ The Promised Land ” (Autin), “The Montessori Method ” (Montessori), “South America” (Bryce), “A New Con- science and an Ancient Evil ” (Addams), “ Three Plays ” (Brieux), and “ Your United States ” (Bennett). Coming now to the works of to-day, we find the usual plethora of novels, from which it is very difficult to make a selection. Here, however, are some of the leaders: the late Vaughan Kester’s “John o’ Jamestown ” ; Reginald Wright Kauffman’s “ Running Sands’; Upton Sinelair’s “ Sylvia’; Ellen Glasgow’s “ Virginia ” ; Thomas Nelson Page’s “The Land of the Spirit’; Willa Sibert Cather’s ‘‘O Pioneers ! *”; Randall Parish’s ‘ The Air Pilot ” ; Eleanor Kelly’s “ Toya the Unlike’; P. Vv. Mighels’s ‘‘ Hearts of Grace ” ; John Luther Long’s “ War”; Louis Tracy’s “One Wonderful Night’; Owen Johnson’s * The Sixty-First Second ” ; Cyrus Townsend Brady’s ‘“‘ The Fetters of Freedom”; Justus Miles Forman’s “ The Opening Door ”’ ; Irving Bacheller’s ‘‘ The Turning of Grigsby ” ; Zane Grey’s “The Desert Girl *”; Winston Chur- chill’s “‘ The Inside of the Cup”; Joseph C. Lincoln’s “‘ Mr. Pratt’s Patients’; Nathaniel Fowler’s “The Knockers’ Club ” ; John A. Moroso’s ‘‘ The Quarry ”; Elizabeth Dejeans’s “The House of Thane ”’ ; J. R. Scott’s “‘ The Unforgiving Offender ”; Will Levington Com- fort’s ‘“‘ The Road of Living Men ’”’; George Randolph Chester’s “ Wallingford in his Prime”; Henry Russell Miller’s “ The Ambi- tion of Mark Truitt”; Harold Macgrath’s “ Parrot & Co.”; Charles Sherman's @ The Upper Crust ” ; Grace Lutz’s “ Lo Michael ! ” ; Nina Wilcox Putnam’s “ The Impossible Boy ” and E. D. Biggers’ “‘ Seven Keys to Baldpate.” In biography, “‘ Mark Twain and the Happy Island ’’—which is Bermuda—may be put first, the author being Elizabeth Wallace. “ La Follette’s Autobiography ” is by the well- known Senator. George L. Clark’s “ Silas Dean ” deals with a Connecticut leader in the Revolution. ‘‘ The Life and Letters of Genera]  THE AUTHOR. George G. Meade ” is edited by the General’s son, who bears the same name. * Pickett and His Men” is history rather than biography, and comes out appropriately in the fiftieth anniversary year of the battle of Gettysburg. The author is Mrs. La Salle Pickett, widow of the General. Another Gettysburg book is by Elsie Singmaster, and is entitled “* Gettysburg : Stories of the Red Harvest and the Aftermath.” “A Naval History of the American Revolu- tion,” by G. W. Allen, goes further back, while the Rev. H. W. Jones’ ‘“‘ Battle of Santiago 2 brings us almost to modern days: The Philippine Problem,’ one of the results of Santiago, is dealt with by F. C. Chamberlain. There are a fairly large number of books which may be classed as sociological : “ Crowds,”’ by Gerald Stanley Lee; “ Starving America,’” by A. W. McCann; ‘‘ The Immi- grant Invasion,” by Julian Warne; “ Syndica- lism, Industrial Unionism, and Socialism,” by John Spargo; “ American Syndicalism,” by J. G. Brooks; “A Short History of the American Negro,” by B. G. Brawley ; and ‘Woman's Share in Social Culture,” by Anna Garlin Spencer. Professor Max Farrand writes of “The Framing of the Constitution of the United States,” and Professor C. A. Beard of “An Economic Interpretation ”’ of that Con- stitution. Another Professor, Ernest Freund, treats of “The Police Power” in America. “<The Electoral College,” by J. Walker Hol- combe, may also be mentioned here. Whether James G. Haneker’s “ The Pathos of Distance ” should be counted with philosophy or with the essays is doubtful. Under the latter heading comes “‘ The American Spirit,” by O. S. Strauss, and it may perhaps be stretched to include Dr. Lyman Abbott’s “‘ Letters to Unknown Friends,”’ most of them reprinted from the Outlook. But certainly the most brilliant example of the essay is Professor George Santayana’s “ Winds of Doctrine,” a work which cannot but fascinate many who wholly disapprove of the views expressed. George Palmer Putnam, in his ‘‘ Southland of North America,” writes of the Central American States. In ‘Alaska: an Empire in the Making,” J. J. Underwood goes to the Far North-west, and ‘ Hawaii, Past and Present ” is described by an American born and educated in that part of the world. “ Zone Policeman 88,” by H. A. Frank, relates to the Panama Canal. ‘Our Neighbours the Japanese,” is by J. K. Goodrich ; and Adelaide Mack has added another to the appreciations of ‘‘ Magnetic Paris.” Three Nature books are : “Our Vanishing 305 Wild Life,” by W. T. Hornaday ; ‘* In Beaver World,” by Enos A. Mills ; and ‘‘ Seeing Nature First,” by C. M. Weed. ‘ The poets seem to be going through a period of inactivity, but Max Eastman has not only produced “ A Child of the Amazons, and Other Poems,” but also a work on “ The Enjoyment of Poetry.” The obituary list is happily not very large since last these notes appeared. At the end of March, Joseph Newton Hallock, editor of Christian Work and author of many religious books, died at Brooklyn. On April 27, Dr. Andrew Sloan Draper, State Commissioner of Education, ex-President of Illinois University, and author of ‘“‘ American Education,’ etc., succumbed to heart disease. On May 11, Francis Fisher Browne, editor of The Dial, died in a Californian sanatorium, after a long illness, aged seventy. His best-known work, outside The Dial, was his “ Everyday Life of Abraham Lincoln.”’ He wrote verse himself, and made also several collections from English and American poets. In the notice of his death in The Dial itself it is pointed out that he conceived, projected, and for nearly a third of a century conducted that journal. John Sergeant Wise, who was a barrister as well as a writer, and had formerly been a soldier, died on May 12. Among his books were ‘‘ Recol- lections of Thirteen Presidents.” In mid-May the deaths occurred of John Hays Gardiner, ex-Professor at Harvard, and author of ‘‘ The Bible as English Literature,” “ Forms of Prose Literature,” etc.; and of William Henry Larrabee, a writer on popular science and at one time editor of The Methodist. Purp WALSH. eae ON THE ETHICS OF ADVERTISING. ++ NE of the members of the committee of () the Society proposing the health of the publishers at a dinner, declared that it gave him great satisfaction to do so, as publishers were the most modest of mankind, for, he always understood they never advertised —at least authors told him so. There are cases, however, in which publishers do advertise, but in the wrong quarters, and in an objectionable manner. Complaints have come to the Society that publishers advertise by inserting their own catalogues of books at the end of 6s. novels or at the end of other books. This to some  306 authors has been exceedingly annoying, but the form of agreement between the author and the publisher has precluded the former from taking any action. Indeed, in a case of this kind, it may be a little pedantic to object. When, however, the publisher not only adver- tises his own wares at the end of the book, but canvasses for advertisements from soap and pill manufacturers, as often happens in the case of cheap editions, then there is nothing pedantic in the author’s objections. As the issue of a cheap edition is seldom less than 20,000 copies, there is no doubt that the publisher takes this course in order to keep down the cost of production and to enable him to put some extra profits into his own pockets. The question of advertisements of the publisher’s own books may for the time be set aside, for though, in ‘the eyes of some authors, they may spoil the appearance of the issue, whether cheap or expensive, they are, at any rate, advertisements of books. But to other advertisements two objections might be raised—first, the ideal, secondly, the practical. From the author’s point of view it might be rightly argued, first, that the advertise- ments of pills, soaps, toilet powders, ete., might damage and perhaps destroy the dignity of the work that is being put on the market ; secondly—the practical point—that if it is the intention of the publisher to obtain a large number of advertisements to fill up the beginning and the end of the book, he will thereby obtain considerable sums of money, and that the author should be entitled, therefore, to a larger payment on the cheap issue as a fair reward for his larger popularity. There is, however, a more disastrous method of advertising which has been adopted by some publishers in producing cheap editions, namely, the introduction of advertisements on pages facing the literary matter of the book. The same arguments put forward against the ordinary advertisements would hold good here also, but with trebly increased force ; first, that this method of advertising destroys entirely the dignity of the production; and secondly—the practical—that as a larger fee can be obtained for advertisements facing matter than for ordinary advertisements at the end of the book, therefore a still larger pay- ment should be made to the author. Whatever view is taken, the ideal or the practical, it seems quite clear that, under the clause which is not uncommon in publishers’ agreements affecting the publishers’ control THE AUTHOR. of the style and manner of the production of the work, the author would have little power to object. Publishers are, of course, trades- men, and look upon the production of books as any tradesman would look upon the produe- tion and sale of other articles of commerce, It is natural that they should look in the first instance to the profits, and, in consequence, it is not surprising that these methods of adver- tisement should be employed. Members of the Society of Authors must be cautioned in the first place not to let the right of reproduction in cheap form lie with the publisher who produces the 6s. book. There should always be a separate contract for the right of repro- duction in cheap form, as it is often important for financial reasons that the same publisher should not have the control of both. Secondly, in a Separate contract for the publication of a book in cheap form, the author should take particular care to insert a clause, if he desires to maintain the point of view of the dignity of literature, that adver- tisements are not to be inserted, save with his sanction, and in no circumstances facing the literary matter. If he desires to deal with the practical side, he should see that he obtains a share of the profit which, owing to the popu- larity of his work, may be derived from the advertisements. The author should be especially careful, if he is unable to keep the reproduction in expensive and cheap form separate, that these clauses should be included in the one agreement which deals with both issues. THE LETTERS OF AN ORDINARY AUTHOR. ee Collected and edited by Joun Hasterrte. v. To T. Vibert, Esq. Martins CorraGeE, SANTOLLER, Bucks. Dear Tommy,—As one who has passed through that phase of the craft which begins with hope, continues in suspense, and ends with an unfavourable decision—to be continued in your next (venture)—you shall be the first to hear that some misguided firm has at last agreed to take my first full-length work, ‘“‘ The Topmost Bough.” It is true! I have signed an agreement with Messrs. Aldine and Elzevir, and the joy of the 6d. revenue stamp still lingers with me.  THE AUTHOR. Now that I have signed, I wish I had delayed, and asked you to look through the document for me. I have some knowledge of these things, a share of the sense called common, and a full sense of my own value—but, no novice is fitted to cope unassisted, with the pure man of business. I hate to bore you with questions of “‘ shop,” but T must unburden myself of a few details, and hope you will let me know if I have “ let myself in”! I think it was Carlyle who said something about cash being an insufficient nexus between man and man; it seems to me that it is nota bad one between author and publisher. To the cash then! The royalty they offer me begins with 10 per cent. It does not seem very big, but, of course, it is on the nominal price of the novel, and works out at about 17 per cent. on the price the publisher obtains per copy. I don’t grumble at that. A first novel is a speculation, and a greedy author is as bad as a greedy publisher—worse, for he is supposed to have some ideals. After 2,000 copies have been sold, I am to get 15 per cent. I can hear you saying that the 15 per cent. side of the affair need not trouble me. I have the same feeling, but hope buoys me up. I don’t think I have done wrong in agreeing to these terms now. Later on, if I get the ear of the public, I shall hustle for the bigger loaves and fishes. Now comes a clause which I swallowed with reluctance. The MS. has been out so often that I dare not hold back. This clause seems to give my_ publishers the marketing of American rights. Didn’t you tell me once that American book rights can be negotiated on one’s own; that it may often pay one better to market the U.S.A. book rights separately ? My common sense tells me that you are right. At the same time, there are occasions when a publisher can place your novel on the other side of the ocean more easily than you, the author, can. A first novel, I imagine, is one of these cases. Another clause commits to my publishers the Colonial rights. I feel more comfortable about this. I don’t think the beginner can do much alone in the Colonies. Publishers don’t seem to compete very eagerly for the mere colonial rights of a first novel, do they ? I hesitate rather before telling you that I have signed away serial rights. I know you will tell me that serial rights are worth money, and should never be thrown in for a 50 per cent. consideration. I do know that the average publisher cannot sell serial rights 307 for half the prices agents can procure. But my difficulty will explain much to you. it 1 stand out for all my rights, the publishers will probably return my MS. I cannot afford to lose a chance of getting into the novel market. Let this excuse soften your inflexible soul— also the fact that ‘“‘ The Topmost Bough”? is not quite adapted to the serial market. All books cannot be serialised, though a great many tales that are now published, in the first instance, as books, could have been sold profit- ably to the editors of periodical fiction. I assure you that I would have tried my novel with them if I had thought it publishable in instalments. There was one clause which I could not swallow. The inference I drew from it was that the average author must be a man with a big bank account, and a more considerable store of patience. It suggested that accounts should be made up half-yearly ; that accounts should be furnished to me three months later ; and that payment of the accounts should be made—well, three months later again! I have never been able to understand why accounts should be left to mature in the publisher’s hands, as if they were pints of wine and the publisher a bottler. It seems to me that it would be just as easy for the accounts to be forwarded when made up. What do you think ? At any rate I had no mind to wait six months before receiving the shekels. I pointed out, with some timidity, that I was not the first cousin of a millionaire. I waited in fear and trembling for the reply. Thank Heaven! it was quite amiable. I was not able to get what I wanted, but managed to split the difference. My accounts are to be presented—happy word—within a month of making up, and paid within another month. By the way, I have received a letter from a dear old uncle, congratulating me, and sug- gesting that I must interview the reviewers at once. He enclosed a cheque for £20, and hoped that I would drive a hard bargain with them! Dear old soul, how amusing is the ignorance of the outsider. He believes, as do others, I hear, that you pay the reviewers to praise your novels ! Here’s a problem like that set in the ladies’ papers: “‘ Ought I to keep the cheque ? ’’ I have solved the problem, I may say ! Like a good soul, do let me hear what you think of the agreement. I have taken up all available space with it ; only leaving room for the hope that Mrs. Tommy is in her usual excellent health, and that the young Tommy  308 is becoming aware of your temperamental aversion from sudden howls ! I remain, Ever yours, RoBert WYVERN. VI. To T. Vibert, Esq. Marins Corrace, SANTOLLER, Bucks. Dear Tommy,—I was glad to hear from you. Your letter was salutary. It has quite mastered my new born belief that I have in me the making of a business man. Peccavi! I was an ass to give up my serial and American rights in ‘ The Topmost Bough ” for a mess of 50 per cent. pottage. You say that publishers will try a novel with three or four U.S.A. publishers, and failing these, will either drop the business, or try to sell a few hundred sets of sheets, for which the author will receive a few paltry pounds. After reflection, I agree to that asa general principle. But there are a few righteous men even in the publishing trade—your publisher, for instance, and Messrs. ,» and also Messrs. Some day I hope to settle myself on the lap of these, and then all will be well. Yet I admit my present fault. For the future “I will be good.” I shall set out again, armed with your useful advice. Again to work. A new novel calls me. What about employing a new agent ? What are your views on agents anyway ? Yours affectionately, Ropert WyYvERN. oe GABRIELE D’ANNUNZIO. t is very difficult to deal with d’Annunzio as one would with an ordinary writer, for his works are not meant for the masses, and would be gall to the conventional-minded mediocrity, and poison to the spiritually inclined. To be really in sympathy with his views it is necessary to be by hature a d’Annun- zian, just as to fully appreciate Nietzsche one must be born a Nietzschian. There is an innate similarity between these writers, for the latter said: “ L’homme doit étre élevé pour la guerre, et la femme pour le délassement du guerrier (and) la vie est une source de joie,” and the former insists upon it to such an extent that, from his earliest works, he asserted that when boredom had followed joy and pleasure, THE AUTHOR. these were to be recaptured at all costs, even if they came not naturally, but through artificial stimulus. In Italy d’Annunzio created a style of his own, known as d’Annunziano, which has numberless followers amongst the writers of the younger generation, who call themselves d’Annunziani in homage to their master ; nevertheless, a great hostile current rose u against him. Apparently, it was impossible to divide the man from his works, and, in con- demning the former, many have banned the latter; and thus, the greatest living Italian writer, having many grievances against his countrymen, retired to France, a voluntary exile. After having mortally wounded his feelings by selling up his home and his treasured mementos, the Italians offered to get up a subscription to purchase another house for him, as a gift and in homage to his genius ; but he would accept no favour from the people who had caused him so much anguish, and he recently declared that he preferred to make his home himself, when and where he chose. Though he may have left Italy, and written his last work, ‘‘ St. Sebastian,” in French, still, his writings are the essence of Italianism ; he is the true exponent of the imaginative and the artistic which is inborn in the Italian nature. There has been some doubt as to his age, but he himself said : “‘ I was born in 1864 on board the brigantine Irene in the waters of the Adriatic. In Pescara they considered me an infant prodigy, so strange was my precocity.” At the age of fifteen he was a full-fledged poet, and had written four poems, which are charac. teristic of him: “ Gentle Hour,” “ Joyous Hour,” ‘‘ Sombre Hour,” ‘Satanic Hour.” In the first, his mind is perfectly serene, and he dreams tranquil, peaceful dreams. In the second, he is gay, he revels in the sky, the sea, the sunshine, in all that is beautiful and lovable in nature. In the third, a gloom has come over his spirit; he has tasted deception— weariness and boredom follow. When he tries to analyse the multitudes, he finds them strange; their ways are not his Ways, and his heart grows heavy within him. But his despondency is temporary; joy must be reached, merriment must return: He longs for the drunkardness which prostrates the soul and senses, the inane noise and laughter of orgies, in which weird loves, kisses, and spark- ling wine chase away all consciousness of pain. He longs for madness, and for Satan’s great big wings of flame, which can carry him away from humanity, its meanness, its miseries, its same- ness. And, in the ‘ Satanic Hour,” he calls  THE AUTHOR. to Satan: ‘‘ Come near me ; inspire me, I am your own!” “The flesh and the devil have always been coupled, so there is nothing incongruous in the appeal of this errant knight of matter to the power of darkness. D’Annunzio is now fifty; from the age of sixteen he has produced incessantly poems, novels, dramas, plays. For a quarter of a century he stood out supreme : “The Immagi- nifico,” as he was rightly called, which means, “The Creator of Images”; then his magic brain seemed to weary. His books are so numerous they defy description. In quoting them I will divide them according to their nature, and the crisis they represent in the mentality of their author. “Prima Vere” (1879), ‘Canto Novo” (1883), ‘‘ Terra Vergine ”’ (1883), ‘“‘ Il Libro delle Vergini ” (1884). Sensual Crisis—‘ Intermezzo di rime” (1884), “ San Pantaleone ” (1886), ‘‘ Il Piacere”’ (1889), ‘‘Isotteo e la Chimera” (1890), “Elegie Romane” (1892), “ Poema Para- disiaco”’ (1893), “Il Trionfo della Morte” (1894), ‘‘ Le novelle della Pescara ”” (1902). Moral Crisis. —‘* Giovanni Episcopo ”’ (1892), “TInnocente ” (1892) (The Advent of the Super- man), ‘ Odi Navali”’ (1893), “ Allegoria dell’ Autunno ” (1895), ‘‘ Le Vergini delle Roccie ” (1896), “‘ Sogno di un mattino di primavera - (1897), ‘‘ Sogno di un tramonto di Autunno ” (1898), ‘« La Citta Morta ” (1898), ** La Gloria ”’ (1899), ‘‘ La Gioconda ” (1899), “ Il Fuoco ” (1900). Victorious Age‘ Francesca da Rimini” (1902), ‘“‘ Laudi del Ciclo, del Mare, della Terra, e degli Eroi” (1903-1904), “La Figlia di Jorio ”’ (1904), “ La Fiaccola sotto al Moggio ” (1905). Decadence.—‘‘ Piu che VAmore’” (1907), “Ta Nave” (1908), ‘“ Fedra” (1909), then ““ St. Sebastian ”’ (in French). Of these Messrs. Heinemann have published seven translated into English: “ The Flame of Life” (“Il Fuoco’), “The Dead City ” (‘‘ La Citta Morta ”’), “‘ Francesca da Rimini,” ** Gioconda,”’ ‘The Child of Pleasure’’ (“ Ul Piacere”’), ‘The Triumph of Death” (“Il Trionfo della Morte ’’), “‘ The Virgins of the Rocks” (‘‘Le Vergini delle Roccie”’), and e* L’Innocente ” (“‘ The Intruder ”’) is published in English by G. H. Richmond, of New York. The chief characteristic of d’Annunzio’s works is his love of beauty, to which he sacri- fices every other consideration and conception oflife. He forces himself to find beauty every- where by intellectual idealisation ; believing 309 that the whole world of matter is susceptible to aesthetic ennoblement. Starting from the principle that nothing holds an absolute value, and that man is the creator of values, he advises men to set themselves free, by throwing down barriers and renewing values. One cannot judge d’Annunzio’s characters from the standpoint of ordinary, everyday beings ; his heroes and heroines live a life apart, exceptional, yet natural to themselves; they are lifelike in their own surroundings, but they could not live their lives in an ordinary atmosphere such as we are generally familiar with. There are no mediocrities amongst them, no failures; their surrender is joyous, their lan- guage is not made up of common words, but is high-flown, poetic, magnificent, in keeping with rhythmical movements, which come natural to them, with bejewelled, expressive hands, silken garments, tresses of gold and eyes of turquoise, or raven locks and eyes of jet. D’Annunzio in portraying them has _ not studied his characters from Nature, and then overdrawn them, or exaggerated their points incongruously ; he has first conceived them in his own brain—wonder-creatures of his own, with passionate, sensitive natures—then he has given them birth and created his characters of the stuff of which maybe a super-species might be made. D’Annunzio declares that whoever robes himself with sorrow is a slave, and that pleasure is the best way of understanding Nature. He does not exalt suffering; he sees the greatest wisdom embodied in him who, in spite of all experiences, has much rejoiced. To create joy, to create with joy instead of pain, to be only conscious of the joy in life, is to him a supreme virtue. In “The Triumph of Death ” there are traces of d’Annunzio’s find- ing of Nietzsche ; one can see the great natural affinity of the two master minds, and, in truth, to realise fully either of them it is necessary to feel with them, for no mere effort of abstract reasoning can make them comprehensible or acceptable. D’Annunzio throws down the walls of reality, in which human convention reigns supreme ; he detests repression, routine, passiveness, and the monotonous greyness of the roads of least resistance. He idolises beautiful bodies, whether they are inhabited by beautiful souls or not ; he idealises life, but materialises love ; he does not attempt to free human love of passion; he does not seek spirituality, nor does he attempt to lift love to the spheres of the divine. For him Love, like Beauty, is enough unto itself. One is fascinated by d’Annunzio’s art irre-  310 sistibly, even though one feels its artificiality ; even though one knows instinctively that his works have been created for our pleasure, his people have been conceived out of pleasure, and will be consumed by pleasure. Exalted, sublime, magnificent pleasure is not often met with in daily life. Those who hunger for a vision of it can find it in “I Fuoco,” “Tl Piacere,” “ L’Innocente,”’ ‘‘ Laudi del Cielo, del Mare, della Terra e degli Eroi,”’ and in “Il Trionfo della Morte.” Whoever wishes to dream a dream of loveli- ness should read d’Annunzio, and be introduced to luxurious women, consumed by fire; to serene, immovable, unfathomable women, with eyes reflecting infinity ; to shapely, beautiful, white, jewelled hands; perfectly modelled human forms ; amber, silk and gold; they will be dazzled by so much magnificence, and be intoxicated by the perfume of exotic flowers and deep-red roses. E. S. Romero-Topesco. ——_—_ >< SIR ALFRED LYALL.* —+—— + HIS book, Sir Mortimer Durand tells us T in his Preface, was undertaken at the request of Lady Lyall and the family. It is a worthy memorial to a very distinguished man. To give it an adequate notice would require more space than is at our disposal. We must, therefore, content ourselves with a brief indication of the manner of portrait which the biographer paints of his subject. Alfred Comyn Lyall was born on J anuary 4, 1835, and died suddenly of heart-failure on April 10, 1911, while a guest of Lord and Lady Tennyson at Farringford. In that long period he was educated at Eton and Haileybury ; went out to the Indian North-West Provinces in his twenty-first year; passed through the Mutiny, with a narrow escape from death; rose to be Home Secretary at Calcutta when he was thirty-seven, and Agent to the Governor- General in Rajputana next year; at forty- three became Indian Foreign Secretary, and at forty-seven Lieutenant-Governor of the North- West Provinces. At the end of 1887, after a serious illness, he retired from the country where he had spent thirty-two years, and * “Lite of Sir Alfred Comyn Lyall, K.C.B., G.C.LE., D.C.L., LL.D,” by Sir Mortimer Durand. Illustrated, Edinburgh and London: Wm. Blackwood & Sons 16s. net. THE AUTHOR. t 1 accepted a seat on the Council of India. He | could have had the Governorship of the Cape | or New Zealand, but declined both. He would | have liked the Viceroyalty of India in 1898, but Lord Elgin was appointed in his stead. In 1903 he retired from public, but by no means | from active life. To his last moment he was |::) talking, writing, and working as brilliantly as | ever. Having spoken of his death, Sir Mor- |.» timer Durand says: “ His life was a full and || « varied one . . . as happy as a man’s life ever is. . . . Among the men I have known there have been few of such rare and not one who had the power of inspiring, in | those who really knew him, a deeper trust and | affection.” The last chapter of the book is devoted to |. Lyall’s literary work, “ by which:he is best | known in England, and now, perhaps, even in India.” He produced (apart from his con- tributions to the leading reviews) five books, in addition to a small volume of verse; not a large total for an author, but then he was an official up to the age of sixty-eight. ‘The conditions which limited the quantity of Lyall’s literary work ”—this is Sir Mortimer Durand’s summing-up—*‘ had an important effect upon its quality. His writings, whether in verse or prose, show throughout the hand not of a qualities andcharm, | 4 ! literary man pure and simple, but of a man of action with literary tastes. they lack in some measure the finish, the per- fection of technique, which as a rule comes only by long and incessant practice at one craft ; certainly they are full of knowledge, and marked by the power of thought, which can be acquired only by taking a part in the affairs of the world. Whether the gain outweighs the loss, or the loss outweighs the gain, may be disputed. . . . Apart from this question, the main characteristic of Lyall’s work, both in verse and prose, is its truthfulness, its careful regard for the realities of life. . . . His literary work leaves in the mind of any careful reader a feeling not only of keen pleasure but of con- viction and confidence.” We could quote much more, but will refrain, having (we hope) done enough to show that this biography is one which, by the sympathy between author and subject, must attract the intelligent reader, whether he be one to who the active, or one to whom the literary, side * a life like Lyall’s appeals. 0 It may be mentioned that Sir Alfred Lyall was for many years a member of the Society of Authors, and on the Society’s Council. “He took a great interest in the dispute concerning the action of the “Times” Book Club. oe Lae lees mie ee It is possible that : see i al  THE AUTHOR. 311 CORRESPONDENCE. — AUTHOR AND AGENT. I. sir, So long as my friend Wells is content to speak for himself about agents I am ready to listen in respectful silence, but when he begins to speak for “ all sensible authors,” I must protest. I maintain that lama sensible author. If lampoonists and satirists are to be * telieved, I have a re utation for considerable husiness acumen. Bluntly, I think this repu- tation is deserved. As one “ sensible author,” I wish to “ pro- chim clearly” that I should not dream of employing agents only “for specific jobs.” On the contrary I am absolutely convinced that every author of large and varied output ought to put the whole of his affairs into the hands of a good agent, and that every such author who fails to do so loses money by his omission, I admit that some agents are bad. Iknow that some are good. A good agent will do a specific job better than an author, partly because he knows the markets better, and partly because he is an expert in the diplomacy of bargains. But a good agent is sho very valuable in utilising opportunities as they arise—opportunitics of whose very existence the author is ignorant. I reckon that in the latter activity alone a good agent recoups an author again and again for the whole of his commission. In my experience it is precisely when agents are employed only for “‘ specific jobs” that trouble comes. Wells, my senior, once advisea—nay, com- oo to go to an agent. With my oe Ididso. He told me to put the laa of my affairs into the hands of the agent. — so. I have never regretted it. I have a had the slightest agency trouble as the je — following Wells’ advice. I am quite t if I had not followed his advice I a be very decidedly worse off than I am. ce pe to Wells is lasting. That an 0 some thirteen years ago. Experi- t led Wells to change his views. Experience has only confirmed me in my 4 formerly his. He may be right; I ee be wrong. I will not dog tise. But Must not speak for ‘‘ all sensible authors.” Yours faithfully, ArNoLD BENNETT. fl am obliged to the Editor for a sigh ght of A B’s letter in proof. His fault has ever modesty, I deplore my forgotten advice. His reputation was already made in those days, his future secure. Without that “(good agent” he must still have had all his present prosperity plus ten per cent. How are we to prove these things? Shall we sit down together and discuss our translations, our serializations ? Details in public would be difficult. I must talk privately to E. A. B. in this connexion. H. G. W.] ——_-— > — Il. Dear Sir,—May I suggest to Mr. H. G. Wells that whereas there is only one H. G. Wells there are thousands of mere Smiths existent in the literary vale of tears who have good cause to be thankful for the intervention of Messrs. Agency, Clause & Co. As a mere Smith I was guilty of a first novel. I + a three weary years and many stamps in the effort to bring various publishers to see the worth of it as a masterpiece. Out of ten firms I received one offer to publish for £50. Fortunately, perhaps, I was not in the position to pay It, otherwise the lust for self-gratification might have proved too strong and I had fallen. Just as I came to realise what ‘hope deferred” meant, a friend introduced me to an agent. He accepted my MS. for negotiation. Within two months he forwarded me a contract from a big ‘“‘ solvent ” firm. The publishers took all risks; I retained all rights. As is usual with the bulk of first novels I received no pecuniary benefit from my work—neither did the agent! Yet he has, to my knowledge, disbursed some 80s. in stamps, etc. on my behalf—without return! I will say nothing of his many kind- nesses in other ways. No doubt he hopes to recoup his outlay in the future; I sincerely hope he’ll have the i I should consider 10 per cent. wel earned by the man who placed me on the first step of a ladder which reached to the heights of an H. G. Wells reputation—and income ! Sincerely yours, AMERE SMITH. —— BEGINNERS’ AGREEMENTS. Dear Sir,—May I say a little more in re ly to the second letter of “ J ustice ’? in your last issue? At the risk of seeming obtrusive with my business particulars I feel that with a very little trouble to myself I may be of some real service to the numerous beginner-writers who are destined to produce, among other matter, much of the literature of to-morrow. 4   312 Then let me relate that I did not begin with books—I could not afford the time. I think that was a very lucky restraint. I had to live, and so I learnt to write before I thought of a book. I had already made a little reputation, when the time came for dealings with a book publisher. I published three books almost simultaneously. I got 10 per cent. for each, and advances of £5 (for a very flimsy little volume of newspaper articles), £50 (for a continuous story published at 1s. 6d. that had already had a success as a serial), and £20 (for a volume of short stories), respectively. (The short story volume only was published through an agent.) These are, I think, very fair beginner’s terms. A _ beginner should always demand a cheque on account of royalties as a guarantee of good faith, and a royalty of 10 per cent. gives the publisher a very handsome margin of profit. It is no good to the beginner to be greedy about the royalty. I mentioned 25 per cent. in my last letter as the ideal for an established writer. What a beginner needs is advertisement and pushful selling, and that is guaranteed by the cheque on account. Better for him 10 per cent. and £50 down, than 25 per cent. and nothing down. One of these first three books was the ‘ Time Machine.” I had previously refused an invita- tion from Mr. X. to undertake part of the expense of publication and trust to him. At times we meet, and I remind him of that incident. He is quite a well-known publisher. It has been a matter of regret to me that those first three agreements were not limited to a term of years. No just publisher will object to such a limitation upon the part of a beginner,—five or seven years is reasonable ; and it affords an opportunity for rearrangement if the beginning develops into success. Also let me assure the beginner that it is particularly ridiculous for him to trust to agents. If an agent were your agent only, or agent only for you and a select group of authors, there might be some sense in giving over your affairs to him; but every literary agent seems promiscuously disposed to grab 10 per cent. of any transaction going, and it is so obviously to every agent’s interest to “ keep in” with publishers and so unimportant to them whether they grab their tenths on this man’s work or that man’s work, that except in the case of very big and conspicuous and valuable authors indeed—and every agent must, of course, be able to claim one or two big authors, commercially speak; - can get his chance on . before he minor crowd— THE AUTHOR. I do not see how any real services can pected from them. It is just because them now taxing the writing public at large on the strength of one or two generously special cases, that I am calling attention to the ordinary facts and the plain common sense of § the agency business. It is not simply that ents need not and do not display any ex. |» clusive loyalty to their clients ; most of them } get the money so easily that they do not even trouble to draw tolerable agreements, save American copyright, secure complete serialisa- tion, realise minor rights, or do the most i‘ manifest duties of their position. No t that I have ever heard of can aa most of the British agents know no langu but English. I can speak of only one efficient agent in London at the present time, and he deals in a speciality, the negotiation of serials. I am told, but I have no sure know- ledge, that another understands this new and ~ cinematograph business. He limits is work as every genuine agent should to a specified list of clients. There may be yet others meritorious, but unknown to me, I quite — with “ Justice ’’ that it would be easy to draw up a standard agreement that would cover all the possibilities of most books, and which would be fair to both author and publisher. I think, indeed, this Authors’ Society Model Agreement is a little overdue. 1 should be very pleased to assist in its pre- paration. H. G. Weis. ee UNREVIEWED Books. Sir,—I saw recently in The Author & complaint that books sent for review were not reviewed. I have written a few scientific books and I always, before sending a copy for review, inquire whether it will be reviewed and within what time. Unless the reply 's fairly definite I do not send a copy. In the case of cheap books printed in large numbers it is, perhaps, not worth while to proceed as above, but in that case is it fair to expect 4 paper to review every book received ? I am, etc., E. S. BELLASIS. a: Nore.—The Editor re pressure of space he has i among the Correspondence various letters d the question of “Authors and Agents, ek “Unreviewed Books.” He regrets this all |! more as The Author will not appear again © ‘ts that owing to en unable to insert handle © translation business, for example, and, indeed, | be ex. fo « lo At grateful | @ et , tS")  — x — "tic a } i i tT ADVERTISEMENTS. tYPEWRITING. 25, ESQ., of Hindhead, Surrey, writes :— nyperT WALES "the oe of my novel... which you I like to thank you for the admirable way the i * jone. 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MARTIN'S LANE, W.C Telephone: No, 5537 Westminster. . Recommended by Mr. G. K. Chesterton, Baron de orms. Miss Gertrude Tuckwell, Canon Swallow, Hilaire Belloc, Es4-s and Others. Authors desiring ae Plays @ typed (and duplicated) accu rately, quickly, and cheaply Many Testimonials, of which the following is & specimen Payot thanks for the excellent work and the promptness with whi done."' Printed by Baapsury, AGNEW, & Co. Lp., and Published by them for THE Sociwry or AUTHORS (Ixooaroms7s?) y at 10, Bouverie Street, London, E.C.    THE COMMONWEALTH OF AUSTRALIA. COPYRIGHT. No. 20 oF 1912. AN ACT RELATING TO COPYRIGHT. [Assented to 20th November, 1912.] BE rr ENACTED by the King’s Most Excellent Majesty, the Senate, and the House of Representatives of the Commonwealth of Australia, as follows :— PART JI.—PRELIMINARY. 1. This Act may be cited as the Copyright Act 1912. 2. This Act is divided into Parts as follows :— Part I.—Preliminary. Part JI.—Copyright. Part IJ],—Summary Remedies. Part [V.—The Copyright Office. Part V.—WMiscellaneous. 3. In this Act, unless the context otherwise requires— (a) “ the British Copyright Act” means the Copyright Act 1911 of the United Kingdom (1 & 2 Geo. 5, c. 46) ; (b) words and expressions defined in the British Copyright Act have the same meanings as in that Act ; (c) “ Territory ” means a Territory of the Commonwealth which is part thereof. 4, The Copyright Act 1905 is repealed. 5. The Copyright Office established under the Copyright Act 1905, and any officers appointed under that Act, shall continue as if established or appointed under this Act. 6. Where, in pursuance of any proclamation™ issued under the Copyright Act 1905, the administration of any State Copyright Act has become transferred to the Common- wealth, such administration shall continue to be so transferred to the same extent and subject to the same terms and conditions as if the Copyright Act 1905 still remained in force. 7. All Registers of Copyrights established under the Copyright Act 1905 shall continue as if established under this Act. * See proclamation in Gazette of 26th January, 1907, p. 435. Short title. Parts. Definitions. Repeal. Continuance of Copyright Office. Continuance of Adminis- tration of State Copy- right Acts, Continuance of Registers of Copyrights. Adoption of British Copy- right Act. Modifications to adapt the British Copy- right Act to the Common- wealth. Importation of copies. 1 & 2 Geo. 5, c. 46, s. 14, ea : PART II.—Copyricut. 8. The British Copyright Act, a copy of which is set out in the Schedule to this Act, shall, subject to any modifications provided by this Act, be in force in the Commonwealth, and shall be deemed to have been in force therein as from the first day of July, One thousand nine hundred and twelve. 9. In the application of the British Copyright Act to the Commonwealth— (a) any powers of the Board of Trade under section three may be exercised by the Governor-General ; (v) the reference in sub-section (4.) of section nineteen to arbitration shall be read as a reference to arbitration under the law of the State or Territory in which the dispute occurs, and the reference in sub-section (6.) of that section to the Board of Trade shall be read as a reference to the Governor-General ; (c) the reference in section twenty-two to the Patents and Designs Act 1907 shall be read as a reference to the Designs Act 1906, and the reference in that section to section eighty-six of the Patents and Designs Act 1907 shall be read as a reference to section forty-one of the Designs Act 1906 ; and (d) the reference in section twenty-four to the London Gazette and two London newspapers shall be read as a reference to the Commonwealth Gazette and one newspaper published in each of the capital cities of the Australian States. 10.—(1.) Copies made out of the Commonwealth of any work in which copyright subsists which if made in the Commonwealth would infringe copyright, and as to which the owner of the copyright gives notice in writing by himself or his agent to the Comptroller-General of Customs, that he is desirous that such copies should not be imported into the Commonwealth, shall not be so imported and shall, subject to the provisions of this section, be deemed to be prohibited imports within the meaning of the Customs Act 1901-1910. (2.) Before detaining any such copies, or taking any further proceedings with a view to the forfeiture thereof, the Comptroller-General of Customs or the Collector of Customs for the State may require the regulations under this section, whether as to information, con- ditions, or other matters, to be complied with, and may satisfy himself in accordance with those regulations that the copies are such as are prohibited by this section to be imported. (3.) The Governor-General may make regulations, either general or special, respecting the detention and forfeiture of copies, the importation of which is prohibited by this section, and the conditions, if any, to be fulfilled before such detention and forfeiture, and may, by such regulations, determine the information, notices, and security to be given, and the evidence requisite for any of the purposes of this section, and the mode of verification of such evidence. (4.) The regulations may apply to copies of all works, the importation of copies of which is prohibited by this section, or different regulations may be made respecting different classes of such works. (5.) The regulations may provide for the informant reimbursing the Comptroller- General of Customs or the Collector of Customs for the State all expenses and damages incurred in respect of any detention made on his information, and of any proceedings consequent on such detention ; and may provide for notices under the Copyright Act 1905 being treated as notices given under this section, and also that notices given to the Commissioners of Customs and Excise of the United Kingdom and communicated by them to the Comptroller-General of Customs shall be deemed to have been given by the owner to the Comptroller-General. (6.) This section shall have effect as the necessary modification of section fourteen of the British Copyright Act. 11.—(1.) Subject to this section, the Governor-General in Council may, by Order, direct that the British Copyright Act and this Act sball extend to literary, musical, dramatic, and artistic works first produced or published in any part of the King’s Dominions to which the British Copyright Act does not extend, in like manner as if the works had been first published or produced in the Commonwealth. (2.) Any Order made in pursuance of this section may provide— (a) that the term of copyright shall not exceed that conferred by the law of the part of the King’s dominions to which the Order relates ; (b) that the enjoyment of the rights conferred by virtue of the Order shall extend to the Commonwealth only, and shall be subject to the accomplish- ment of such conditions and formalities as are prescribed by the Order ; (c) for the modification of any provision of the British Copyright Act or this Act as to ownership of copyright or otherwise, having regard to the law of the part of the King’s dominions to which the Order relates ; and (d) that the British Copyright Act and this Act may extend to existing works in which copyright subsists in the part of the King’s dominions to which the Order relates, but subject, to such modifications restrictions and pro- visions as are set out in the Order. (3.) An order in pursuance of this section shall only be made in case the Governor- General in Council is satisfied that the part of the King’s dominions in relation to which the Order is proposed to be made has made, or has undertaken to make, such provisions, if any, as he thinks sufficient for the protection of works first produced or published in the Commonwealth and entitled to copyright therein. 12.—(1.) The Governor-General in Council may make Orders for altering, revoking, or varying any Order in Council made by him in pursuance of any power conferred upon him by the British Copyright Act or this Act, but any Order made under this section shall not affect prejudicially any rights or interests acquired or accrued at the date when the Order comes into operation, and shall provide for the protection of such rights and interests. (2.) Every Order in Council made by the Governor-General in pursuance of any power conferred upon him by the British Copyright Act or this Act shall be published in the Gazette, and shall be laid before both Houses of the Parliament as soon as may be after it is made, and shall have effect as if enacted in this Act. 13.—(1.) Where copyright subsisted in the United Kingdom in respect of any musical, dramatic, or artistic work at or after the commencement of the Copyright Act 1905 and before the first day of July One thousand nine hundred and twelve, the copy- right shall, subject to this section, be deemed to have subsisted in the Commonwealth as from the commencement of the Copyright Act 1905 or from the date of the commence- ment of the copyright in the work, as the case requires, to the same extent as if copyright therein had subsisted in the Commonwealth under the law of the United Kingdom. (2.) Where a person has before the commencement of this Act taken any action whereby he has incurred any expenditure or liability in connexion with the reproduction Provision for reciprocal protection of copyright. Cf. Canada Copyright Bill 1911, el. 34, Provisions as to order in council. Cf. 1 & 2 Geo. 5, c. 46, 8. 32. Saving of copyrights in certain works made out of the Common- wealth, Summary offences, 1 & 2 Geo. 5, c, 46,5. 11. Penalty for permitting unauthorized performance in theatres, &e. Cf. No. 25, 1905, s. 51. Search warrant and (4) of any musical, dramatic, or artistic work in a manner which at the time was lawful, or for the purpose of or with a view to the reproduction of any such work at a time when such reproduction would, but for this Act, have been lawful, nothing in this section shall diminish or prejudice any rights or interest arising from or in connexion with such action which were subsisting and valuable at the first day of July, One thousand nine hundred and twelve, unless the person who, by virtue of this section, becomes entitled to restrain such reproduction agrees to pay such compensation as, failing agreement, may be determined by arbitration. PART JIII.—Summary REMEDIES. 14.—(1.) If any person knowingly— (a) makes for sale or hire any infringing copy of a work in which copyright subsists ; or (2) sells or lets for hire or by way of trade exposes or offers for sale or hire, any infringing copy of any such work; or (¢) distributes infringing copies of any such work either for the purposes of trade or to such an extent as to affect prejudicially the owner of the copyright ; or (d) by way of trade exhibits in public any infringing copy of any such work ; or (6) imports for sale or hire into the Commonwealth any infringing copy of any such work, he shall be guilty of an offence under this Act and be liable on summary conviction to a fine not exceeding Forty shillings for every copy dealt with in contravention of this section, but not exceeding Fifty pounds in respect of the same transaction; or in the case of a second or subsequent offence, either to such fine or to imprisonment with or without hard labour for a term not exceeding two months. (2.) If any person knowingly makes or has in his possession any plate for the purpose of making infringing copies of any work in which copyright subsists, or knowingly and for his private profit causes any such work to be performed in: public without the consent of the owner of the copyright, he shall be guilty of an offence under this Act, and be liable on summary conviction to a fine not exceeding Fifty pounds, or, in the case of a second or subsequent offence, either to such fine or to imprisonment with or without hard labour for a term not exceeding two months. (3.) The court before which any such proceedings are taken may, whether the alleged offender is convicted or not, order that all copies of the work or all plates in possession of the alleged offender which appear to it to be infringing copies or plates for the purpose of making infringing copies, be destroyed or delivered up to the owner of the copyright or otherwise dealt with as the court may think fit. 15. Any person’ who, for his private profit, permits any theatre or other place of enter- tainment to be used for the performance in public of any musical or dramatic work, without the consent of the registered owner of the sole right to perform or authorize the performance of the work in the state or part of the Commonwealth where the theatre or place is situated, shall be guilty of an offence, unless he was not aware, and had no reason- able ground for suspecting, that the performance would be an infringement of the right to perform or authorize the performance of the work. Penalty : Ten pounds. 16.—(1.) A Justice of the Peace may, upon the application of the registered owner  of the copyright in any literary, dramatic, musical, or artistic work or of the agent of such owner appointed in writing— (a) if satisfied by evidence that there is reasonable ground for believing that infringing copies of the work are being sold, or offered for sale—issue a warrant, in accordance with the form prescribed, authorizing any constable to seize the infringing copies and to bring them before a court of summary jurisdiction ; (b) if satisfied by evidence that there is reasonable ground for believing that infringing copies of the work are to be found in any house, shop, or other place—issue a warrant, in accordance with the form prescribed, authorizing any constable to search, between sunrise and sunset, the place where the infringing copies are supposed to be, and to seize and bring them or any copies reasonably suspected to be infringing copies of the work before a court of summary jurisdiction. (2.) A court of summary jurisdiction may, on proof that any copies brought before it in pursuance of this section are infringing copies of the work, order them to be destroyed or to be delivered up, subject to such conditions, if any, as the court thinks fit, to the owner of the copyright in the work. 17.—(1.) The registered owner of the sole right to perform, or authorize the perform- ance, of a musical or dramatic work in the Commonwealth or any part thereof, or the agent of such owner appointed in writing, may, by notice in writing in accordance with the prescribed form, forbid the performance in public of the work in infringement of his right, and require any person to refrain from performing or taking part in the performance in public of the work, in infringement of his right, and every person to whom a notice has been given in accordance with this section shall refrain from performing or taking part in the performance in public of the work in infringement of the right of such owner. Penalty : Ten pounds. (2.) A person shall not give any notice in pursuance of this section without just cause. Penalty : Twenty pounds. (3.) In any prosecution under sub-section (2.) of this section, the defendant shall be deemed to have given the notice without just cause unless he proves to the satisfaction of the court that, at the time of giving the notice, he was the registered owner of the sole right to perform, or authorize the performance, of the work in the Commonwealth or any part thereof, or the agent or (sic) such owner appointed in writing, and had reasonable ground for believing that the person to whom the notice was given was about to perform or take part in the performance of the work in infringement of the right of such owner. 18. Where proceedings are instituted in any court of summary jurisdiction, by or on behalf of the owner of the copyright in any work or the owner of the sole right to perform, or authorize the performance, of any work, in respect of any offence in infringement of his right, any penalty imposed shall be paid to him by way of compensation for the injury sustained by him, but in any other case any penalty imposed in respect of any offence against this Act shall be paid to the Commonwealth. 19. No proceedings shall be instituted in a court of summary jurisdiction in respect of any offence against this Act after the expiration of six months from the date of the offence. seizure of pirated copies. Cf. No. 25, 1905, s. 52. Power of owner of per- forming right to forbid per- formance in infringement of his right. No. 25, 1905, s. 54. Application of penalties, No. 25, 1905, s. 57, Limitation of summary pro- ceedings. Cf. No. 25, 1905, s. 59. Appeals, Tb. s. 60. Part not to apply to works of architecture. Cf. 1&2 Geo. 5,c. 46s, 9(2). Copyright office. Cf. No. 25, 1905, s. 10. Registrar of Copyrights. Cf. ib. s. 10. Powers and functions of Registrar. Seal. Cf. ib. s. 11. Registration optional. Copyright Registers. Ib. s. 64. Method of registration, Cf. No. 25, 1905, s. 65. Registration of assign- ments and transmissions, Ib. 8. 66. How registra- tion effected. Ib. s. 67. 20. An appeal shall lie from any conviction or order (including any dismissal of any information, complaint, or application) of a court of summary jurisdiction in respect of any offence or matter under this Act, and such appeal shall be to the court, and shall be made within the time and in the manner, provided by the law of the State or Territory in in which the conviction or order was made in case of appeals from courts of summary jurisdiction in that State or Territory. 21. This Part of this Act shall not apply to any case to which section nine of the British Copyright Act, relating to infringement of copyright in the case of a work of architecture applies. PART IV.—Tue Copyricur OFrice. Division 1.—GENERAL. 22. There shall be, for the purposes of this Act, an office called the Copyright Office. 23. The Copyright Office shall be in charge of an officer called the Registrar of Copyrights. 24. The Registrar of Copyrights shall have such powers and functions as are conferred upon him by this Act and the regulations. 25.—(1.) There shall be a seal of the Copyright Office, and impressions thereof shall be judicially noticed. (2.) The seal of the Copyright Office in use at the commencement of this Act shall, until altered, be the seal of the Copyright Office. DIVISION 2.—REGISTRATION. 26. Registration of copyright shall be optional, but the special remedies provided for by sections fifteen, sixteen, and seventeen of this Act can only be taken advantage of by registered owners. 27. The following Registers of Copyrights shall be kept by the Registrar at the Copyright Office :-— The Register of Literary (including Dramatic and Musical) Copyrights. The Register of Fine Arts Copyrights. The Register of International and State Copyrights. 28. The owner of any copyright under this Act, or of the sole right to perform, or: authorize the performance, of any musical or dramatic work in the Commonwealth or any part thereof, may obtain registration of his right in the manner prescribed. 29. When any person becomes entitled to any registered copyright or other right. under this Act by virtue of any assignment or transmission, or to any interest therein by licence, he may obtain registration of the assignment, transmission, or licence in the manner prescribed. 30. The registration of any copyright or other right under this Act, or of any assign- ment or transmission thereof or of any interest therein by licence, shall be effected by entering in the proper register the prescribed particulars relating to the right, assignment,. transmission, or licence. 31. In the case of an encyclopedia, newspaper, review, magazine, or other periodical work, or a work published in a series of books or parts, a single registration for the whole work may be made. 32.—(1.) No notice of any trust expressed, implied, or constructive shall be entered in any Register of Copyrights under this Act or be receivable Ly the Registrar. (2.) Subject to this section, equities in respect of any copyright under this Act may be enforced in the same manner as equities in respect of other personal property. 33. Every Register of Copyrights under this Act shall be primd facie evidence of the particulars entered therein, and documents purporting to be copies of any entry therein or extracts therefrom certified by the Registrar and sealed with the seal of the Copyright Office, shall be admissible in evidence in all Federal or State courts, or the courts of any Territory, without further proof or production of the originals. 34. Certified copies of entries in any register under this Act or of extracts therefrom shall on payment of the prescribed fee be given to any person applying for them. 35. Each register under this Act shall be open to public inspection at all convenient times on payment of the prescribed fee. 36. The Registrar may, in prescribed cases and subject to the prescribed conditions, amend or alter any register under this Act by— (a) correcting any error in any name, address, or particular ; and (b) entering any prescribed memorandum or particular relating to copyright or other right under this Act. 37.—(1.) Subject to this Act the Supreme Court of any State or a Judge thereof may, on the application of the Registrar or of any person aggrieved, order the rectification of any register under this Act by— (a) the making of any entry wrongly omitted to be made in the register ; or (b) the expunging of any entry wrongly made in or remaining on the register ; or (c) the correction of any error or defect in the register. (2.) An appeal shall lie to the High Court from any order for. the rectification of any register made by a Supreme Court or a Judge under this section. 38.—(1.) Every person who makes application for the registration of the copyright in a book shall deliver to the Registrar one copy of the whole book with all maps and illustrations belonging thereto, finished and coloured in the same manner as the best copies of the book are published, and bound, sewed, or stitched together and on the best paper on which the book is printed. (2.) Every person who makes application for the registration of the copyright in a work of art shall deliver to the Registrar one copy of the work of art or a representation of it. (3.) The Registrar shall refuse to register the copyright in any book until sub-section (1.) of this section has been complied with, or the copyright in a work of art until sub-section (2.) of this section has been complied with. (4.) Each copy or representation delivered to the Registrar in pursuance of this section shall be retained at the Copyright Office. 39. A person who wilfully makes any false statement or representation to deceive the Registrar or any officer in the execution of this Part of this Act, or to procure or Registration of works published in a series. Trusts not registered. No. 25, 1905, s. 68. Register to be evidence. Tb. s. 69. Certified copies. Ib. s. 70. Inspection of registey’. Tb. 8. 71. Correction of register. Ib. s. 72. Rectification of register by the Court. No, 25, 1905, s. 73. Delivery of copies to Registrar. Ib. 8. 75. False repre- sentation to Registrar.  No. 25, 1905, s. 76. Delivery of books to the Librarian of the Parlia- ment, Cf. 1 & 2 Geo, 5, c. 46, s, 15. Preservation of rights of State libraries, Regulations. No. 25, 1905, s. 79. (4) influence the doing or omission of any thing in relation to this Part of this Act or any matter thereunder shall be guilty of an indictable offence. P nalty ; Imprisonment for three years. PART V.—MIScELLANEOUS. 40.—(1.) The publisher of every book which is first published in the Commonwealth after the commencement of this section, and in which copyright subsists under this Act, shall within one month .after the publication deliver, at his own expense, a copy of the book to the Librarian of the Parliament, who shall give a written receipt for it. (2.) The copy delivered to the Librarian of the Parliament shall be a copy of the whole book with all maps and illustrations belonging thereto, finished and coloured in the same manner as the best copies of the book are published, and bound, sewed, or stitched together, and on the best paper on which the book is printed. (3.) Ifa publisher fails to comply with this section, he shall be liable on summary conviction to a fine not exceeding Five pounds and the value of the book. (4.) For the purposes of this section the expression ‘“‘ book ” includes every part or division of a hook, pamphlet, sheet of letterpress, map, plan, chart, or table, but shall not include any second or subsequent edition of a book unless that edition contains additions or alterations either in the letterpress or in the maps, prints, or other engravings belonging thereto or any book published by any State or any authority of a State. 41, Nothing in this Act shall be deemed to affect the existing provisions of any Act of the Parliament of a State which require or relate to the delivery to any specified Public or other Library of the State of copies of books published in the State or to affect the power of the Parliament of a State to make laws requiring or relating to such delivery. 42. The Governor-General may make regulations, not inconsistent with this Act, prescribing all matters which by this Act are required or permitted to be prescribed or which are necessary or convenient to be prescribed for giving effect to this Act or for the conduct of any business relating to the Copyright Office. BRADBURY, AGNEW, AND CO, LD., PRINTERS, LONDON AND TONBRIDGE 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 A name given to the resource The Author, Vol. 23 Issue 10 (July 1913) Subject The topic of the resource <em>The Author</em>, Vol. 23 Issue 10 (July 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-07-01-The-Author-23-10 publications The Author