1 20 545 https://historysoa.com/files/original/4/545/1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill.pdf f8aa81a9e60c7a9c5a25fcbd70ba80b5 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 Society of Authors Publications Identifier An unambiguous reference to the resource within a given context publications Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1914-07-01 Volume 24 Issue 10 Publisher(s) When used for publications, publisher of the periodical or book. When used for people, list of publishers they worked with during their lifetime The Society of Authors Location The location of the event or organisation London Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140701 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 Indian Copyright Bill, 1914 (1914) Subject The topic of the resource The Indian Copyright Bill, 1914 (1914) Description An account of the resource A summary of the 1914 Indian Copyright Bill. Relation A related resource <a href="https://historysoa.com/The-Author-Issues/1914-07-01-The-Author-24-10">Supplement to The Author, Vol. 24 Issue 10</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill copyright India international publications The Author https://historysoa.com/files/original/4/544/1914-Australian-Copyright-Act-1912.pdf dd3e422e3ca4f119331b51f512b3e5cc 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 Society of Authors Publications Identifier An unambiguous reference to the resource within a given context publications Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1914 Volume 24 Publisher(s) When used for publications, publisher of the periodical or book. When used for people, list of publishers they worked with during their lifetime Bradbury, Agnew & Co. Location The location of the event or organisation London Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140701 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 Australian Copyright Act, 1912: Statutory Rules (1914) Subject The topic of the resource Australian Copyright Act, 1912: Statutory Rules (1914) Description An account of the resource A full summary of the statutory rules relating to copyright in Australia, including forms to be used to register for copyright. Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-Australian-Copyright-Act-1912 Relation A related resource <a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24&sort_field=added">Supplement to The Author, Vol. 24</a> Australia copyright international publications The Author https://historysoa.com/files/original/4/543/1913-Commonwealth-of-Australia-Copyright.pdf 9c64fc1fdae13c43ae22567bdbb02a29 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 Society of Authors Publications Identifier An unambiguous reference to the resource within a given context publications Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1913 Volume 23 Publisher(s) When used for publications, publisher of the periodical or book. When used for people, list of publishers they worked with during their lifetime Bradbury, Agnew & Co. Location The location of the event or organisation London Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130701 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 Commonwealth of Australia: Copyright (1913) Subject The topic of the resource The Commonwealth of Australia: Copyright (1913) Description An account of the resource A full summary of the copyright Bill as assented to on 20 November 1912. Relation A related resource <a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23&sort_field=added">Supplement to The Author, Vol. 23</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-Commonwealth-of-Australia-Copyright Australia copyright publications The Author https://historysoa.com/files/original/5/542/1914-07-01-The-Author-24-10.pdf ab6d3756098e3dcdac31186773877934 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-07-01 Volume 24 Issue 10 Pages Page range in volume 263–290 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthbor. Notices... S a ee is ne ae ar 268 The Pension Fund Council Meetings Committee Notes aa ese Books published by Members ‘ he Literary, Dramatic and Musical Notes ... Paris Notes The Criticism of Fiction Magazine Contents Warnings to the Producers of Books Warnings to Dramatic Authors... ae i Registration of Scenarios and Original Plays (The Organ of the Incorporated Society of Authors, Playwrights and Composers. Monthly.) Vou. XXIV.—No. 10. vay : oe CONTENTS. PAGE | os x Dramatic Authors and Agents The Society's Funds . | Warnings to Musical Gore covers 553 cs Stamping Music ‘ Bee ie The Reading Branch . Remittances as x Collection Bureau : General Notes ... se oe ee ues ee ae Be The Last of the Pre -Raphaclites, Theodore Watts- Dunton, 1832—1914 Pees oe ee ook ae Bs United States Notes Are Novels Too Cheap ? j Matilde Serao ... og ae se | Memories of My Youth, 1844—1865 | J. M. Synge oe oe ao | Correspondence Chappell v. Columbia Gramophone Co. The Sixteenth Congres International de Presse How to Use the Society [Prick SIXPENcE. From HEATH, CRANTON & Co:’s LIST. Second Edition, with a Preface by DR. OSCAR LEVY. | Ready Shortly. The Philosophy of Nietzsche. Christ and the Powers of _G. CHATTERTON-HILL, Ph.D. 7s 6dy net. Darkness. co. ss Third Edition. Illustrated. __J.GODF REY RAUPERT, K.S.G. 3s. Gd. net. Vincent de Paul (Priest and Capitals of the Northlands. Philanthropist). E. K. SANDERS. IAN ©. HANNAH, M.A., with 22 a ee and 4 Plans. s, net. Cathol $< q pas Antiquary.—“ Mr. Hannah's pages well repay the reading,” a olic Democracy an 55 a a Tied. = ae : Just Ready. Illustrated. Mather: HENRY DAY, SJ. | eee z a eo, | te Eeolution of the Ome” eee a ce, Games. _ £. A. M. WEBSTER, 6s. net. : . Sip A. CONAN DOYLE has written an important 1 THE DUKE OF SOMERSET (as Chair- British Review.—'* Done well and with much force. ___ Pall Mall Gazette.—“ Irresistible reasoning.” ees Preface, an The Cor ex Laudianus ([ Wordsworth’s man of the British Olympic Council) a striking O2]) of the Epistles of St. Paul. Numbered Laud. Introduction to this Book. Lat. 108 in the Bodleian Library at Oxford. Now Just Ready. Illustrated. first Edited with 4 Collotype Facsimiles. Bori. E. 8. BUCHANAN, M.A, Be. 12s. 6d. net. bee Bae oy oe and Demon-dancing in Feuds of the Furtive Folk. West and North Africa. Major A. J.N.TREMEARNE, F. ST. MARS. Author of “ On Nature’s Trail,” &c. M.A., Dip. Anth. (Cantab.) 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Ab y Granta.— The Book is full of good things.” SEND FOR COMPLETE LIST, HEATH, CRANTON & OUSELEY, Ltd., Fleet Lane, LONDON. ADVERTISEMENTS. The Yucorporated Hoctety of Authors, Playwrights and Composers. Telegraphic Address: ‘‘ AUTORIDAD, VIC., LONDON.” Telephone No. : 374 Victoria. PRESIDENT. THOMAS PLA DY. © a: Sirk ROBERT ANDERSON, K.C.B. THE RiegHT Hon. A. J. BALFourR, PC, MP. Siz’ JAMES BARRIE, BART. Siz ALFRED BATEMAN, K.C.M,G, ROBERT BATEMAN, F. E. BEDDARD, F.R.S. Mrs. BELLOC-LOWNDES. THE RIGHT HON. AUGUSTINE BIR- RELL, P.C. THE Rev. Pror, BONNEY, F.R.S, ROBERT BRIDGES. THE Rieut Hon. THE VISCOUNT JAMES Bryog, P.C., O.M. THE Rieut Hon. THE LorpD BuRGH- CLERE, P.C, HALL CAINE, J. W. Comyns Carr, R. C. CARTON. EGERTON CastTLe, F.8.A. EpwarpD CLopp, W. Morris Couues., THE Hon. JOHN COLLIER, Sin W. MARTIN Conway. COUNCIL. Miss MARIE CORELLI. THE RiGHT HON. THE EARL CURZON, G.C.8.I. AUSTIN DOBSON, Sirk ARTHUR CONAN DOYLE, Str EDWARD ELGAR, O.M. DOUGLAS FRESHFIELD, CHARLES GARVICE. 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Miss CICELY HAMILTON, JEROME K, JEROME, Chairman—HESKETH PRICHARD. STANLEY LEATHES, C.B. AYLMER MAUDE, MRS. PERRIN, ARTHUR RACKHAM. G. BERNARD SHAW. Dr. 8. SQUIRE SPRIGGE. FRANCIS STORR, DRAMATIC SUB-COMMITTEE. Chairman—R. C. CARTON. | CHARLES KiEm, W. J. Looks. A. E. W. Mason. Justin Huntiy MoCarruy, CECIL RALEIGH. G. BERNARD SHAW. Miss E. M. Symonns. PENSION FUND COMMITTEE. ANSTEY GUTHRIE. ANTHONY Hopk HAWKINS, Qhairman—HsKETH PRICHARD, SiR OWEN SEAMAN,. M. H. SpPrenMANN. Mrs. ALEC TWEEDIE. Mrs, HUMPHRY WARD, COMPOSERS’ SUB-COMMITTEE. GRANVILLE BANTOCK. THOMAS IF, DUNHILL. HERMAN FINCK, H. A. HInxson. E. J. MAcGILuivray, THE Hon. JoHN CoLuiEr. Stk W. MARTIN Conway. FIELD, Roscoxu & Co., 36, Lincoln’s G. HERBERT THRING, 1, Westminster, §.W. 1, CENTRAL BUILDINGS, Central Buildings, Tothill Street, Chairman—S1R CHARLES VILLIERS STANFORD, CrcIL ForsyTH. ARTHUR HINTON, | THEODORE HOLLAND. COPYRIGHT SUB-COMMITT H. J. MACKINDER, M.P. SIR CHARLES VILLIERS STANFORD, Mus. Doc. ART. 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MOFFATT. 2/6-net. Contains many patriotic pieces, as well as verses of personal experience and reminiscence. POEMS. By LADY F, LAYLAND-BARRATT. 2/6 net. “She is sure of a welcome in all those’homes where verse is read for the sake of the message it brings and the principles it upholds.”"—Westminster Gazette, POEMS. By INA M. STENNING. 2/6 net. “The author's singular gift for clothing her thoughts in simple sentences, of phrases exactly apt, which seem to run inevitably into graceful metre.” — Times. ——>—_— SIMPKIN, MARSHALL, HAMILTON, KENT & CO, LTD. Mr. FORBES DAWSON (Member of the Incorporated Society of Authors) An Actor of over 25 years experience in every class of theatre, character | and play, a producer and author of | Plays acted in England and America, and with a thorough knowledge of PLAY CONSTRUCTION AND STAGE CRAFT, Draws out Scenarios of Plays from Novels for Authors to work upon, and Advises during the progress of that work. Also undertakes the entire Dramatisation of Stories and GIVES PRACTICAL ADVICE ON PLAYS. NO READING FEE. 23, Midmoor Road, Wimbledon, 8.W. pt. ee ee NOTICES. —— +--+ HH: the opinions expressed in papers that : are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the motice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tur Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should: reach the Editor not later than the 21st of each month. 8. Communications and letters are invited by the Editor on all literary matters treated from Vou XXIV. JULY, 1914.] 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. : Jan. 16, Cooke, Arthur O. Jan. 23, Exley, Miss M. : Jan. 26, Sarawak, The Ranee of Mar. 11, Dowson, Oscar F. April 8, Stoeving, Paul April 14, Buckle, Gerard, F. April 14, Grattan, Harry April 17, Rubenstein, H. F. . April 20, Anon. . : : : April 25, Stacpoole, Mrs. de Vere . May 1, Miigge, Maximilian A. May 7, Davies, Miss Mary May 8, Simon, Andre L. May 8, Deutsch, H. . : May 9, Campbell, Miss E. Hope May 12, Lardner, E. G. D. May 29, Beesley, George J. . 19138. Donations. Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold : Oct. 30, Rosman, Miss Alice Grant Nov. Nov. Nov. Nov. Nov. Dec. Dec. Dec. Dec. 8, Holland, Theodore 8, Steane, Bruce ;: 3, Batty, Mrs. Braithwaite 10, Elrington, Miss Helen 10, Waterbury, Mrs. . 3 5, Dymock, R. G. Vaughton . 6, Macdonald, Miss Julia 11, Little, Mrs. Archibald 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. - Dec. 21, Keating, J. Lloyd 1914. Jan. 8, Church, Sir Arthur Jan. 5, Anon : . Jan. 5, Joseph, L. y Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. ae Jan. 6, De Crespigny, Mrs. Champion Jan. 6, Rankin, Miss F. M. . p Jan. 7, Sneyd-Kynnesley, E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. Jan. 10, Daniell, Mrs. E. H.. Jan. 12, Avery, Harold Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullein, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane | S eceecooocoooooooceococr Crmrocooocoocooooooooor, oco —_ ececeorroocooooreo — OOS Or OL — a ao anne ooonoce _ = o Onno oneFK Ow ooa1oo oO — nd Reon anooarnannownrowmn und = _ anccocooncooonococoocoococo® ceocoaoacacoeooooaoacoo ecoocoooocaooocecoe ane THE AUTHOR. Jan. Jan. Jan. Jan. Jan. 19, P. H. and M. K. 19, Greenstreet, W. J. . 19, Gibbs, F. Leonard A. : 23, Campbell, Mrs. L. A. R. . 23, Cameron, Mrs. Charlotte, F.R.GS. . : 28, Blunt, Reginald i 24, Raphael, Mrs. Mary. 25, Plouman, Miss Mary 30, Gibson, Miss L. S. . 5, Brooker, Lt.-Col. E. P. 6, Buchrose, J. E. 7, Smith, Herbert W. 20, Eden Guy : : 21, Mayne, Miss Ethel bourn : 21K. : s 25, Aspinall, Algernon 2, Dalziell, J. 2 SFG, . ‘ 5, Saies, Mrs. F. H. : 5, Thorne, Mrs. Isabel . 5, Haviland, Miss M. D. 5, Todd, Miss Margaret, 13, Cabourn, John ; Mar. 20, Fenwick Miss S. F.. : Mar. 26, Prendergast, Mrs. J. W. . May 6, Ward, W. J. . ; : May 7, Crosse, Gordon. : : May 8, Williamson, Cc. N. and Mrs. C. N. j ; ; ; ' May 21, Colebroke, Miss H. E. May 21, Munro, Neil . : May 21, O'Higgins, Harvey May 25, Broadbent, D. R. May 27, Hallam, F. V. June 6, Blake, Miss Agnes June 6, Peacock, Mrs. F. M. June 9, Schleussner, Miss Ellie. June 10, Jones, Miss Mary Whit- more : : June 17, Muir Ward SCOSOKH —_ NAoan? cacof Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. CoOrroocoorrFe _ Ao ON Oo He cooooaccoe Col- Feb. Feb. Mar. Mar. Mar. Mar. Mar. Mar. Mar. E. M.D. tt OL OO S OOH! OV OL OO DO OF ecoocooroocornNrNoscso _ OW SO OM © et © Or _ acocecoenooce Smaocegeoccocoeooceco SCWrH OF OF Ou — eo _ eK oO oo —_—____+—> + ______ COUNCIL MEETINGS. oe T the suggestion of the Composers’ A Committee the Committee of Manage- ment decided to change the name of the Society from the Society of Authors (Incor- porated) to the Incorporated Society of Authors, iohts and Composers. : Pe eraingly) onder the clauses of the Com- panies Acts, an extraordinary general mecting 266 of the company was held on May 4, 1914, when the following resolution was passed :— “That the name of the company be changed to the Incorporated Socicty of Authors, Play- wrights and Composers.” The second mecting necessary to confirm this resolution was held on Monday, May 25, when the resolution passed at the previous mecting was duly confirmed. —————__+—~<+>__ COMMITTEE NOTES. — 1 — WING to the fact that the first Monday in June fell on Whit Monday, the June meeting of the committee was held on Monday, May 25, at the Society’s offices. Twenty-five members and associates were elected, bringing the total elections for the current year up to the satisfactory figure of 195. Three further resignations had to be added to the list, bringing the total resignations up to seventy-two. The solicitor then put before the committee the cases he had dealt with during the month. In three cases, two against a magazine and a third for non-payment of theatrical dues, the solicitor reported that the matters had been settled by the payment of the debt and costs. A dispute arising out of non-publication of a book had now been satisfactorily settled, as under an order of. the Court the book had been published and the costs paid. In a case of dispute between one of the members and a cinematograph reproducer, the matter had been settled as far as England was concerned ; but, as the company’s main business was in France, the solicitor had made a full statement which had been forwarded to the lawyer of the Society in Paris with instructions to take action if necessary. A question of alleged infringement of dramatic copyright had been settled, as the party against whom the com- plaint was made was able to show that the member’s rights had not really been tampered with. The solicitor gave his report in a case of dispute between a member and a publisher, and the committee instructed the secretary to send a statement of the conclusion arrived at to the publisher and to the member. The next point arose out of a question raised by one of the members as to the acceptance or non-acceptance of articles sent to reviews. The solicitor gave his legal opinion, confirming the view already expressed by the secretary, and the secretary was instructed to write to THE AUTHOR. [JULY, 1914. the member concerned indicating the line the committee were willing to adopt in the matter. The secretary then reported certain cases he had been dealing with during the month. A question relating to copyright infringement in Canada was adjourned for further information. The secretary reported that immediate action had been taken, with the sanction of the chair— man, in a case arising in the United States under a dramatic contract. The authority given by the chairman was confirmed. In another case of dispute between one of the members of the Society, which was in the hands. of the member’s own solicitor, the solicitor appeared before the committee and explained the circumstances. The committee indicated the lines along which, in their view, a possible settlement might be negotiated. In a case of infringement in Denmark, which depended: upon the intricacies of international law, it was decided to obtain the opinion of the Society’s Danish lawyer. In a dispute respecting a dramatic contract it was decided to adjourn the matter for further information. It was decided to take up on behalf of the, member a claim in connection with the pay- ment of mechanical instrument fees. It was. decided to request the solicitors of the Society to make inquiries of a cinematograph firm respecting the rights of one of the members. The committee decided to investigate the accounts of a company engaged in the market-- ing of a film of one of the members. The secretary then laid before the com- mittee a letter received from the Kinemato- graph Educational Association, in which the committee were asked to nominate a repre- sentative to serve on the council of that body. Mr. Bernard Shaw was appointed to represent the Society of Authors, and the committee. instructed the secretary to communicate accordingly with the chairman of the associa- tion. Owing to the enormous increase of cinemato- graph representations, and the importance of. this new industry to members of the Society, whether dramatic authors, novelists or other writers, at the suggestion of the Dramatic. Sub-Committee the Committee of Management . agreed to the formation of a separate sub- committee to deal with cinematograph matters. It was agreed to invite the Dramatic Sub- Committee to nominate candidates for the consideration of the Committec of Management. The difficulties which had arisen owing to. the present situation in Canada in regard to imperial copyright were mentioned by the JULY, 1914.] ssecretary, and it was decided to obtain a memorandum from counsel setting out, in detail, the present difficulties and a possible remedy, which memorandum was to be placed in the hands of influential parties in Canada to ‘use when occasion should arise. The question of foreign lawyers appointed by the Society to hold powers of attorney was adjourned. An important matter dealing with the forms of receipts and endorsements on cheques raised by members of the Society, in regard to contributions to a well-known weekly journal, was considered. It was understood that the -editor would be ready to consider any reason- able form suggested by the committee, and the secretary was instructed to refer the matter to the Society’s solicitors in order that such a form might be drafted. A letter from the secretary of a well-known publishing house was laid before the com- mittee, and the secretary of the Society was instructed to make an appointment to see the secretary of the publishing house to discuss matters between that house and the Society. A letter from the National Union of Book- binders was laid before the committee, and the ‘secretary was instructed to reply. In a matter referring to the advertisements in The Author, it was decided to instruct the Society’s lawyers. a Dramatic SuB-COMMITTEE. Tur June mecting of the Dramatic Sub- Committee—the last before the vacation— was held on the 19th at the offices of the Society, at three o’clock in the afternoon. ‘The minutes of the previous meeting were read and signed. The question of agents, which came up again for discussion, was adjourned again till the autumn, and the ‘question of the special agency contract was also adjourned, as the sub-committee was unable to get through the clauses before the end of the meeting. The secretary also made a report in regard to American agents generally. The nomination of candidates to serve on the. Cinematograph Sub-Committee had been left by the Committee of Management to the Dramatic Sub-Committee, and that body agreed upon a list of possible members. This list will be submitted to the Committee of Management in due course. oS : The question of establishing a special fighting fund for the fighting of dramatic cases was, owing to the absence of members of the THE AUTHOR. 267 sub-committee specially interested, adjourned till the autumn. The secretary then laid before the sub-com- mittee facts referring to the collection of fees due on an English play produced in Paris, and the question of the power of attorney which the Société des Auteurs et Compositeurs Dramatiques had asked the member to sign before consenting to pay over the amount collected. The secretary pointed out that there were certain circumstances which made it impossible for the member to sign the power, and that the French society had refused to pay over the money due until the power was signed. The matter was referred to the Committee of Management with the suggestion that an official letter should be written to the Société des Auteurs et Compositeurs Dramatiques. The present position of the Managerial Treaty was considered, and certain steps were decided upon in order to try and get the matter through by the autumn. The secretary was instructed to report to the next meeting. The consideration of a play production contract was also adjourned. The secretary reported the following cases : (1) A case of copyright infringement in Canada. He was instructed to obtain the fullest information from the Canadian lawyers, so that, if possible, action should be taken to stop the general infringement which was proceeding throughout the Dominion : (2) and (3) cases of collection of fees which were over- due. The sub-committee confirmed the sanc- tion of the chairman which had been giver during the past month. The chairman was then granted full powers to act during the vacation on behalf of the committee in cases of urgent necessity. 1 Composers’ SUB-COMMITTEE. Tur June meeting of the Composers’ Sub-Committee took place at the Society’s office on Saturday, June 6. After the minutes of the previous meeting had, been read the seeretary drew the sub-committee’s attention to a paragraph that had appeared in one of the American papers dealing with a combina- tion which had been formed in America for the purpose of obtaining satisfactory payment to composers from performing rights. He further drew the attention of the sub-committee to the prospectus of the Performing Rights Socicty, Ltd., which had been sent to various members of the Society of Authors, The 268 details of the document were very carefully considered and discussed as, also, a letter which had been received by some members of the Society from a publishing firm referring to the same company. In addition to many minor points, the chief objection to the new society was that the composer placed himself entirely in the society’s hands as to the people with whom contracts should be made for per- forming rights, and the amounts to be paid for these rights. Finally, there was no clear statement as to the charge that would be made for collection of the fees. After careful consideration a course to be taken by the sub-committee to warn composers was agreed upon. Correspondence which had taken place between the secretary and a member of a big publishing firm in regard to some important points of contract was then read. The next question that arose had reference to accounts. The secretary reported that in a case where a publisher had been sharing mechanical instrument fees with a composer, the publisher had deducted the commission charged by his agents for collection. This deduction the member had repudiated and the committee were taking action. It was decided also, where on the collection of fees indefinite charges were made for such collection, to investigate any accounts that should be rendered, so that the method of collection might be fully established for the benefit of composers. In another case of accounts which came before the sub-committee, it was decided to recommend the Committee of Management to authorise an accountant to investigate the firm’s books. : In a question arising from the use of words for songs, the sub-committee approved the action of the secretary acting on behalf of the authors concerned. The secretary then drew the attention of the sub-committee to the increase in royalties under clause 19 of the Act, on and after July 1, 1914, and warned composers of some of the difficulties that might arise in this connection. The attention of the sub-committee was drawn also to a case which had been in the Courts, viz., Chappell v. Columbia Gramo- phone Co., a report of which appears else- where in The Author. He also reported that the Society’s name had now been definitely changed, at the suggestion of the Composers’ Sub-Committee, to the Incorporated Society of Authors, THE AUTHOR. (JULY, 1914. Playwrights and Composers, and that the new name would appear on all printed matter from the Society in future. —___—-op-o~e Cases. — Durine the past month the secretary has dealt with the average number of cases. They can be catalogued as follows :— Return of MSS. : : Money and accounts ; : Money . : : Settlement of contract Accounts : : : : Of the seven claims for the return of MSS. three have been successful. One of the remaining four is in the United States, and therefore will take some further time, and of the three others two have only recently come to the office and the last one is in course of negotiation. Of the five claims for money and accounts, three have been successfully settled and the money has been handed over to the members. One of the two that are left is in France and the other only came into the office just before going to press. Of the two claims for money, one has been successful and the other has had to be placed into the hands of the Society’s solicitors. This latter course has also had to be adopted with regard to the settlement of contract. The claim for accounts has only recently come in. There are eight cases still remaining over from last month and of these only two are in Great Britain and they are both for the return of MSS. It is impossible to say whether they will be successfully settled, because, as has been pointed out in the case of lost MSS., the evidence is often deficient. It is not only necessary to prove that the MSS. came into the hands of responsible parties in the office, but also that these parties have dealt with them negligently. There remain six cases; three of these are in the United States, two being for infringements of copyright and one for the settlement of a contract ; two are in South Africa, one a claim of money and another a question of accounts. The last case is a question of money and lies. in France. All the other cases have been closed up satisfactorily or handed over to the solicitors. of the Society whose report will appear in & later number of The Author. et pet BO OY JULY, 1914.} THE AUTHOR. June Elections. Allhusen, Mrs. W. H. . Aston, Colonel = Sir George, K.C.B. Avery, Miss Anne 4 Beesley, George G. : Blake, Mrs. R. . : Briggs, William, LL.D., D.C.L., M.A., B.Sc. Cockran, Miss B. A. Bruen. East, Mrs. . Clayton. Edghill, Mary. A George Flemming, Leonard . ‘Hallam, Frank Vincent (“ Charles Hessel- ton ’’) Jones, Mary Whitmore iKing, Charles : Knowles, Miss Joseph- ine. Krayl, Stan Harding Macdonald, J. Ramsay McKay, Herbert, B.Sc. Manners, Sir William John, Earl of Dysart Mainwaring, Colonel H. G., F.R.G.S. Reeks, H. Caulton ‘ “Smith, Mrs. Adéle Crafton Smith, Cicely Fox ‘Smith, Mrs. Elizabeth Sinclair a Zimmern, Alfred KE. . 15, Palace W. 94, Piccadilly, W. Kensington Gardens, Grosvenor Aldershot. 96, Stoney Stanton Road, Coventry. 129. . Him Park Mansions, Chelsea, S.W. Owlbrigg, bridge. St. John’s Cottage, Bovey Tracey, Devon. 20, Lower Sloane Street, S.W. Soulby, Clarence Park, Weston- super-Mare. 63, Wellington Road, N.W. 55, Adolphus Road, Finsbury Park, N. Road, Cam- Magdalen Lodge, Hook Norton. 36, Golders Way, Golders Green. Via della Scala 1, Florence, Italy. 8. lincoln's Inn Fields, W.C. 338, Park Parade, Harlesden, N.W. Ham House, Rich- mond, Surrey. Army & Navy Club, Pall Mall, S.W. Spalding. Elmhurst, Bradford- on-Avon. 54, Harper’s Lane, Bolton-le-Moors. Trevone, Ennerdale Road, Richmond, S.W. 14, Great Russell Mansions, W.C. —__———_+->*——___ 269 BOOKS PUBLISHED BY MEMBERS. <4 While every effort is made by the compilers to keep this list as accurate and exhaustive as: possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCHAZOLOGY. AMULETS. Illustrated by the Egyptian Collection in University College, London. By Wiu1am FLINDERS Perrin. 124 x 10. 58 pp. text. liv. Plates. Con- stable. 21s. n. ARCHITECTURE. SMALL Country Hovsss: their Repair and Enlargement. By L. Weaver. 114 x 83. xxxii+ 204pp. Country Life. 15s. n. ART. THE Sport oF COLLECTING. 81 x 54. 147 pp. Unwin. By Sir Martin Conway 5s. ne BIOGRAPHY. Memoriats oF Henry Forses JULIAN. Institution of Mining and Metallurgy. edited by his wife, Husrer JunIaAN. 9 X 53. 310 pp. C. Griffin. 6s. n. BOOKS OF REFERENCE. THE STATESMAN’S YEAR Book, 1914. Edited by J. Scorr Keitin. 7} x 4%. Ixxix + 1,500 pp. Macmillan. 10s. 6d. n. Member of the Written and xix + DRAMA. Tae Maker or Dreams. By O. Down. 5} X 4. Gowans and Gray. 6d. n. Cuartey’s Unciz. A Farcical Comedy in three acts. By Waurer STEPHENS. 7} x 43. 64 pp. F. Griffiths. 1s. 6d. n. FICTION. By Nem Monro. Tue New Roan. 7k x 5. 374 pp Blackwood. 6s. Z Lovers’ Meptinas. By Katuartne TYNAN. 314 pp. Werner Laurie. 6s. Freepom. By Attce and CLAUDE ASKEW. 316 pp. Hurst and Blackett. 6s. Srmmon Hurtot. By Parricta WENTWORTH. 331 pp. Melrose. 6s. A SaAMNOEL Innerrrance. By KarHartne Tynan. 7} % 5. 324 pp. Cassell. 6s. From AN Istineron WINDow. 3 i Romance. By M. Bernam-Epwaxps. 72 x 5. . Smith Elder. 6s. Tat SILVER Star. By Marre Connor LEIGHTON. 73x 5. 352pp. Ward, Lock. 638. THe LIFE a Lena. By W. N. WILLIS. 320 . Long. 1. n. ous Aury. By M. E. Francis. 6} x 4. 7d. n. ; 8 Pun Stony or AmanpA. By F. R. M. Furspon, 74 Xx 5. 328 pp. Simpkin, Marshall. 6s. 7% x 43. 7k x 43. 7k x 42. Pages of Reminiscent 307 7k x 42. 254 pp. Long. 270 FOLKLORE. Tur LANGUAGE OF THE Nawar or Zurr, THE Nomap Smirus oF PaLesTINy. By R. A. STEWART MACALISTER’ 9% x 6}. xii + 216 pp. Quaritch. 5s. LAW. Tue Lonpon Burpine Acts, FESSOR BANISTER FLETCHER. rer F. Fuercuer and H. P. FLETCHER. xviii + 697 pp. Batsford. 10s. n. LITERARY. Love’s Cominc or Acz. By Epwarp CARPENTER. Le 41. 189 pp. Methuen. Is. n. A Wak IN Orner Wortps with Dante. By Marian S, Barnpricce. 8 X 5}. 255 pp. Eight full-page 1894—1909. By Pro- Fifth Edition by Banis- 7k Xx 4}. illustrations. Kegan Paul, Trench, Tiiibner & Co., Ltd. 6s. n. : MUSIC. ORcHESTRATION. By Ceci ForsytH. 9 x 5. 517 pp. (The Musician’s Library.) Macmillan and Stainer and Bell. 21s. n. : SrortEs FROM WaGNER’S OpERAs. Told by GLapys Davipson. 7} x 5. 106 pp. Werner Laurie. ls. n. PAMPHLETS. Roger Bacon. By Sm J. E. Sanpys. (From the Pro- ceedings of the British Academy. Vol. V1.) Oxford University Press. 1s. n. 2 POETRY. Berowvutr. A Metrical Translation into Modern English. By J. R. Crark Hatt. 7} x 5. 114 pp. Cambridge University Press. 2s. 6d. n. Unto tur Hitts. By Dovcias W. FRESHFIELD. Edward Arnold. 7 x 44. REPRINTS. With English Rendering. By IsraEL GoLtancz. Limited Edition, 550 copies. 8} x 7. 56 pp. Chatto. 6s. n. Tue PorricaL WoRKS oF GEORGE CRABBE. A. J. and R. M. Caruyuzg. 7} x 5. H. Milford. 1s. 6d. n. Tue Sua’s ANTHOLOGY. From the Earliest Times down to the Middle of the 19th Century. Compiled and Edited, with Notes, Introduction, and an Appendix, by J. E. Parrerson. 7X 44. xxxvi+ 383 pp. Heine- mann. 25. n. SOCIOLOGY. THE PROBLEM OF THE Nations. A Study in the Causes, Symptoms, and Effects of Sexual Disease and the Education of the Individual therein. By A. Corperr- Smiru, M.A., Oxon., barrister-at-law ; Captain (formerly R.F.A.); F.R.G.S.; Officier de L’ Instruction Publique ; Editor of the Journal of State Medicine ; Lecturer in Public Health Law at the Royal Institute of Public Health. 9} x 6}. ix+ 107 pp. Bale. Ils. 9d. n. SPORT. Be THE Hovsz on Wueets. By Evizapern SLOAN CuusseEr, 74x 5. 150 pp. Chapmanand Hall. 2s. n. TRAVEL. Tue MAINspringes oF RvsSrA. . x E . pp. Nelson, 2s. ‘HE REAL ALGERIA. By M.D.Srorr. 83 x 54. Hurst and Blackett. "10s. 6d. n. oe Boccaccto’s OLYMPIA. Edited by xxii + 600 pp. By Maurice Barina. 74 THE AUTHOR. (JULY, 1914 LITERARY, DRAMATIC, AND MUSICAL NOTES. er HE Oxford edition of ‘‘ The Poetical Works of George Crabbe” is edited, with an introduction, by A. J. and R. M. Carlyle, who base their text on the author’s own edition, except in the case of the poems omitted by him and subsequently reprinted by his son. The only notes are those made by Crabbe himself (Humphrey Milford, Oxford University Press). “Urto the Hills,’ is the title of a little book of verse by Mr. Douglas W. Freshfield, former chairman of the Committee of Manage- ment. The poems include Sonnets, Rhymes, and Leviora, the last not the least good, if the least ambitious, section of the book (Edward Arnold). Mrs. Russell Barrington’s ‘“‘ Life of Walter Bagehot,” announced in the last issue of these notes, has now been published by Longmans, Green & Co. at 12s. 6d. net. Mr. Israel Zangwill’s play “ Plaster Saints ” is now published in book form (Heinemann, 2s. 6d. net). Another play which lras just appeared in book form is Mr. John Galsworthy’s ‘ The Mob ” (Duckworth, 1s. 6d.). Mr. Eden Philpotts’s new novel “The Judge’s Chair ” appeared last month through the firm of John Murray. Mrs. Hester Julian has written a life of her husband, under the title of ‘‘ Memorials of Henry Forbes Julian ” (Charles Griffin & Co.,. 6s.). The late Mr, Julian was one of the victims of the Titanic disaster. The loss thereby occasioned to metallurgy is dealt with in an introduction contributed to the book by Mr. H. L. Sulman, President of the Institution of Mining and Metallurgy. “The Problem of the Nations ” is the name of a book by Mr. A. Corbett-Smith, M.A., F.R.G.S., on the effect of sexual disease on. national life (John Bale, Sons & Danielsson, 1s. 6d.). Mr. Cecil Forsyth contributes to the Musician’s Library a book upon “ Orchestra- tion,” which is published by Macmillan & Co, and Stainer & Bell at one guinea net. Miss M. Betham-Edwards has brought out “From an Islington Window,” described in the sub-title as ‘“‘ pages of reminiscent romance ” (Smith, Elder & Co., 6s.). The correct title of Mrs. Annette S. Beveridge’s book is ‘“‘ Baburnima, or Memories of Babur, a new translation made from the JULY, 1914.] original Turki text,’ fasciculus 5 section (Luzac & Co.). 7 oe Mr. Gilbert Coleridge has an article upon “* Sir Thomas Browne ” in the current number of the Fortnightly Review. A Chinese version of Leiut.-Colonel W. H. Turton’s work, “ The Truth of Christianity,” is about to be published in Shanghai by the Christian Literature Society for China. A Japanese version appeared some years ago. Mrs. Ellis Chadwick’s recent book, ‘‘ In the Footsteps of the Brontes,” is to be published in the United States by Brentano. Miss Bainbrigge’s book, ‘‘ A Walk in other Worlds with Dante,” is written specially for those who think the Divina Commedia is too deep for them, and yet desire to know more about it without long and deep study (Kegan Paul, Trench, Tribner & Co., 6s. net). **A Saunter through Kent with Pen and Pencil,” by Mr. Charles Igglesden, has now reached its cleventh volume, and describes Nettlestead, Whitstable, Seasalter, Swalecliffe, Graveney, Monks Horton, and Harrietsham (Kentish Eapress Office, 2s. 6d.). In “Caravan Days” Mr. Bertram Smith records the continuance of his devotion to caravanning after sixteen years’ experience of it (Nisbet & Co., 5s. net). ‘* Love’s Responsibilities ” is a book of essays by Mrs. Stuart Menzies upon “‘ the most cruel, the most tragic, the most vengeful of life’s problems, that of sex ” (Holden and Harding- ham, 6s.). “ Justice of the Peace” is a novel by Mr. Frederick Niven, in which he has attempted to give a family history without making the book as long as Gibbon’s “‘ Decline and Fall ”’—as he tells us in his preface (Eveleigh Nash). Mr. S. Sproston has published, through the Year Book Press, ‘The Pudding made of Plum: a Tragic-Comedy for Children,” “* Mid- summer Fairies: a Fantastic Sketch,” and “The Sword in the Stone: a Legend ”?__the two first 6d. each ; the last-named 9d. net. Miss Amy M'‘Laren’s novel, “ The Yoke of Silence,” which has already appeared in both serial and book form, is to be published early this month by Messrs. Collins. . Derek Vane’s new novel, ‘“‘ Lady Varley, will be published by Stanley Paul & Co. early in August. It is a character study of two men and two women brought together in a lonely country house by the mysterious death of another man in a London flat. a Mr. Archibald Marshall’s “ Exton Hall 1s now in its fourth edition. The same author's new novel is ‘‘ Roding Rectory” (Stanley Paul). THE AUTHOR. 271 _ Mr. Henry Bruce has a new novel of Eurasian life, entitled “The Residency.” The publishers are John Long, Ltd. Mrs. Bell, who writes under the name of John Travers, is publishing her third novel of Anglo-Indian life through Duckworth & Co. Miss Helen C. Roberts makes the hero of her novel, ‘‘ A Free Hand,” a dentist—though he does not remain a dentist to the end (Duck- worth). { M. Georges Bazle has translated into French Mrs. Irene Osgood’s ‘‘ Where Pharaoh Dreams,” and the translation has been published in the Comedia, Paris, together with a biographical sketch of the author. A copy of “ Where Pharaoh Dreams” has been accepted by His Highness the Khedive. ® “A Fallen Star,” a sketch by Mrs. Herbert Cohen, appeared in the June number of the Magpie. Mr. Harry Wynne’s poem, “ The Plumber,” recently published in book form, with other recitations, by Joseph Williams, Ltd., has been recorded on the Columbia and Pathé gramo- phones by Mr. Bransby Williams. ‘“‘ Karth with Her Bars: and other Poems ” is the title of a book of verse by Miss Edith Dart, some of which has already been seen in the Westminster Gazette, Pall Mall Gazette, etc. (Longmans, Green & Co., 1s. paper covers, 2s. cloth). DRAMATIC. “Dido and Aeneas,” a four-act tragedy by A. von Herder (Mrs. Grantham-Williams) was presented for the first time by the Drama. Society at the Ambassador’s Theatre on May 26. On June 11 Mr. Israel Zangwill’s one-act play ‘“‘ Six Persons,” originally seen at the Haymarket eleven years ago, was revived, to precede Mr. Zangwill’s “ Plaster Saints at the Comedy Theatre. On June 16 “A Scrap of Paper,” a new adaptation by Mr. F rederick Fenn of the well- known “ Pattes de Mouche,” was seen at the iterion Theatre. “os June 17 “ Driven,” Mr. E. Temple Thurston’s new play, was seen for the first time at the Haymarket Theatre. Mr. EH. V. Esmond has arranged for an exten- sion of his season with ‘‘ The Dangerous Age at the Vaudeville Theatre. Mr. Bernard Shaw’s “ Pygmalion ” was: performed for the seventy-fifth time at His. ‘esty’s Theatre on June 15. : o Fons 97 “The Heritage of Hate” Mr. of the novel Arthur Shirley’s dramatic version 272 by Mr. Charles Garvice, was put on at the Aldwych Theatre. Sir James Barrie has a new play, which is to be produced in London by Mr. Granville Barker and in the United States by Mr. Charles Frohman. The German translation rights of Mr. Henry Arthur Jones’s plays, ‘‘ The Liars,” “‘ The Silver King,” ‘‘ Mrs. Dane’s Defence,” and ‘‘ Michael and his Lost Angel,’? have been granted by the author to Dr. Max Meyerfeld. MUSICAL. Two songs from the masque “‘ Love and the Dryad,”’ by Agnes H. Lambert, entitled “ The Flower Song” and ‘‘ My Ladye’s Singing.” have been just published separately by Boosey & Co. The former song (which has the flute accompaniment attached) is that which was sung by Miss Evangeline Florence when the masque was produced in April, 1913, at the King’s Hall Theatre, Covent Garden. : “The Halo: the Story of a Chelsea Studio ” is the title of a new musical monologue which Reynolds & Co., are publishing. The poem is written by Mr. Harry Wynne and the musical setting is by Mr. Cuthbert Clarke. Bransby Williams and other well-known reciters are performing the number. “‘OQur Red Cross Nurses,” words by T. A. Bennett, and music by J. W. Bampfylde, is a patriotic song published by the Walsingham Voluntary Aid Detachment. Copies may be obtained (post free) from the commandant, Miss Violet Parry Okeden, Walsingham Abbey, Norfolk. MS. band parts may be hired. +> PARIS NOTES. ee 12 a French literary paper published in Paris last month, a short article is devoted to the memory of the late Mr. Marston of the firm of Sampson, Low, Marston & Co. The writer reminds his readers that after the reverses of 1870 Mr. Marston was one of those who appealed to the English book- sellers in favour of their French colleagues. A sum of 24,574 franes was sent over from England, and provisions were distributed among the Parisian booksellers. In 1896, when the first International Congress of Pub- lishers took place, Mr. Marston was one of the vice-presidents. The article concludes with a message of sympathy to the family of Mr. Marston. _“Le Baptéme de Pauline Ardel” is the title of the third novel by Emile Baumann. THE AUTHOR. [JULY, 1914. ‘““L’Immolé,” the first novel by this writer, had great success, and was followed soon after- wards by ‘‘ La Fosse aux Lions.”” The author gives us in this third story a psychological study of a girl brought up by a father who is a free-thinker. Her greatest friends are ex- tremely religious people and the man who wins her love a staunch Catholic. With this theme the author has written an excellent book, extremely human, with characters well defined and very living. “La Flamme”’ is the title of Paul Mar- gueritte’s new novel. “Les Tétes baissées,”’ by Cyril Berger, is the volume which has been chosen for the annual prize awarded by the Committee of the paper entitled La Vie heureuse. ‘*La Maison sur la Rive ” by André Lafon, whose former volume “L’Eléve Gilles’? won for its author the Grand Prix of the French Academy in 1912. ** Alaric,” by Jacques de Morgan, is, like George Gissing’s ‘‘ Veranilda,’’a novel based on the historical episodes of the fall of Rome. ‘*Napoléon délivré,”’ by Albéric Cahuet, tells us, among other things, of the funeral of Napoleon, the coup de thédtre of 1840. It is the reconstitution of an epoch well told by the author of ‘‘ Aprés la mort de l’Empéreur.” “Au jeune Royaume d’Albanie’”’ (ce qu’il a été=ce qu'il est), by G. L. Jaray, one of the few Europeans knowing this country and able to explain to us clearly the problems and difficulties of the new kingdom. ‘** Paris sous Louis XV.,’”’ by Camille Piton. This writer has given us some curious volumes on various historical subjects. In this book we have a number of reports by the king’s police inspectors, showing the manners and customs of the times. This volume is the fifth of the series, and is carefuily annotated by the author. ‘“‘ A travers Shakespeare ” is the title of a volume containing a series of lectures given during the past season by Jean Richepin at the university of Les Annales. ‘** Dans le Cloaque ”’ is the title of the latest volume by Maurice Barrés. A book, entitled ‘“‘La Politique de la Prévoyance Sociale,’’ by Léon Bourgeois, will be read with interest. The first volume treats of ‘‘ La Doctrine et la Methode.” In a volume entitled ‘‘ Maitres d’hier et daujourd’hui,” Roger Marx tells us much that is interesting about Les Goncourt et VArt, J. K. Huysmans, Anatole France, Daniel Vierge, Jean-Francois Millet, Hugéne Carriére, Jongkind, Puvis de Chavannes, is another novel JULY, 1914.] Constantin Guys, Degas, Théodore Chassériau, Claude Monet. ** Vieux dossiers, petits papiers,’’ by the Marquis de Ségur, is now in its fifth edition. La Transmission télégraphique des Images et des Photographies,” by Jacques Boyer, gives us information and illustrations concern- ing this new miracle of science. In “ La Route del’Orient,” by Noelle Roger, we have a chapter entitled ‘‘ Premier contact avec l’A4me turque”’; and others on Bosnia, on Roumania and Constantinople. The volume is illustrated from photographs belong- ing to the author. ‘“* Comment conserver sa santé” is the title of an excellent book by Dr. Toulouse, who has also written ‘‘ Comment former un esprit” and ‘‘ Comment se condiure dans la vic.” The play ‘Les Affranchis,” by Marie Lénéru, has obtained the Emile Augier prize, as the best play produced within the last three years. “Ce quil faut taire,” the play by Arthur Meyer, editor of the Gaulois, is now published. It was produced quite recently, and M. Meyer has explained in several newspapers his reasons for writing it. M. Adolphe Brisson has written the preface. : Shakespeare has been very much in favour during the past month. “ Twelfth Night ” had been produced in French and it was so well received that it was impossible to book a place the last three evenings. It has also been played in English under the direction of Mr. Philip Carr, with Mr. Ben Field and Miss Cathleen Nesbitt. The general opinion was that it was as near as possible to perfection. The ensemble was excellent and the whole performance a remarkable success. At the Frangais, ‘‘ Macbeth ” has been given in an adaptation by Jean Richepin. ee * Auguste Rodin, Auguste Renoir and ‘‘ Le Baptéme de Pauline Ardel”” (Granet). “La Flamme ” (Flammarion). “Leg Tétes baissées ” (Ollendorff). ‘La Maison sur la Rive” (Perrin). “ Alaric ” (Plon). Napoléon délivré” (Emile Paul). “ Au jeune Royaume d’Albanie (Hachette). ¢ Paris sous Louis XV.” (Mercure de France). “A travers Shakespeare” (Fayard). « Dans le Cloaque” (Emile Paul). — . . . “Ta Politique de la Prévoyance Sociale (Fasquel e). “ Maitres d’hier et d’aujourd’hui ” (Calmann Lévy). “ Vieux dossiers, petits papiers ” (Calmann Lévy). _. “La Transmission télégraphique des Images et des Photographies ” (Mendel). : «a Route de l’Orient” (Perrin). Comment conserver sa santé” (Hachette). “ Ce quil faut taire » (Plon). THE AUTHOR. 273 CHAPPELL v. COLUMBIA GRAMOPHONE CoO. —_-——+—__ A CASE of some interest to composers and ae to copyright owners of musical works _ 2 wae heard recently before Mr. Justice Neville, in the Chancery Division, when Messrs. Chappell & Co. applied for an injunction to restrain the defendants, the Columbia Gramo- phone Co. from infringing the copyright of a song by Mr. Herman Lohr of which they, the plaintiffs, were the copyright holders. The circumstances were that the defendant company had made a contrivance by means of which the composition might be mechanically reproduced. It was admitted by the plaintiffs that the defendants were perfectly entitled to do this as they had given the requisite notice and complied with all the conditions laid down in the Board of Trade Regulations issued under section 19 of the Copyright Act, 1911. But it was submitted for the plaintiffs that the defendants had gone beyond their powers, in- asmuch as they had made a manuscript orchestral accompaniment of the song, and that this was a clear infringement of the plaintiffs’ rights. On behalf of the defendants it was submitted that what they had done was reasonably necessary for the manufacture of their record and was not an infringement of the copyright of the plaintiffs. Mr. Justice Neville, in giving judgment for the plaintiffs, held that what the defendants had done was an infringement of the copyright of the plaintiffs, and that it was immaterial for what purpose the copy may have been made. Therefore, there must be judgment for the plaintiffs, with the costs of the action. ———__+- <> THE CRITICISM OF FICTION. i By One or THE YouNGER NOVELISTS. URELY no earnest worker in the profes- sion of letters should miss the way, recently opened by Mr. Henry, James in the Literary Supplement of the Times, to claim more competent and wider criticism of fiction. The obviousness of our need is un- doubtedly crying. That branch of the literary art which, either from the public’s surfeit, or the reviewers’ weariness, OF the publishers instinct of self-preservation, has been reduced from what was once a respectable calling to the level of a prize-fight, deserves fairer play. Obviously what we all require 18 a critic like Francisque Sarcey, who criticised his French 272 by Mr. Charles Garvice, was put on at the Aldwych Theatre. : a Sir James Barrie has a new play, which 1s to be produced in London by Mr. Granville Barker and in the United States by Mr. Charles Frohman. The German translation rights of Mr. Henry Arthur Jones’s plays, “‘ The Liars,” ‘* The Silver King,” “ Mrs. Dane’s Defence,” and ‘‘ Michael and his Lost Angel,” have been granted by the author to Dr. Max Meyerfeld. MUSICAL. Two songs from the masque “ Love and the Dryad,” by Agnes H. Lambert, entitled “ The Flower Song” and ‘“‘ My Ladye’s Singing.” have been just published separately by Boosey & Co. The former song (which has the flute accompaniment attached) is that which was sung by Miss Evangeline Florence when the masque was produced in April, 1913, at the King’s Hall Theatre, Covent Garden. : “The Halo: the Story of a Chelsea Studio ” is the title of a new musical monologue which Reynolds & Co., are publishing. ‘The poem is written by Mr. Harry Wynne and the musical setting is by Mr. Cuthbert Clarke. Bransby Williams and other well-known reciters are performing the number. “Our Red Cross Nurses,’’ words by T. A. Bennett, and music by J. W. Bampfylde, is a patriotic song published by the Walsingham Voluntary Aid Detachment. Copies may be obtained (post free) from the commandant, Miss Violet Parry Okeden, Walsingham Abbey, Norfolk. MS. band parts may be hired. Oe PARIS NOTES. A oe a French literary paper published in Paris last month, a short article is devoted to the memory of the late Mr. Marston of the firm of Sampson, Low, Marston & Co. The writer reminds his readers that after the reverses of 1870 Mr. Marston was one of those who appealed to the English book- sellers in favour of their French colleagues. A sum of 24,574 frances was sent over from England, and provisions were distributed among the Parisian booksellers. In 1896, when the first International Congress of Pub- lishers took place, Mr. Marston was one of the vice-presidents. The article concludes with a message of sympathy to the family of Mr. Marston. “Le Baptéme de Pauline Ardel’’ is the title of the third novel by Emile Baumann. THE AUTHOR. [JULY, 1914. ““L’Immolé,” the first novel by this writer, had great success, and was followed soon after- wards by ‘‘ La Fosse aux Lions.’”? The author gives us in this third story a psychological study of a girl brought up by a father who is a free-thinker. Her greatest friends are ex- tremely religious people and the man who wins her love a staunch Catholic. With this theme the author has written an excellent book, extremely human, with characters well defined and very living. “La Flamme”’ is the title of Paul Mar- gueritte’s new novel. “Les Tétes baissées,” by Cyril Berger, is the volume which has been chosen for the annual prize awarded by the Committee of the paper entitled La Vie heureuse. ‘*La Maison sur la Rive ”’ is another novel by André Lafon, whose former volume ‘“L’Eléve Gilles’? won for its author the Grand Prix of the French Academy in 1912. ** Alaric,”” by Jacques de Morgan, is, like George Gissing’s ‘‘ Veranilda,’’a novel based on the historical episodes of the fall of Rome. ‘*Napoléon délivré,” by Albéric Cahuet, tells us, among other things, of the funeral of Napoleon, the coup de thédtre of 1840. It is the reconstitution of an epoch well told by the author of ‘‘ Aprés la mort de ’ Empéreur.”’ ‘**Au jeune Royaume d’Albanie”’ (ce qu’il a été=ce qu’il est), by G. L. Jaray, one of the few Europeans knowing this country and able to explain to us clearly the problems and difficulties of the new kingdom. ‘* Paris sous Louis XV.,”’ by Camille Piton. This writer has given us some curious volumes on various historical subjects. In this book we have a number of reports by the king’s police inspectors, showing the manners and customs of the times. This volume is the fifth of the series, and is carefully annotated by the author. ‘** A travers Shakespeare ”’ is the title of a volume containing a series of lectures given during the past season by Jean Richepin at the university of Les Annales. ‘** Dans le Cloaque ”’ is the title of the latest volume by Maurice Barrés. A book, entitled “La Politique de la Prévoyance Sociale,’’ by Léon Bourgeois, will be read with interest. The first volume treats of ‘‘ La Doctrine et la Methode.”’ In a volume entitled ‘‘ Maitres d’hier et d’aujourd’hui,” Roger Marx tells us much that is interesting about Les Goncourt et lYArt, J. K. Huysmans, Anatole France, Daniel Vierge, Jean-Francois Millet, Eugéne Carriére, Jongkind, Puvis de Chavannes, > JULY, 1914.] Constantin Guys, Degas, Auguste Rodin, Théodore Chassériau, Auguste Renoir and Claude Monet. ** Vieux dossiers, petits papiers,” by the Marquis de Ségur, is now in its fifth edition. La Transmission télégraphique des Images et des Photographies,” by Jacques Boyer, gives us information and illustrations concern- ing this new miracle of science. In ‘‘ La Route del’Orient,” by Noélle Roger, we have a chapter entitled ‘‘ Premier contact avec l’Ame turque’’; and others on Bosnia, on Roumania and _ Constantinople. ihe volume is illustrated from photographs belong- ing to the author. ‘** Comment conserver sa santé” is the title of an excellent book by Dr. Toulouse, who has also written ‘‘Comment former un esprit ” and ‘“‘ Comment se condiure dans la vic.” The play ‘Les Affranchis,” by Marie Lénéru, has obtained the Emile Augier prize, as the best play produced within the last three years. “Ce quil faut taire,” the play by Arthur Meyer, editor of the Gaulois, is now published. It was produced quite recently, and M. Meyer has explained in several newspapers his reasons for writing it. M. Adolphe Brisson has written the preface. : Shakespeare has been very much in favour during the past month. “ Twelfth Night ” had been produced in French and it was so well received that it was impossible to book a place the last three evenings. It has also been played in English under the direction of Mr. Philip Carr, with Mr. Ben Field and Miss Cathleen Nesbitt. The general opinion was that it was as near as possible to perfection. The ensemble was excellent and the whole performance a remarkable success. At the Francais, ‘‘ Macbeth ” has been given in an adaptation by Jean Richepin. ee “ Le Baptéme de Pauline Ardel” (Granet). “La Flamme ” (Flammarion). ‘Les Tétes baissées ” (Ollendorff). ‘La Maison sur la Rive” (Perrin). “ Alaric ” (Plon). “ Napoléon délivré” (Emile Paul). “ An jeune Royaume d’Albanie (Hachette). Paris sous Louis XV.” (Mercure de France). “A travers rT cy Hf 3 le Gloaque’’ (Emile Paul). ff © tiieore ae la oe Sociale ” (Fasquelle). “ Maitres d’hier et @aujourd’hui ” (Calmann Lévy). “Vieux dossiers, petits papiers » (Calmann Lévy). Ss “La Transmission télégraphique des Images et des Photographies ” (Mendel). : «La Route de l’Orient” (Perrin). « Comment conserver sa santé » (Hachette). “ Ce quil faut taire ” (Plon). THE AUTHOR. 273 CHAPPELL v. COLUMBIA GRAMOPHONE Co. \ CASE of some interest to composers and Zd to copyright owners of musical works Was heard recently before Mr. Justice Neville, in the Chancery Division, when Messrs. Chappell & Co. applied for an injunction to restrain the defendants, the Columbia Gramo- phone Co. from infringing the copyright of a song by Mr. Herman Léhr of which they, the plaintiffs, were the copyright holders, The circumstances were that the defendant company had made a contrivance by means of which the composition might be mechanically reproduced. It was admitted by the plaintiffs that the defendants were perfectly entitled to do this as they had given the requisite notice and complied with all the conditions laid down in the Board of Trade Regulations issued under section 19 of the Copyright Act, 1911. But it was submitted for the plaintiffs that the defendants had gone beyond their powers, in- asmuch as they had made a manuscript orchestral accompaniment of the song, and that this was a clear infringement of the plaintiffs’ rights. On behalf of the defendants it was submitted that what they had done was reasonably necessary for the manufacture of their record and was not an infringement of the copyright of the plaintiffs. Mr. Justice Neville, in giving judgment for the plaintiffs, held that what the defendants had done was an infringement of the copyright of the plaintiffs, and that it was immaterial for what purpose the copy may have been made. Therefore, there must be judgment for the plaintiffs, with the costs of the action. ————_ <> __———_ THE CRITICISM OF FICTION. ——— By One or THE YounGeR NoveLisTs. URELY no earnest worker in the profes- S sion of letters should miss the way, recently opened by Mr. Henry James in the Literary Supplement of the Times, to claim more competent and wider criticism of fiction. The obviousness of our need is un- doubtedly crying. That branch of the literary art which, either from the public’s surfeit, or the reviewers’ weariness, or the publishers instinct of self-preservation, has been reduced from what was once a respectable calling to the level of a prize-fight, deserves fairer play. | Obviously what we all require 1s a critic like Francisque Sarcey, who criticised his French 274 drama not as a duty but a privilege, and let himself remain impoverished thereby if only to prove his honesty of intention ; or a critic with a given standard and a literary conscience like Ferdinant Brunetiére ; or one like Jules Lemaitre who, not content alone with pub- lishing his own novels, essays, and plays, followed it up by criticising them himself in the famous Edition Rose of the Journal des Debats. Those were critics, critics not averse but eager to be critics in order to demonstrate their unique—alas ! why should it be “ unique ?- o— capacity for identity of impression learned through genuine reverence for as well as apti- tude in Letters as an Art ! The average English or American reviewer, to those of us who are the helpless occasional victims of his prowess (?), appears to be a mixture of stale office-boy and languid clerk underpaid to ‘skim trash,’”’—a résumé of which he gets printed when it is “ sparkling,”’ but never if itis “longwinded.”’ For space, we infer, is not to be procured in the literary columns of the modern newspaper for serious criticism of “‘ the ephemeral literature of the day.” So he “turns out” only what has “gripped” him in that “smart” cheap style of his contemporaries, which slights all but the “‘crudities ”’ which our critic cites as “ glaring,” —leaving “‘ the lost art of reading ” to those happy humble few who have pause in the burden and heat even of to-day. “Js it not perhaps in a subconscious effort to rid himself altogether of this obnoxious pest that to-day our pioneer par eacellence of original forms, our champion stickler for testimony of ‘consciousness, clamours for a mightier right-of- way ? Where no literary conscience in the criticism of ‘contemporary fiction’ has as yet been made evident; and no given standard been, at least in words, established, one who possesses the creative gift—which Mr. James terms ‘the miracle of genius ’—to the extent some possess it, is surely justified in ing the bull by the horns in Ae sae hs Mrs. Wharton writes: ‘“ There seem to be but two primary questions to ask in estimating any work of art: ‘‘ What has the author tried to represent, and how far has he succeeded —and a third which is dependent on them— has it the quality of being what Balzac called vrat dans V art.” In plain English, Balzac preached verisimili- tude ; but who of even those of us who love him because we read him through and through can maintain that Balzac practised invariabl all he preached ? Moreover, given a need worthy of the name, how does he know what THE AUTHOR. (JULY, 1914. the author has tried to represent sufficiently, z.e., to decide whether he has succeeded or not—without the author telling him ? It is at just this point we find that the present-day so-called “ critics’ fail us—by demonstrating their predisposition not to care to understand us where we point our message sharpest. Whereas if all critics were accom- plished readers—only winning the right to their claim as we do by writing—through contemplation, and deduction, instead of fiddling when Rome is burning, we authors might get faster towards the main and off the rocks. What we younger writers need most and first is readers. Let the publishers provide them, instead of supercilious underlings craving to be ‘* gripped.’ Let those readers cease relegating fiction to “the side-track.’? Let him who is practical make way more diligently and gener- ously for that flame which licks up so percep- tibly in a trice chacterisation, eloquence, abundance, the interplay of the passions— all the conflict in sum—until, like a coral reef, the entire magic edifice shapes itself without visible hands before our eyes. In France fiction is acclaimed as legitimate art where the critics discern in the result a consecutive series of links each dependent upon the other in an inevitable process of forging into a chain the main idea. Why not, and at once, make such a standard for fiction clearer and possible on this side of the channel ? $$$ THE SIXTEENTH CONGRES INTER- NATIONAL DE PRESSE. HE sixteenth International Congress of the Press, held at Copenhagen, has been singularly _ successful. The capricious weather of the North proved itself by a tempestuous North Sea passage, but Denmark greeted us with Mediterranean Sea and blue sky. As M. Singer, the President, stated at the final sitting, ‘‘ Melancholy disappeared at the Danish frontier.” . Having attended most of these inter- national meetings, certainly none has been so methodically and excellently organised. The handsome portfolio contained all tickets, information, and invitations, in our own tongue; a booklet, described all events and scenes to be visited. The traditional hospital- ity of the North was intensely cordial; and opportunities were given after the Congress JULY, 1914.] was closed for individual writers to study their special subjects. An historic badge was a passport in the town, and a railway permis to the country generally. The business sittings that were to have been held in the House of Lords were, owing to the domestic crisis, conducted in the Hall of the University. As all the documents were at the House of Parliament, the first sitting was confined to reading the general secretary’s, M. ‘Taunay’s, comprehensive report. Warm expressions of sympathy were ex- pressed at M. Taunay’s absence, through serious illness. The general treasurer, Dr. Schweitzer, of Berlin, reported that there -were twenty countries affiliated to the Associa- tions de Presse, with a membership of over 17,000, and a substantial balance of over 5,000 marks was in hand. As Dr. Stolz, of Germany, had retired from the Comité de Direction owing to ill health, Dr. Dresemann, of Cologne, had been elected to his place. The subject that caused the most animated debate was the right of the journalist to with- hold his source of information; a right which, as Colonel Secretan, of Switzerland, the introducer of the subject, stated, was possessed by the doctor, the priest, and the barrister. Especially was he emphatic that this secrecy must ever be in the public interest, and not exercised for purposes of blackmail or seandal. Mr. J. R. Fisher, of Belfast, ex- pressed the sympathy of the English associa- tion with the efforts of the continental journal- ists to secure definite legislation on this point. So far as the English law was concerned, it was the decided practice of the courts in civil cases not to permit any inquiry into the sources of an editor’s information. In every case the editor or publisher was solely responsible before the law for the contents of the news- paper, and the court will support him in refusing to give the names of his contributors. In the case of extra-legal proceedings, however, journalists had still to guard against the attempts of such bodies as parliamentary and other commissions to exercise pressure for olitical or personal reasons. Dr. Stoffers and Mr. James Baker acted as "interpreters for this debate, and, on a division on a wider embracing amendment, the vote was equal, and the president adjourned the sitting. At the next sitting Colonel Secretan's motion was carried, which invited the Comite de Direction to act jointly with the various national associations, “that they take this THE AUTHOR. 275 matter up with the legal authorities and work towards procuring legislation that shall protect the secrecy in journalism.” Another subject that aroused discussion was that of the right of reproduction in journalism. Upon this there was a great division of opinion, and the writer spoke of the advances made in England in this matter since first debated by the Associations de Presse. Many years ago he had demanded at a meeting of the Society of Authors, then under the chairmanship of Sir Frederick Pollock, copyright protection for the form in which news was related. By the case of The Times against Steinkopf copy- right had been assured to the writer of the article or paragraph. A vote was passed that the Bureau should formulate a firm resolution on this matter. The last sitting was held in the House of Lords, when the questions came up of an annual Card of Identité to be signed by the President of each local association, free of cost to the members; of Conseils de Prudhommes for the Press, and of mutual international aid societics. In closing the business of the Congress, M. Singer thanked all in Denmark, their Majesties the King and Queen, the Ministers and the whole people, who had so warmly received the journalists of all countries, and the Minister of the Interior replied saying that the journalists’ satisfaction fully recom- pensed all for the trouble taken. Their Majesties the King and Queen received the delegates at a Court in the Amalienberg Palace, and both chatted freely for some time with the English delegates. The excursions were on a most elaborate and delightful scale. A visit to Malmo and lunch-on the largest ferry boat in the world; a trip to Hamlet’s Kronberg ; a marvellous pic-nic and open-air performance of the great Danish drama * Blvyerkoj ”; and a dozen other remarkable events, all superbly organised, ended with excursions to every part of Denmark. James Baxer, F.R.G.S. —————_+ > MAGAZINE CONTENTS. ——+— CONTEMPORARY. Early Playhouses and the Drama. By Wilberforce Jenkins. The Shakesperean Angels and Devils. J. The Angels. ForTNIGHTLY. ini og of Tolstoy. By Count Tlya Tolstoy. ie Danian. By Prof. M. A. Gerothwohl. The Idea of Comedy, Il. By W. L. Courtney. 276 HOW TO USE THE SOCIETY. ——— <9 1: VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. | The Secretary of the Society is a solicitor 3 but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination, 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7, Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. So WARNINGS TO THE PRODUCERS OF BOOKS. —_— 1 ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright, This is sometimes satisfactory, ¢f a proper price can be THE AUTHOR. (JULY, 1914. obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for ‘office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental} rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth, From time to time very important figures connected with royalties are published in Zhe Author, 1¥Y. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means, (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. SESE SS SORE Th WARNINGS TO DRAMATIC AUTHORS. 1 EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 8. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, ne eagpead ae bi JULY, 1914.) (2.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum in advance of percentages, A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum ‘paid in advance of such fees in any event, It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager ‘holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play ds highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning, 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object ‘is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. — > —— REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. ee CENARIOS, typewritten in duplicate on foolscap paper S forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies «of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the ee that a play will be charged for at the price of 28, 6d. per act. THE AUTHOR. 277 DRAMATIC AUTHORS AND AGENTS. MEO ES Le authors should seek the advice of the Society before putting plays into the hands ef agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, de equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author’s rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. Se ee WARNINGS TO MUSICAL COMPOSERS. a ITTLE can be added to the warnings given for the 1, assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. a STAMPING MUSIC. — The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, <a THE READING BRANCH. ——_-—— + — EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS. includes not only works of fiction, but poetry and dramatic works, aud when it is possible, under special arrangement, technical and scientific works, The Readers are writers of competence and experience. The fee is one guinea. — > REMITTANCES. The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only. COLLECTION BUREAU. — due to authors, composers and dramatists. fe Society undertakes to collect accounts and money 1. Under contracts for the publication of their works. : 9. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs. Pogson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ——___—__+—~>— GENERAL NOTES. “THE AUTHOR.” Members are reminded that The Author is not published in August or September. The next issue will appear in October. Str Witiram Anson, Barrt., P.C. Str W. R. Anson, whose death was announced early in June, was a member of the Society, which he joined in 1904, and of its council, to which he was elected in the same year. Sir William’s most important literary work was “ The Law and Custom of the Constitu- tion ’’—a subject on which he was a recognised authority. In another branch of law, his “Principles of the English Law of Contract,” was recognised as a standard work and a very lucid exposition of the subject. In his public work, Sir William Anson was notable chiefly as an authority on education, and was Parliamentary Secretary to the Board of Education in Mr. Balfour’s Ministry from 1902—1905. THE AUTHOR. (JULY, 1914, AGENTS. Durtinc the past few months many inquiries. have been made by members, who have for- warded the papers and prospectus of agencies. claiming to place literary and dramatic works. In the vast majority of these cases no names are to be found on the notepaper of these concerns, the principals preferring to hide their dim lights under some such titles as ‘ The International Placing Syndicate.” We cannot emphasise too strongly how dangerous it is for members to entrust their works to unknown parties. The very fullest inquiries should be made beforehand as to the bona fides of the persons running them. In not a few cases these agencies are little else than typewriting offices whose principals find that a pretence of literary agency enables them to get from authors an amount of typewriting which none of their competitors—i.e., type- writing offices—could obtain in_ legitimate business. We have had occasion previously to point out no special qualifications are needed for the starting of a literary or dramatic agency, and anyone, however slender his qualifications, or however grave his disqualifications may be, is enabled to engage in this form of industry. We confess to some surprise that the genuine literary agents in this country have not set up some body charged with the duty of formulating rules of professional etiquette for the protection of their profession. Tur INDIAN Copyricut Act, 1914. WE have pleasure in providing readers of The Author with the Indian Copyright Act of 1914, as a supplement to the current number. There is very little to be said about it, as it practically adopts the Act of 1911. The most important difference lies in clause 4, Under this clause, in the ease of works published in British India, the arrangement with regard to the rights of translation has been modelled on the lines of the Berne Convention and the Act of Paris, but not on the Convention of Berlin. This arrangement will most probably only affect those books that are published by natives in British India and will not make any serious difference with regard to the works of English writers. Attention, however, should be drawn to the fact that Mr. Rudyard Kipling’s first efforts were published in India prior to publica- tion in England, and it is possible, therefore, that in exceptional cases the Act may interfere with the writings of English authors. — ‘ t JULY, 1914.] MECHANICAL CONTRIVANCES AND ORCHESTRAL ACCOMPANIMENTS. WE invite the attention of composers to the case of Chappell v. The Columbia Gramophone Co., a report of which appears in another column. We do not claim to know the motives of Messrs. Chappell & Co. in taking this action, but the effect of the judgment delivered will not, as far as we can see, be to help composers who are anxious that their works should be reproduced mechanically. In effect, it amounts to this, that a composer may assign his mechanical instrument rights to the publisher, who may, if he chooses, make it almost impossible for the mechanical instru- ment trade to take up the work. The publisher—if the composer foolishly allows him to hold the copyright—has only to refuse to allow the reproducer to make the manuscript orchestral accompaniment which is necessary for the manufacture of the record. We believe that Messrs. Chappell & Co. are now engaged in the manufacture and sale of contrivances for the mechanical reproduction of music, and if they have succeeded by this action in abolishing the competition of their rivals, we hope that composers will be wise enough to see that they get for the transfer of their rights to Messrs. Chappell something much more substantial than the fees laid down im the Act. Those fees were fixed by the Legislature as representing what—rightly or wrongly, we think wrongly—-was regarded as a fair return from the mechanical instrument trade for the use of the composer’s work. It must be remembered, however. that they were not fixed as a fair return for the ewclusive use by any one firm. ——————_+ —<—_+—_____—_ THE LAST OF THE PRE-RAPHAELITES, THEODORE WATTS-DUNTON, 1832—1914. N the death of Mr. Theodore Watts- I Dunton, on June 6, the literary world loses one of its greatest veterans and the Society of Authors one of its oldest members. In his study, where his old friend and secre- tary, Mr. Thomas Hake, had left him for a few minutes, he passed awayas hewould most, prob- ably have wished to pass away, In the midst of the work to which he was so devoted. His hours of labour would have shamed a man of half his eighty-two years. From seven in the ee until nine at night he was always occupied, anc until quite recently would sometimes accom- THE AUTHOR. 279: pany Ms charming and accomplished wit to T ee nusement in the evening. ae oe - Ais’ generation 1S perhaps the , ate that can befall a man; but this cannot tly be ad of Mr Watton, ho s ‘ no generation in particular. His interest in the life of to-day, a life so different from that of his own youth and early manhood, was strangely keen and insistent. Sometimes, in talking of his great contemporaries, Tenny- son, Meredith, Swinburne, Rossetti, Morris, Borrow, there would creep into his voice a note of retrospective sadness ; but it always seemed poetic rather than personal. It may be said that he never really grew up, his spirit never’ became tired. His laugh was as youthful as was the hearty “‘ My dear fellow ” with which he would address his friends. Good work he: recognised and praised, no matter from what source it came, and his punctilious courtesy in dealing with a mass of letters from unknown correspondents savoured of another century. He possessed the true gift of conversation. Every subject seemed to develop quite natur- ally out of what had preceded it, and although in a single hour he would have passed from Aischylus and Sophocles to twentieth century publishers, there was never any break or suspicion of a change of subject. Seated on the sofa in the middle of his study, with reminders of his friendship with Rossetti gazing down upon him from the walls, Mr. Watts-Dunton received his friends with that almost boyish cordiality that so endeared him to their hearts. If they had been doing any- thing of which the world knew, he would be sure to have heard all about it. His mind was as alert as his memory was remarkable ; but above all he was possessed of a very real charm of personality, a charm that did not -anish before the on-coming years. In literature and criticism he stood for enthusiasm. His gospel as a critic was to seek for the good that is to be found in most things, literary or otherwise, and, what is perhaps most remarkable in one who has known so many great men, he never seemed to draw invidious comparisons between the writers and. artists. of to-day and those of the great Victorian era. In addition to a number of articles hidden away In periodicals, his long life produced a romance (“Aylwin”), a sheaf of poems (‘* The Coming of Love’’), two of the most stimulating critical pronouncements eet ne century has produced ( Poetry ” and e Renascence of Wonder ”), and, what he per- haps valued most of all, a host of friends ; for he had a great capacity for friendship. bo 80 I remember one day, when we were discuss- wno his two essays © Poetry — and ‘ The Renascence of Wonder,” I ventured to remark that I considered the last-named in a way the more remarkable of the two as containing his own particular _battle-cry. He was obviously pleased, and told me how deplorably it had been cut down because only a certain space had been left for it in “C hambers s Cyclopedia of English Literature,” and how prodigiously it had grown under his hand. ‘At the time of his death he was engaged upon restoring the passages that he had been com- pelled to sacrifice. = During the last few weeks of his life he spoke frequently in a way that seems now to suggest that he saw the end was not far off. His keenness for work was not so great, and he slept a great deal. A tired body was gradually quenching an almost indomitable spirit, which one afternoon quietly slipped away, leaving him to all appearances peacefully sleeping. HERBERT JENKINS. ————_ + —~<—_+—_____—_- UNITED STATES NOTES. T the meeting of the American Library Association in Washington, at the end of May, the president, Mr. KE. H. Anderson, vigorously denounced the shame of the book tariff—‘‘ an imposition,” comments the Dial, ‘‘ endured by only two of the great Powers of the world, our own country and Russia.”’ The Dial continues : ‘‘ Of course it is an old story, but it is likely to be considerably older before the disgrace is wiped out and we are able to hold up our heads and claim a place among the nations enlightened enough not to lay a penalty on the acquisition of knowledge. Fifty per cent. higher now than before the Civil War, the present duty on imported English books fails ridiculously to yield any considerable revenue or to foster home industry in the manufacture of books. . . . If, then, as a tariff for revenue, the book tax yields only a negligible return compared with our total revenue, and if as a protective tariff it fails to protect or, at most, furnishes ignoble shelter to an unworthy few, why suffer it to remain on the statute book ? ” Why, indeed ? is a question which occurs to -others besides Americans. My list of new publications is somewhat shorter than usual at this time of year, owing to the late publication of the last instalment of these notes. Fiction, which keeps up its THE AUTHOR. JULY, 1914] numbers, may be left to the end. Biography makes but a small show. Will Levington Comfort calls his reminiscences ‘* Midstream.” To the American Crisis Biographies the newest addition is Daniel Webster, by F. A. Ogg. Among _ historical works are * California under Spain and Mexico,” by Irving Richman ; “The Mexican People: Their Struggle for Freedom,” by L. Gutierrez de Lara and Edgecumb Pinchon: “Old Panama and Castilla del Oro,”’ by Dr. C. L. G. Anderson ; “The Negro in American History,” by J. W. Cromwell; ‘‘ The Rise of the American People,” by R. G. Usher; and “ The Reformation in Germany,” by Professor H. C. Vedder. On the borders of this class is ‘* The History of the Soldiers’ Home in Washington,” by E. A. Lawton. ‘* A History of Education in Modern Times ” is by Professor F. P. Groves, of Pennsylvania University. Another educational work is ‘“ The Backward Child,’ by Barbara Morgan. C. and M. Beard write of ‘ American Citizenship ’’?; W. E. Walling of * Progressiv- ism—and After’; and E. D. Kenna of * Rail- way Misrule.” Travel and open air books include “ India, Malaysia, and the Philippines,” by Bishop W. F. Oldham ; ‘‘ Roughing It De Luxe,’ by Irwin Cobb ; “‘ Europe after 8.15,” by H. L. Mencken, G. J. Nathan, and W. H. Wright ; ‘“‘ Life Histories of African Game Animals,” by Theodore Roosevelt and Edmund Heller ; ‘* A Stepdaughter of the Prairies,” by Margaret Lynn; and ‘“‘ The Commuter’s Garden,” by W. B. Hayward. ‘** Stellar Motions” is by Professor W. W. Campbell, of Lick Observatory. A philoso- phical work is ‘‘ The Ego and its Place in the World,” by C. G. Shaw. The same classifica- tion can hardly extend to ‘‘ The Message of New Thought,”’ by Abel L. Allen, or ‘‘ Letters from a Living Dead Man,” by Elsa Barker. “ The Seen and the Unseen at Stratford-on-Avon,” by W. D. Howells, is, of course, already familiar to English readers. Perhaps the most notable book of essays is ‘“* The Lawyer in Literature,” by Judge J. M. Gest. And now the plunge has to be made into the novel class. This time, unlike the last occasion that these notes were written, women writers are not very numerous. Of those who sign with feminine names I notice Mary Vorse, author of ‘‘ The Heart’s Country” ; Alice D. Miller, “‘ Things’?; Marian Keith, ‘“The End of the Rainbow ”’; Dorothy Dix, ‘“‘Mirandy ’’; Margaret Gerry, ‘“ The Masks of Love”; Lucy Pratt, ‘ Ezekiel Expands ” ; JULY, 1914.] and Daisy Rhodes Campbell, “ The Fiddling Girl.” ““Vandover and the Brute” is the name of the curiously recovered novel by the late Frank Norris, which disappeared in the San Francisco earthquake. ‘ The Hills o Hampshite’ is by W. M. Cressy and Clarence Harvey; “ Cordelia Blossom ”’ by G. R. Chester; ~ The Boomers,’ by Roy Norton ; “Glory of the Pines,” by Ww OC. Covert ; “ Under Handi aps,” by J. Gregory ; _ New Men for Old,” by HY. O’Bricn ; The Professor and the Petticoat, by A. S. Johnson ; ‘‘ Horacio,’ by R. W. Fenn 7“ The Salamander,” by Owen Johnson ; “ Henry of Navarre, Ohio,” by Holworthy Hall ; “The Quarterbreed,”’ by BR. A. Bennet ; “ The Green Seal,” by C. E. Walk; “Idle Wives,” by James Oppenheim ; ‘** At Bay,” by George Scarborough ; “‘ Captain Dan Richards,” by E. T. Tomlinson; ‘On with Torchy,” by Sewell Ford ; ‘“‘ Sweetapple Cove,”’ by G. van Schaick; ‘The Marryers,” by Irving Bacheller; ‘“‘ Keeping up Appearance,” by M. Foster: and “ With the Best Intention,” by Bruno Lessing. The literary obituary of the past few months is not very large. On April 2 died E. P. Morton, a prominent student of English verse, and a. professor at several American universities in turn. On April 7 Cy Warman, often styled “the poet of the Rockies,” died in Chicago. He wrote. besides verse, many railroad stories and edited more than one paper. The death occurred at Capri on April 12 of Thomas Spencer Jerome, known among scholars for his studies of the Roman Empire, which led him to take up his permanent residence on the island where he died. On May 21 died Rudolf Tombo, junior, associate professor of Germanic languages at Columbia University, where he was also registrar and editor of the quarterly magazine. On May 26 died Jacob A. Riis, a Dane bv birth, but since 1870 an American. He wrote extensively about slum life in the States and was one of ex-President Roosevelt's en hers. oe Pup WALSH. —+— + ARE NOVELS TOO CHEAP ? — a1 DO not believe in the advisability of placing artificial restrictions on the price of any commodity. I believe that the price arrived at by the haggling of the market, the point of agreement between producer and con- sumer reached by free bargaining, 15, if not THE AUTHOR. 281 ally fair and just than that which could be arrived at by any other means. If instead of this natural price you want something more ideally fair, you are faced by two great difficulties. : ; rhe first is that you have to find out who are the proper people to decide it. The second is that you have to find out how the decision is to be made practical and effective. If the price is decided by a representative body of producers, it is almost certain, such is human nature, to be a little unfair to the consumers. If it is decided by a representa- tive body of consumers it is likely to be a little unfair to the producer. If you want it decided by a body equally representative of producers and consumers—well! how are you going to find that body, and to make it act in accord, and how are you going to make its decision effective ? That is the second difficulty. The arti- ficially arranged price has to be maintained by artificial means. It can be done when the producers are sufficiently united and have fixed on a price that is not quite fair to the consumer. For example, the lawyer can charge 6s. 8d. for an opinion that from a purely outside point of view is often worth only 1s., and the doctor can charge 8s. 6d. for advice and medicine that in many cases the chemist would give for the odd 6d. In the same way the consumers, when of one mind, can put an end to a high-priced product, as we have practically put an end to the sale of English cheese because its price is higher than that of the colonial article. Now we novelists have not the doctors’ or the lawyers’ power of making a close preserve of our business because, while nobody would think of entrusting his legal interests or his health to a tyro who had given a few months only to the study of law or of medicine, quite a large proportion of the reading public show now and then that they prefer a school- girl’s maiden effort to the latest expression of a master novelist’s art. If all the existing novelists and all the existing publishers agreed together that no novel should be issued at less than 6s. it would merely throw open a rich field for the new novelists and the new publishers who would hasten forward to supply the undoubted demand for cheaper editions. If all the booksellers joined in the 6s. Meese their place would quickly be taken by oe ee agents and the drapers. The covena®. would find themselves in the wilderness, —_—_—a4 282 whilst the competition of the neweomers and of supply and demand would the natural play ya de the minimum price of the continue to deci novel. ae For this reason I look upon any discussion as to what the minimum price ought to be, and whether novelists should not combine to fix and maintain that minimum, as purely academic. But if no artificial restriction can be placed on the minimum price at which novels should be sold, if it is left to the free play of demand and supply to decide what is the lowest price at which a new or comparatively new novel shall be placed on the market, IT think no artificial restriction should be placed on the maximum price at which such novels should be sold. And when we come to the maximum price, we are on very different ground. We are no longer considering the theoretical advisability of an artificial restriction on prices which in practice is impossible, we are considering an artificial restriction which is in force; and it is of the utmost practical pertinence to ask whether the artificial restriction is a fair thing and, if not, whether there are any means by which it can be combated and removed. We are not asking whether as novelists and publishers we should be justified in combining to maintain a certain arbitrary price for the novel; we are asking whether we ought to allow a combination of consumers to rob us of the advantages of an open market while they do nothing to protect us from its dis- advantages. That the 6s. decided upon by an adamant tule as the maximum price at which a new novel can be placed on the market is absolutely arbitrary and artificial is, of course, proved by the history of its inauguration. It was not arrived at by any of that gradual bargain- ing which enables buyer and seller to discover the price which is fair to both. In a day the price of the new novel was changed from a guinea and a half to 6s., and I challenge any individual concerned in that abrupt change to give me any reason why the price should not have been 1s. more or 1s. less. Even if, by some miraculous means, the librarians, booksellers, publishers and authors who agreed on the sensational change did arrive at the precise price that was equally fair and advantageous to every interest con- cerned at the moment, twenty years have passed, and the price that was fair to every- body then must surely have been affected by the changing conditions which have given THE AUTHOR. [JULY, 1914. us the flood of 6d. paperbacks and the nicely bound and printed comparatively new novel for 7d. As the value of the well-bound and well-printed novel which one can place on one’s bookshelf decreases so the one advan- tage which the new novel has over these chaste and cheap reprints, its newness, calls more and more for proper recognition and valua- tion. Twenty years ago the market value of newness was emphasised almost sensationally. If you wanted the latest novel of Ouida or Miss Braddon as soon as it was published, you had to pay a guinea and a half, and got the story in three volumes. If you were content to wait a little while you could get it in coloured boards for 2s. That may have been an over-emphasis of the value of newness, and the three volumes were certainly very inconvenient for the lending libraries to handle, but I imagine that it was nearer the mark in its appreciation of the value that readers place upon newness than the present system, which fixes the value of the absolutely new novel at a price so low that it does not allow the actual valuations of the reading public sufficient margin in which to express itself. If, for instance, you can obtain a new novel of Mr. Wells’ straight from his brain, when everybody is discussing it, for 4s. 6d., then 44d. is quite enough to pay merely for the pleasure of reading it in paper backs when the excitement and novelty are over and the discussion has ended, and 7d. is quite enough to pay to put it on one’s shelves. The prices are all dependent upon each other, and if at any point the delicate process of finding out true values by experiment in a free market is obstructed by an arbitrary and artificial restriction, the effect of that restric- tion will be felt throughout the whole process. Because the maximum price of the new novel has not been arrived at by the haggling of the market and does not represent any natural value discovered by the free play of supply and demand, that artificial and arbitrary price stands as the dominant factor affecting supply and demand. Because the maximum price is too small to give the publisher much return on the normal sale of a normal novel the publisher puts out as many books as possible in order to make a fair income out of many small profits, and I think he gives much less individual care to each novel than a publisher used to do under the old system. Similarly the novelist is urged by the small- ness of his return to increase his output, -and as it easily m JULY, 1914.] especially when he realises that, having onee obtained his entrée to the circulating libraries, the quality of his work matters cee ae and that his sales are unaffected by the praisc or blame of the reviewers. This tendency is so marked that the librarics in their own defence have had to place an artificial restriction on the supply. And as the 6s. maximum has inereased the supply of novels while lowering their quality, so it has increased the demand while making that demand less discriminating. In the days of the high-priced new novel, when a subscription to a good library cost something, readers took some care in their selection. They read and were influenced by reviews. Now the subscription rate is so small that people of quite moderate means will save themselves the trouble by taking half a dozen books at a time, more or less at random. It is probable that out of the six a reader will find only one to read and enjoy and will merely glance at the others, but the transaction gives no indication of the reader’s preference to the librarian, who is supposed to gauge the taste of his patrons from their selections and to make his purchases accordingly. Considering the important position which the circulating library holds as a medium between writer and reader, it would appear to me lacking in sensitiveness—economical sensitiveness— to the taste of its readers. And this through a failure to graduate its subscription rate. Some of the libraries have, I know, two classes of subscription, the cheaper entitling one to borrow books six or twelve months old. But the differentiation is clumsily inadequate. The value which many novel readers place upon freshness is almost equal to that of the news- paper reader and the magazine Yr sader, who would rather pay 6d. for a current copy than 1d. for a copy a week old. It is possible that the price which an active novel reader would give to read a novel which is being considerably discussed in the first week of its appearance is double that which he would be prepared to pay for the reading a week later. It is certain in the case of a great many readers that the value has gone down to half after the first month. And this quick change of actual value Is in no way represented by change of prices, as it would be in a free and sensitive market. ight be if we were not under cadening rule of uniformity both as to the price at which new novels shall be sold and the price at which they shall be lent. No subscriber to a circulating library, the thrall of this d THE AUTHOR. 283 ae week of the time whe i 2 7 ee _ OF ( en he wants it. In the provincial libraries at least, when one wants a new book at all in demand, one puts one’s name down on a list and waits until the other readers who put their names down first have taken their varying periods for perusing the one or two copics bought to supply their needs. One may have to wait several weeks for one’s turn. Now in a ease like this, where the demand is greater than the supply, the economic way of adjusting them is to make a competitive price. The limited supply is doled out to the demanders not in the order of their foresight or agility in getting their names down, but in the order of their eagerness as that eagerness is shown by the price they are prepared to pay for its satis- faction. Personally I should be prepared in the case of many novels to pay considerably more than the small fee demanded by my provincial library for the privilege of reading a book, if I could have the greater privilege of having the first dip at it, and it seems to me an economical blunder on the part of the libraries that there is no method arranged by which we could mutually oblige each other. It is as clumsy as if the manager of a theatre charged the same price for every seat and left the boxes and the stalls to be seized by the first-comers. But it is the natural result of a system which while it gives full play to competition in cheap- jal restriction on any ness places an artific by practice the actual attempt to discover value of newness. I think myself that combination which, the iron edict of a strong while it has no power and makes no attempt to put a bar on the too-cheap novel insists on a maximum that has no logical relationship cither with supply or demand, is at the root of all the evils of which novelists, publishers and booksellers, as well as the librarians themselves, complain of to-day, and ought to be broken down if the trade in novels is to remain anything more than an unhealthy gamble for big sales. . HerBertT FLOWERDEW.- ao MATILDE SERAO. —— 1 ATILDE SERAO’S father — was. the editor of the Giornale di Napoli, and in consequence she was brought up in a literary atmosphere. It would have been an easy matter for her to have contributed to 284 her father’s paper, but she preferred to find recognition on the merits of her writings alone, and at the age of seventeen, under the pseu- donyme of “‘ Tuffolina,” she sent out a sketch, “ Fanciullo biondo ” (fair youth), which found a ready publisher; this encouraged her to write another, “ Il Cristo d’Altamura,” which was immediately accepted for publication, the editor writing to ask her for a story at her own fee. She wrote it in two days, and asked 30 lire (about 24s.) for it, which she received by return of post. So she began. Soon all local papers wanted contributions from her able pen, and she wrote many articles and stories, which were subsequently collected in book form, her earliest efforts appearing in a little volume called: ‘‘ Dal vero.” She also helped her father in his editorial work until she went to Rome in 1885 and married Edoardo Searfoglio, and published with him a paper called Il Corriere di Roma, so becoming a journalist as well as an author. She wrote so much, her books were reprinted so often, that it is difficult to get a complete and chrono- logical list of her works ; the following are the most important :— = Opale” (a novel) (1878), ~ Leggende napoletane ” (1881), “‘ Piccole anime ”’ (1883), “T] ventre di Napoli” (1884), “La virti. di Ceechina”’ (1884), “‘ Il romanzo della Fan- ciulla ” (1885), ‘‘ La conquista di Roma” (1885), “Pagina azzurra”’ (1885), “ Vita e avventure di Riccardo Joanna ” (1887), “ Fior di Passione’”’ (tales) (1888), “ All’erta senti- nella!” **Terno secco,” “Trenta per cento,” ete. (stories) (1889), ‘‘ Addio amore !”’ (1890), “Tl paese di Cuccagna’’ (1891), ‘‘ Piccolo Romanzo’”’ (1891), ‘‘ Fantasia”’ (1892), * Castigo ’’ (1893), ‘Gli amanti’’ (pastels) (1894), “ Le amanti ”’ (stories) (1894), “ L’in- ‘differente *” (1896), “‘ Donna Paola’’ (1897), “ Storia di una Monaca ”’ (1898), ‘‘ Nel paese ‘di Gesu’”’(1900),**Animasemplice,” ‘ Ballerina” (1901), “‘Lettere d’amore”’ (1901), ‘‘Madonna e Santi nella fede e nella vita ”’ (1902), ‘ Storia di due anime ” (1904), “* Dal vero ” (sketches) (1905), “Dopo il perdono”’ (1906), “‘ Ster- minator Vesevo ”’ (1906), ‘‘ Cristina,” ‘ Sacri- legio ” (two stories) (1908), ‘* Cuore Infermo ”’ (1908), San Gennaro nella leggenda e nella vita ’* (1909), ‘* Capelli di Sansone” (1909), Pellegrino appassionato ” (1911), ‘‘ Evviva la vita !’ (1911), “ Evviva la guerra ! ”’ (1912), La mano tagliata *» (1912). ie ee ay have coe published in Eng- - okid ae Love! (translated by Mrs. eo leinemann (1894); ‘* The Land “ockayne,”’ Heinemann (1901) ; “ Fantasy ”’ THE AUTHOR. [JULY, 1914. (translated by H. Harland and P. Sylvester), Heinemann; ‘‘The Ballet Dancer” and “On Guard,” Heinemann (1901); “ The Conquest of Rome,’’? Heinemann (1902); ** In the Country of Jesus ” (translated by Richard Davey), Heinemann (1905) ; ** After the Pardon,” Eveleigh Nash (1909) ; ‘‘ The Desire of Life”? (translated by William Collinge), Stanley Paul & Co. (1911); “ Dopo il Perdono ” was written in dramatic form in collaboration with Pierre Decourcelle and acted as a four-act drama in Naples in 1908. Matilde Serao’s novels have been translated into many foreign languages, and she is the foremost woman writer in Italy to-day, yet I do not think she is sufficiently known, or widely read, in England; maybe the choice of the works which have been so far translated are not those which show her insight into human passions to the best advantage. In Italy, as a writer, she does not excel for style or choice of subject, she does not use beautiful language, nor does she display great originality in her plots or dénoue- ments; but she is intimate with “love” in all its phases, in all its shades, in all its triumph, but, most of all, in all its tragedy. Most of her novels are enlarged snapshots of life with variations on the love theme, which runs through all her books, though the “ Conquest of Rome” is a tale of parliamentary life, the ““ Avventure di Riccardo Joanna” is meant as a warning to would-be writers as to thorny path which awaits aspirants of the pen, tl paese della Cuceagna” is a romance of Nea- politan life, and the “Paese di Gesu” is a book of reminiscences of a trip to Palestine, as ‘“* Evviva la guerra!’ is an echo of the Italian war in Tripoli, and ‘‘ Sterminator Vesevo ” is a diary of the eruption of Vesuvius in April, 1906. Though Matilde Serao has written many and lengthy volumes, I am going to make no apology for dwelling on three tiny books of hers which are not known generally, on account of the fact that, as yet, they have not been translated into English; they are: “Gli amanti,” ‘‘ Le amanti,” ‘‘ Lettere d’amore ”— Lovers (masculine), Beloved (feminine), and Love letters. Matilde Serao describes every form of love, but her own conviction is that in love there are more sufferers than sinners, more sorrow than joy; yet she believes the world is well lost for the sake of love. She goes even further in her analysis of this absorbing human passion, and compares it to a devouring flame which gives no respite, which knows no mercy, which does not reason and which cannot be conquered, for even virtueis JULY, 1914.] powerless against the devastating power of passionate love. In “Gli amanti” we en- counter the various forms of love, we are led into the intimacy of many hearts and are shown how the various souls of lovers feel love ; in this little book some love sensually, others idealise passion, some arc true till death and even die for their love, others only find pleasure in change; some love with their heads, some with their hearts, others merely with their senses ; but they are all true to life not overdrawn nor toned down. ‘** Le amanti ”’ introduces us to various types of women in love. From these sketches I will quote a dialogue the directness of which is most appealing. It is summer, and a moon- light night, Massimo makes love to Luisa because he feels sentimental, and she falls desperately in love with him. He is her first love, but has to tell her he is in love with another, and this is what they say :— ‘“* Do you love her very much ? ” ‘“*T love her. When one loves, one loves- “* Have you loved her a long time ? ” *“ A very long time.” ** Since when ? ”’ ** Since always.” ‘“* Have you never loved any other ?’ “No—never. There is a love that admits of no other.” Yet the woman whom he loved did not love him, as the following dialogue shows :— ‘** Does she love you? ” “No.” ‘6 2 She does not love you?’ No, not at all.” “‘ Did she ever love you?” Never.” “Have you any hope?” None.”’ “‘ Why does she not love you? ” ‘Because there are some people who never do love.” He knows he is only a toy, a slave, yet he cannot tear himself away for—such is love. “Tettere di amore” (Love letters) has a sub-title which explains their object, : I perché della morte,” or ‘“ Why love dies.’ Matilde Serao thinks that to love completely it is necessary to love with heart, senses, nerves, and sentiments, therefore to logically love is to give oneself up entirely and_be consumed by an overwhelming passion. Yet to do this is inevitably to give love its death- blow, for, having reached ecstasy, one can get no higher, nor stand still, therefore only by an eternal parting can one prevent love's dissolu- tion. Matilde Scrao thinks that it is better to ° ‘ . THE AUTHOR. 285 suffer cruelly through the disappearance of the beloved than to be tortured by lies and secret and vulgar betrayals of a dead love that vainly tries to keep alive only for pity’s sake. It is best for lovers to separate, to end the romance whilst still the rapture lasts, so that at least remembrance may survive of glorious days gone by, undimmed by the tepidity of the penultimate or the icy coldness of the last days. _ Matilde Serao gives us lovers and loves that linger on in our mind, and make us think ; they are all so real, we get to know them so: intimately that our very heart beats with theirs. Matilde Serao should be read if only for this, that she has the gift of creating visions. On the tree of Love many flowers blossom, some sweetly perfumed, others scent- less, some brilliantly hued, others almost colourless, some exotic and intoxicating, others. appealing by their serene simplicity. In our hours of rest the flowers of remembrance blossom, and we can see again the faces we once loved, the radiant sunshine that long ago did play on our well-beloved’s tresses entwining them round our hearts, or, maybe, some cherished name written in letters of gold on a cloudless sky. The heritage of past raptures is an after-glow which warms the most lonely, the darkest places of our soul shedding a great light—for this, in the heyday of our lives, we should cultivate Love. E. S. Romero-TopEsco. > oe MEMORIES OF MY YOUTH, 4844—1865.* HERE are few literary forms in reality more difficult than autobiography. This is not the opinion of the generality of people, and the familiar assertion that every man has one book in him is usually understood to mean that the book in question would be a record of the writer’s personal feelings and experiences. In fact, however, that would be very seldom likely to be the case ; for any able representation of a man’s self invariably presents formidable problems, and to arrive at any becoming solution of them demands no ordinary skill. For this reason Dr. Putnam's. “Memories of my Youth” deserves high praise, and should mect with a wide welcome as a work in which the serious difficulties of autobiography have been most happily sur- 2 eS * By George Haven Putnam. G. Putnam’s Sons, New York and London. 1914. 284 her father’s paper, but she preferred to find recognition on the merits of her writings alone, and at the age of seventeen, under the pseu- donvme of “‘ Tuffolina,” she sent out a sketch, “ Fanciullo biondo ”’ (fair youth), which found a ready publisher ; this encouraged her to write another, “ Il Cristo d’Altamura,”’ which was immediately accepted for publication, the editor writing to ask her for a story at her own fee. She wrote it in two days, and asked 30 lire (about 24s.) for it, which she received by return of post. So she began. Soon all local papers wanted contributions from her able pen, and she wrote many articles and stories, which were subsequently collected in book form, her earliest efforts appearing in a little volume called: ‘Dal vero.” She also helped her father in his editorial work until she went to Rome in 1885 and married Edoardo Scarfoglio, and published with him a paper ealled Il Corriere di Roma, so becoming a journalist as well as an author. She wrote so much, her books were reprinted so often, that it is difficult to get a complete and chrono- logical list of her works ; the following are the most important :— ‘““Opale”? (a novel) (1878), “‘ Leggende napoletane ” (1881), “ Piccole anime ” (1883), “ I] ventre di Napoli” (1884), “La virti di Cecchina ”’ (1884), ‘Il romanzo della Fan- ciulla’”’? (1885), ‘‘ La conquista di Roma” (1885), ‘Pagina azzurra’’ (1885), “ Vita e avventure di Riccardo Joanna ”’ (1887), ** Fior di Passione ’’ (tales) (1888), ‘‘ All’erta senti- nella !’’ **Terno secco,”’ “Trenta per cento,” ete. (stories) (1889), ““ Addio amore !” (1890), “Tl paese di Cuccagna’’ (1891), ‘* Piccolo Romanzo”’ (1891), “ Fantasia” (1892), “ Castigo” (1893), “Gli amanti’”’ (pastels) (1894), “ Le amanti ” (stories) (1894), “ L’in- diferente ” (1896), “ Donna Paola” (1897), “ Storia di una Monaca ”’ (1898), “ Nel paese di Gesu : (1900),**Animasemplice,” ‘ Ballerina” (1901), ““Lettere d’amore”’ (1901), ‘‘Madonna e Santi nella fede e nella vita ”’ (1902), ‘‘ Storia di due anime ”’ (1904), ‘‘ Dal vero ” (sketches) (1905), “Dopo il perdono” (1906), ‘‘ Ster- minator Vesevo ” (1906), ‘‘ Cristina,’ ‘ Sacri- legio ”’ (two stories) (1908), ‘‘ Cuore Infermo ” (1908), San Gennaro nella leggenda e nella vita ” (1909), ‘Capelli di Sansone *’ (1909), “ Pellegrino appassionato ” (1911), “ Evviva la vita !”” (1911), ‘‘ Evviva la guerra ! ’’ (1912) La mano tagliata ” (1912). ce oe Sigh published in Eng- Hi. Harland) Hei a ao 2 Ca einemann (1894); ‘‘ The Land ayne,’’ Heinemann (1901) ; ‘‘ Fantasy ”’ 3 THE AUTHOR. [JULY, 1914. (translated by H. Harland and P. Sylvester), Heinemann; ‘‘The Ballet Dancer” and “On Guard,’ Heinemann (1901); ‘ The Conquest of Rome,”? Heinemann (1902); “ In the Country of Jesus ” (translated by Richard Davey), Heinemann (1905); “After the Pardon,” Eveleigh Nash (1909) ; “* The Desire of Life’ (translated by William Collinge), Stanley Paul & Co. (1911); ** Dopo il Perdono ” was written in dramatic form in collaboration with Pierre Decourcelle and acted as a four-act drama in Naples in 1908. Matilde Serao’s novels have been translated into many foreign languages, and she is the foremost woman writer in Italy to-day, yet I do not think she is sufficiently known, or widely read, in England; maybe the choice of the works which have been so far translated are not those which show her insight into human passions to the best advantage. In Italy, as a writer, she does not excel for style or choice of subject, she does not use beautiful language, nor does she display great originality in her plots or dénoue- ments; but she is intimate with “love” in all its phases, in all its shades, in all its triumph, but, most of all, in all its tragedy. Most of her novels are enlarged snapshots of life with variations on the love theme, which runs through all her books, though the “* Conquest of Rome” is a tale of parliamentary life, the “ Avventure di Riccardo Joanna” is meant as a warning to would-be writers as to thorny path which awaits aspirants of the pen, “ Ul pacse della Cuccagna ” is a romance of Nea- politan life, and the “Paese di Gesu” is a book of reminiscences of a trip to Palestine, as ‘“‘ Evviva la guerra!’ is an echo of the Italian war in Tripoli, and ‘‘ Sterminator Vesevo ” is a diary of the eruption of Vesuvius in April, 1906. Though Matilde Serao has written many and lengthy volumes, I am going to make no apology for dwelling on three tiny books of hers which are not known generally, on account of the fact that, as yet, they have not been translated into English; they are: “ Ghi amanti,”’ ‘* Le amanti,”’ ‘‘ Lettere d’amore ”— Lovers (masculine), Beloved (feminine), and Love letters. Matilde Serao describes every form of love, but her own conviction is that in love there are more sufferers than sinners, more sorrow than joy; yet she believes the world is well lost for the sake of love. She goes even further in her analysis of this absorbing human passion, and compares it to a devouring flame which gives no respite, which knows no merey, which does not reason and which cannot be conquered, for even virtue+s JULY, 1914.] powerless against the devastating power of passionate love. In ‘Gli amanti” we en- counter the various forms of love, we are led into the intimacy of many hearts and are shown how the various souls of lovers feel love ; in this little book some love sensually. others idealise passion, some are true till death and even die for their love, others only find pleasure in change; some love with their heads, some with their hearts, others merely with their senses ; but they are all true to life not overdrawn nor toned down. : ** Le amanti ”’ introduces us to various types of women in love. From these sketches I will quote a dialogue the directness of which is most appealing. It is summer, and a moon- light night, Massimo makes love to Luisa because he feels sentimental, and she falls desperately in love with him. He is her first love, but has to tell her he is in love with another, and this is what they say :— ** Do you love her very much ? ”’ “*Tlove her. When one loves, one loves ‘** Have you loved her a long time ?” ** A very long time.” “* Since when ? ”’ “* Since always.”’ “* Have you never loved any other ? “ No—never. There is a love that admits of no other.” Yet the woman whom he loved did not love him, as the following dialogue shows :— ** Does she love you? ” ee No.”’ “* She does not love you ?’ *“ No, not at all.” “‘ Did she ever love you ?”’ Never.”’ “* Have you any hope ?’ ** None.”’ ‘““ Why does she not love you?” “‘ Because there are some people who never do love.” He knows he is only a toy, a slave, yet he cannot tear himself away for—such is love. ‘““Tettere di amore” (Love letters) has a sub-title which explains their object, . I perché della morte,”” or ““Why love dies.’ Matilde Serao thinks that to love completely it is necessary to love with heart, senses, nerves, and sentiments, therefore to logically love is to give oneself up entirely and be consumed by an overwhelming passion. Yet to do this is inevitably to give love its death- blow, for, having reached ecstasy, one can get no higher, nor stand still, therefore only by an eternal parting can one prevent love s dissolu- tion. Matilde Serao thinks that it 1s better to 9 . oe THE AUTHOR. 285 suffer cruelly through the disappearance of the beloved than to be tortured by lies and secret and vulgar betrayals of a dead love that vainly tries to keep alive only for pity’s sake. It is best for lovers to separate, to end the romance whilst still the rapture lasts, so that at least remembrance may survive of glorious days gone by, undimmed by the tepidity of the penultimate or the icy coldness of the last days. _ Matilde Serao gives us lovers and loves that linger on in our mind, and make us think ; they are all so real, we get to know them so intimately that our very heart beats with theirs. Matilde Serao should be read if only for this, that she has the gift of creating visions. On the tree of Love many flowers blossom, some sweetly perfumed, others seent- less, some brilliantly hued, others almost colourless, some exotic and intoxicating, others: appealing by their serene simplicity. In our hours of rest the flowers of remembrance blossom, and we can see again the faces we once loved, the radiant sunshine that long ago did play on our well-beloved’s tresses entwining them round our hearts, or, maybe, some cherished name written in letters of gold on a cloudless sky. The heritage of past raptures is an after-glow which warms the most lonely, the darkest places of our soul shedding a great light—for this, in the heyday of our lives, we should cultivate Love. E. S. Romero-TopEsco. ——_ MEMORIES OF MY YOUTH, 1844—1865.* — HERE are few literary forms in reality more difficult than autobiography. This is not the opinion of the generality of people, and the familiar assertion that every man has one book in him is usually understood to mean that the book in question would be a record of the writer’s personal feelings and experiences. In fact, however, that would be: very seldom likely to be the case ; for any able representation of a man’s self invariably presents formidable problems, and to arrive at any becoming solution of them demands no ordinary skill. For this reason Dr. Putnam's “Memories of my Youth” deserves high praise, and should meet with a wide welcome as a work in which the serious difficulties of autobiography have been most happily sur- Ce ee * By George Haven Putnam. G. Putnam’s Sons, New York and London. 1914. 286 mounted. Whilst the book is essentially autobiographical, its varied interests are very many, and will command the attention of numerous readers besides those actually and principally attracted by the story—a_ vivid one—of the earlier years of the writer's life. Ultimately it seems that the work will take the position of a middle volume of three, whereof the first will be Dr. Putnam's memoirs of his father (“‘ A Memoir of George Palmer Putnam”), and the third Dr. Putnam's promised ‘* Memoirs ofa Publisher.” : The present work is a record of Dr. Putnam's life from the date of his earliest recollections until the close of the Civil War into which the United States were plunged by differences of opinion about slavery. About one half of the book is devoted to the earlier years, the author’s sojourn in England in 1844, 1851 and 1860, and his experiences as a student at Paris, Berlin, and Gottingen ; and about one half to the period of his service in the Civil War from September, 1862, to September, 1865. Those whose memories can extend to the earlier years of the narrative will, as they read, find long-ago recollections awakened by Dr. Put- nam’s allusions to such subjects as the Bloomer Movement, the Chartists, strange opinions regarding the possibilities of steamships and railways, the estimation in which the citizens of the United States were held in England sixty years ago; and not a few similar things that will recall impressions of years now— alas!—far away. The appeal of these pages of the work to the constantly diminishing few to whom they can appeal is so strong that it may be doubted whether they will read with equal interest any other part of the volume. Those, however, will be certainly more numerous who will be attracted by the pages next following, recording student’s experiences of a wide and varied kind. Of the latter half of the book the interest is mainly historical ; and the historical matter here contained will have an indelible interest, as that contemporary evidence of an. eye-witness which is the virgin gold of history. Dr. Putnam seems to think that from the purely intellectual point of view he was by no means altogether a gainer by his experiences in the Civil War. ‘I had lost,”’ he writes, “‘ and was never to be in a position to regain, the opportunity for a college training. With a keen interest in literary and scholarly matters, I was obliged to do my later reading without the all-important foundation of the routine knowledge of Latin, of literary history, a Boneples of science, ete., which any youngster who has made a fair use of college THE AUTHOR. (JULY, 1914. facilities has ensured.’’ Nor does he consider these the only losses which his part in the war entailed. It would have been interesting to hear his opinion of the actual results of the settlement after the war, those problems which the emancipation of a prolific population of a lower grade of humanity has brought upon the United States. Of this, however, Dr. Putnam says nothing. The book contains also, quite naturally, but few and almost incidental allusions to the history of the well-known publishing house with which his name is associated. For information on that head we must await the ‘‘ Memoirs of a Publisher,” which Dr. Putnam promises ; which we most earnestly hope that he may find himself able to produce. The appearance of the work will be awaited with eager expectation. ——___+_>_—____—_- J. M. SYNGE.* ——~<> + MAURICE BOURGEOIS has NY / pro- A . duced a book upon John Milling- ton Synge which will, we fancy, remain for years to come an authoritative work upon the Irish dramatist’s life and art. There might, perhaps, with advantage—or, at least, with added pleasure to the reader—have been a little more about the personality of the man ; at the end of the book we feel that we have not penetrated far into that. There are, however, personalities which it is very hard to bring out upon paper, and it may be that Synge’s was one of these. Anyhow, great praise is due to M. Bourgeois for this “‘ essay ” (as he modestly calls it), and not the least for the excellent English in which it is written. Instinctively the reader looks for the translator’s name upon the title-page, so hard is it to realise that it is not an Englishman who handles the language so well. The plan of the book has been to take Synge in his early life—though he was not yet thirty- cight when he died—and trace the formative influences under which he passed, first in Ireland and then on the Continent of Europe, particularly in Paris ; next, to see how he came to write the works which made him famous ; and, finally, to deal with the works themselves in detail and to estimate their lasting value. We do not know that we can do fuller * “John Millington Synge and the Irish Theatre,” by Maurice Bourgeois (Constable & Co.). JULY, 1914.] THE AUTHOR. justice to the book than by quoting some of the passages in which the author tries to show how the subject of his biography developed and into what he developed. We might quote much, but will restrict ourselves to four excerpts. Synge, says M. Bourgeois, ‘“‘ began by seeking self-expression in music and painting; but he found the fine arts too difficult or too vague. Next he turned to journalistic criticism ; again, he wandered over Ireland and wrote descriptive essays ; but these remained external attitudes. Synge, despite his intuitive methods, saw life through the often distorting prison of literature, or pictured his countrymen’s ways and doings necessarily from without. At last he placed himself at the core of existence by writing of himself in a few of his poems; and this inner mental development, always nearing life as it advanced, found its natural terminus in the drama.” Again, “his dramatic instinct he owed partly to the racial talent of the Irish, partly to his continental training, and partly to the environment which he found in Dublin. Yet, despite Mr. Yeats’s asseveration that * Mr. Synge is a young writer and a creation of our movement,’ he was not a product of the Abbey Theatre. It did not create him as it created others; nor did he create it. Personally he loathed the idea of ‘movements’ and of ‘schools’; and in this, as in other cases, his individual independence may be safely vindi- cated.” It is a mistake to look upon Synge as a reformer. He revolted against dramatic didacticism. ‘‘ He compares the drama with the symphony—an analogy significant in a musician like him. Synge is not a man with a message who believes that the theatre 1s a ‘criticism of life. He avowedly repudiates the ethical or sociological problem-play in- augurated by ‘ Ibsen and the Germans,’ who, it may be recalled, had found a few disciples among the early Abbey Theatre dramatists. He also, we think, implicitly alludes to the danger which threatens a self-styled national theatre: that of confusing the literary with the political standard, nationalist logic-chop- ping and propaganda with elgees Se Synge has no wish to change or re orm al thing ; his contention 1s that the oe ev = in a land of controversy like Irelan , mus remain in its purely artistic sphere. oe Finally, M. Bourgeois has no or t * ti Synge’s place in the front rank. re oo. confidently urged,” he says, tha y ae name is one of the chosen few that are bounc 287 to survive. Of course his body of work is a ere ou Sc Synge, after all, may be grudg palm given to the unique, meteoric geniuses that do mankind honour. . . . Yet no one will seriously contest that his writings bear the hall-mark of a signal literary ability and of an almost unprecedented temperament. . . . Whether he is to have actual literary disciples in English-speaking countries and elsewhere, the future will decide. As his case stands, however, with his strong, all-pervading personal note, he is not likely to find many imitators. . . . Synge’s mental and artistic idiosynerasy was almost exclusively his own while he lived ; now he is dead it will not, in all probability, become anyone else’s.”’ It should be added that the book has a very full bibliography and other appendices of value to the student ; and that it has a number of illustrations. In a few cases the reproduc- tion of the photographs is not very good, but the portraits are mostly excellent. ————_or-e<e—__- CORRESPONDENCE. ———1+ —— COLONIAL SALES. Srr,—As I have just returned from a some- what prolonged visit to Australia and South Africa, I found the article headed “ Australian Book Rights,’ in the June number of The Author, particularly interesting. While in the Commonwealth I made a special point of going through all the principal book shops in such cities as Melbourne, Sydney, Adelaide, and Perth. In each one of them I gathered precisely the same impression : books issued by English publishing houses were | being steadily ousted by books published in the United States. Now, while it is true, of course, that Austra- lians are a highly democratic people, and much hods and progress, interested in American metl it is, in my opinion, also true that consideration of the matter contained in American English books has but very slightly S05 L Australia’s exceedingly marked preference fox the former. It may seem far-fetched, but it is, I believe, a fact that American pee are selling mainly upon their covers 11 — . to-day ; and, by that token, Bnei a are going unsold, chiefly by reason 0 ” . in Australian eyes, must be admitted to be their unattractive get-up- 288 It was pointed out to me by a dozen well- established booksellers in Australia that American books were a notable asset in “ window-dressing’”’; and that the reverse was true of most books issued by English publishers. In considering this it would, of course, be highly absurd for an author to apply the standards of his own individual taste. He may very properly prefer a quiet, neat cover for his book, paper with a dull surface, and no illustrations or decorations. Quite so, Well, Australian book buyers, and—mark this point _—Australian booksellers, prefer gaily coloured picture covers, highly glazed paper, plentiful decoration and illustrations, and, it may be, gilt tops. The American publisher provides all this, whilst the English publisher in very many cases prefers to supply in his “ Colonial edition ’—Australians detest that phrase—a format somewhat more drab and unexciting than he uses for his English editions. In these circumstances I have not the smallest doubt that if a given novel, say, were issued in Australia in two forms simultaneously, one the typical English production, the other the typical American production, one hundred copies of the latter would be sold for every single copy sold of the former. The one would be prominently displayed; the other, if stocked at all, hidden away on a top shelf. All this is not very pleasant for those of us who endeavour to live by means of our work as English writers. It is, I believe, strictly true. Here is another point which should have some interest for English novelists. While in Australia, I happened upon a sixpenny edition (published in London) of a book of Mr. Arnold Bennett’s which I had never read. I bought it and enjoyed it immensely. It is a delightful piece of satire, having special interest for novelists. Since my return I have asked for that book in fully twenty large book shops, in London, Brighton, Eastbourne, ete., always without success. The other day I asked for it in a large Holborn shop, and having received the accustomed reply, I ventured upon an expression of surprise. The assistant politely told me he thought I was mistaken. He could not remember any work of fiction by Mr. Arnold Bennett having that title. I asked him to look it up in a catalogue. He did so, and found the title. Then he explained his ignorance of the book in this way: ‘‘ Ah, yes here itis. But I see it is published by Messrs. The terms they give booksellers are so very poor that we only obtain their books Noon ao ordered. i shall be glad to get you and post it on.”” And he did. But THE AUTHOR. | /author who lunches with his publisher is a (JULY, 1914, if that is the position in the case of a novelist with a big vogue, what of the selling chances for lesser known men ? I am, Sir, yours faithfully, A. J. Dawson. a a a ae AutHuors AND AGREEMENTS. Srr,—Mr. Shaw has, I believe, said that any nincompoop, and the general trend of your advices in The Author is to the effect that, if authors will simply be businesslike, all will be simple for them; if they will not be, they deserve a miserable fate. But life is not so simple and clear-cut, especially for a young author. His first play or his great novel may be appreciated by a producer or a publisher with whom he has been previously brought into friendly contact through artistic sympathy, for there are producers and publishers with artistic sympathy. Directly this friend says he will risk the work, is the author to retire into his shell, to pore over his agreements with a lynx-eye, to keep the friendly and the practical parts of his nature severely separate ? No doubt he ought to. But, in the first place, the artistic nature, of all natures, is least able to do this, and, secondly, art is the sphere in which it is least easy as yet for anybody at all to do this. Business men can carry through keen transactions and not offend each other, because to them the atmosphere is natural, and because they have behind them all the tradition summed up in “‘ Business is business.” The keenest of caution is not taken by the other party as a reflection on his honesty. But the artist, just because he hates the job, imparts an air of distrust to his suggestions, and, in his turn, the editor, publisher, or producer, likes the personal relationship. To show how partially literary business houses have absorbed the business tradition, I once went over from the publisher of a play of mine to a most highly respected establishment which I had asked to become agents for the amateur rights. In their previous letter accepting this agency they had penned some wording which did not look to me sound, and, on the advice of a pub- lisher, I asked for an alteration of the wording and for a stamped agreement. I got both, but I learnt afterwards that the representative of the firm thought I had been accusing him of the intention to steal. He thought the whole matter was so trivial that he did not think it worth business crispness, and the personal element had entered, since a mutual friend had recommended me to ask this firm JULY, 1914.] to be my agent. I am no business man. It would be a nice point in psychology to deter- mine what I did actually think when this gentleman was unwilling to bother about an agreement over my trifling play. But in real business, men have conveniently invented the convention by which neither party is supposed to be thinking of the likelihood of the other cheating, the convention of merely being “ businesslike.’’ In fact, my agent had no right at all to wonder what I ‘‘ was at ”’ in demanding an agreement. Another case which happened to me was in regard to the editor of a newspaper. I wrote saying that as I contributed articles fairly often I should like an agreement according to which I should be paid the regular sum for each article. He wrote back intro- ducing the personal element, and leaving me with nothing to do but to apologise for having east reflections on his honour. And what was the result? Not six months later an article commissioned by him and written by me appeared in a part of his paper not usually devoted to articles and I was paid _ half price. I protested, and he told me, quite friendly, that he understood that the higher price was for articles printed on the regular page. Perhaps, even with my agreement, this contention would have held good ; never- theless it was to avoid this sort of occurrence that I had asked for the agreement. To conclude the story, he said that next month he would make good the sum—at least his vague wording seemed to imply this—and would also pay for a second article for which he had as yet paid nothing at all, and he made out that I should thus be getting “ twice as much as I ought to get.” And in the result he paid full price for the second article and did not pay the extra for the first, and no doubt he still thinks that he overpaid me, whereas I think I am owed money by him. If I had written again he would probably have been so irritated as to take less articles than before, and yet the whole thing might have been avoided by strict business on his part. Editors drive one mad by insisting on one’s interpreting what business wishes they have ; they themselves tear their hair at us unpractical authors; yet they introduce muddle themselves by insisting on retaining a patronising, personal position. At least this particular editor does. : : e Writing as a business 1s only just cing born; its etiquette is not yet formed; an so procedure is difficult. I have no intention whatever of casting the slightest imputation THE AUTHOR. 289 on the credit of my editor; yet, generally speaking, one’s caution is born of a fear of rogues, and when one applies it to a particular case, the particular case thinks he is being feared as arogue. Of course one can sometimes explain that his business may pass into other hands, but this is not universally so, and so long as business keenness is thought unnatural between literary friends, I for one shall never be comfortable in applying it to some men who are among my closest and most intimate friends. Lronarp INKSTER. THE Price oF PAPER. L Dear Srr,—I have consulted an expert in paper re C. F. Moxon’s query. The answer is: It is difficult to pronounce absolutely without seeing the paper. Thinner paper is often better because more calendered. Thicker may be loaded, but some of the thick used is of good quality. Thin paper is often the dearest. One knows the quality of paper by handling it, and good paper makes a clear tear, not jagged. M. Montgomery CAMPBELL. i Dear S1r,—In reply to Mr. C. F. Moxon’s letter re the above subject in your last issue, this is a somewhat disturbing factor in the present, production of books. Paper nowadays has not the strength or enduring quality that it formerly possessed, for there are now so many substitutes for linen or cotton, which were practically the only materials then used, and which were naturally more expensive to manufacture. The craving for cheap literature has necessitated the employ- ment of cheaper substitutes—grass, wood and ‘what not which are usually of a so-called *‘ antique”? character as regards finish. The public will sometimes appraise & volume by its bulk rather than by its literary contents, and unfortunately a few publishers have been guided by this demand for quantity rather ae quality by issuing books printed on this thick, soft, and spongy paper which is objectionable in more than one respect. a For proofs printers usually employ a thinnis paper of a closer texture so that postage may be saved but sufficiently hard to carry pen and ink in correcting the proof. The actual difference in cost between such paper and the thicker and softer paper complained 290 of is probably little, if any, but it depends on the precise weight and not substance. Your correspondent may, however, take it that the market value per pound may be about the same, but by varying the material and especially by regulating the finish it is possible that one kind may be made to bulk at least 50 per cent. more, although the two papers In the ream may be of equal weight. Perhaps later on I may be allowed to deal with this subject more fully. I am, yours faithfully, ~ Cuas. T. JAcoBi. PUBLISHERS’ REFUSALS. Srr,—We hear from successful writers that publishers and editors are anxious to receive good work, that introductions are unnecessary, and that there is a market for the writer who has some show of power. I should like to ask the opinion of your readers upon this, stating my own case in order to contradict this idea. My first book found a publisher after a weary round, it was a failure in ‘six shilling form,” but as a shilling book sold fairly well. It had received more than ordinarily good and lengthy reviews. The net gain to me has been nil. This for various causes. The second book, still unpublished, is “ full of power,” according to the publishers, ** but not suitable for the reading fare of young girls,” therefore, since apparently young girls are the sole public, the book has failed to find a home. The third book, also refused many times, is still more puzzling. A well-known publisher states: ‘‘It has merit, but I doubt its selling pro- perties.” A still better known firm returns it, together with its reader’s opinion, in which the reader states: “‘A clever sort of tale, characters rather unusual, considerable merit and cleverness, yet I cannot recommend it as a promising financial venture.” With sensa- tional fiction it is the same. One story has been returned to me as ‘‘ Too dramatic, will I write something milder?’ a second is de- seribed as, “ Plot very interesting, the story very well handled, but not quite the type of story required, will I write something else ? ”’ a third is, “* Good of its sort but too fantastic,” Se ie ere ne my work with any greater success, although each agent states that the work is good. THE AUTHOR. (JULY, 1914. Of course, publisher’s, editor’s and agent's may be soothing rejections, but, as a rule, they are not so careful of the lacerated feeling of authors, and I am coming to the conclusion that chance has more to do with mild success than even merit. Yours truly, “A Very UnsuccessFUL WRITER.” —+—— Humours oF Lirerary JUDGMENT. Dear Str,—In a spirit of exploration, and perhaps a hope of nobbling the prize, I recently entered a competition in connection with a magazine which was offering £50 for the best short story. Along with your MS. you had to send up 2s. 6d. for which, in case you were unsuccessful, you received expert literary advice on your failure. I did not win anything, and along with my returned MS. I gota letter which was well worth the half-crown, though perhaps not in the sense in which the sapient critic meant it should be. The fun of it lies in the fact that the literary adviser says my ‘‘ English is a little shaky . . . there is room for improvement in style,” and proceeds to teach me by writing his letter in English of this sort, the following being faithful quotations, ‘The heroine is presented, as perhaps you intend she to be, as rather vain,” ete. ~ Select some more elaborate plot that will give you better opportunities for elaboration.” (The italics are not in the original.) There, in one short letter, the literary adviser commits one glaring instance of awful grammar and repeats one word,—and a elumsy and inadequate word at that—in two lines. And all the while setting up as one who is qualified to instruct the young author how to write English ! Truly yours, SMILER. — ++ — Tuatr Baker’s DozEN AGAIN. Str,—If English publishers will retain that absurd “13 to count as 12,” so far as sales are concerned, ought they not in common justice to adopt a lke enumeration so far as the author’s “rights to purchase copies at trade price ’’ are concerned ? It is trivial ; but the trivialities seem always to rebound to the benefit of one side. Yours faithfully, : ARNOLD HAULTAIN. SI6T ‘y16r “yYovyW “AOHLAV AHL -I6L “IINadV @O AVG 87 HHL INIONANWOO ‘LOV LHDIMAdOO GNVIVAZ MAN WH — 2 IS OUI 99 10. ll. 12. 13. 14, 15. 16. 17. 18. 19. 20. 21. 22. 23. " Provisions as to Government p NEW ZHALAND. COPY RIGHE, ANALYSIS. Title. Short title and commencement. Interpretation. PART L CopyRigHt. Rights. Copyright. . No copyright except as provided by this Act. Infringement of copyright. Term of copyright. . Compulsory licenses. Ownership of copyright, &c. Civil Remedies. Civil remedies for infringement of copyright. Rights of owner against persons possessing or dealing with infringing copies, &c. Exemption of innocent infringer from liability to pay damages, &c. Restriction on remedies in the case of archi- tecture. Limitation of actions. Summary Remedies. Summary offences. Permitting unauthorized performances. Search-warrant. . Owner of performing-right may forbid per- formance in infringement of right. Application of fines. : Limitation of summary proceedings. Certain provisions not to apply to works of architecture. Importation of Copies. Importation of infringing copies. Repeal. Special Provisions a8 to certain Works. Works of joint authors. Posthumous works. ublications. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. Si 38. 39. 40. 41. 42. 43. 44, 45. 46. 47. 48. 49. 50. 51. 52. 53. 54, Repeals. Provisions as to mechanical instruments. Provision as to political speeches. Provisions as to photographs. Reciprocal protection of copyright. Provisions as to Orders in Council. Provisions as to designs registrable under the Patents, Designs, and Trade-marks Act. Works of foreign authors first published in New Zealand. Existing works. PART II. INTERNATIONAL COPYRIGHT. Power to extend Act to foreign works. PART III. CoryRiaut OFFICE. Registrar of Copyright. Copyright Office. Deputy Registrar. Seal. Fees. Registration optional. Copyright Registers. Mode of registration. Registration of assignments, &c. How registration is to be effected. Registration of work published in a series. Trusts not registered. Register to be evidence. Certified copies. Public inspection of registers. Correction of register. Rectification of register by the Court. Copies to be delivered on registration. False representation to Registrar. Copies to be delivered to General Assembly Library. Power to make regulations. Schedules. No. 4 oF 1913. AN ACT RELATING TO COPYRIGHT. [22nd November, 1913.] Be 1 ENACTED by the General Assembly of New Zealand in Parliament assembled, and by the authority of the same, as follows :— Short title 1. This Act may be cited as the Copyright Act, 1918, and shall commence and com: ,, on the first day of April, nineteen hundred and fourteen. Interpreta- 2.—(1.) In this Act, unless the context otherwise requires,— tion. “ Literary work ” includes maps, charts, plans, tables, and compilations : “Dramatic work” includes any piece for recitation, choreographic work or entertainment in dumb show, the scenic arrangement or acting-form of which is fixed in writing or otherwise, and any cine- matograph production where the arrangement or acting-form or the combination of incidents represented gives the work an original character : “ Artistic work ” includes works of painting, drawing, sculpture, and artistic craftsmanship, and architectural works of art, and engravings, and photographs : ‘Work of sculpture ” includes casts and models : “ Architectural work of art ’? means any building or structure having an artistic character or design, in respect of such character or design, or any model for such building or structure; provided that the protection afforded by this Act shall be confined to the artistic character and design, and shall not extend to processes or methods of construction : ‘“‘Engravings ”’ include etchings, lithographs, woodcuts, prints, and other similar works not being photographs : ‘Photograph ” includes photo-lithograph and any work produced by any process analogous to photography : ‘* Cinematograph ” includes any work produced by any process analogous to cinematography : “ Collective work ’”? means— (a) An encyclopedia, dictionary, year-book, or similar work ; (b) A newspaper, review, magazine, or similar periodical ; and (c) Any work written in distinet parts by different authors, or in which works or parts of works of different authors are incorporated : ‘‘ Infringing,’’ when applied to a copy of a work in which copyright subsists, means any copy, including any colourable imitation, made or imported in contravention of the provisions of this Act : “* Performance ’’ means any acoustic representation of a work, and any visual representation of any dramatic action in a work, including such a representation made by means of any mechanical instrument : I ve fe) ““ Delivery,” in relation to a lecture, includes delivery by means of any mechanical instrument : ** Plate” includes any stereotype or other plate, stone, block, mould, matrix, transfer, or negative used or intended to be used for printing or reproducing copies of any work, and any matrix or other appliance by which records, perforated rolls, or other contrivances for the acoustic representation of the work are or are intended to be made: ** Lecture ’’ includes address, speech, and sermon : “* Court of summary jurisdiction ’> means a Magistrate or two or more Justices exercising jurisdiction under the Justices of the Peace Act, 1908. (2.) Except for the purposes of infringement of copyright, a work shall not be deemed to be published or performed in public, and a lecture shall not be deemed to be delivered in public, if published, performed in public, or delivered in public without the consent or acquiescence of the author, his executors, administrators, or assigns. (3.) For the purposes of this Act a work shall be deemed to be first published in New Zealand notwithstanding that it has been published simultaneously in some other place, unless the publication in New Zealand is colourable only and is not intended to satisfy the reasonable requirements of the public ; and a work shall be deemed to be published simultaneously in two places if the time between the publication in one such place and the publication in the other place does not exceed fourteen days, or such longer period as may for the time being be fixed by the Governor in Council. (4.) Where, in the case of an unpublished work, the making of a work has extended over a considerable period the conditions of this Act conferring copyright shall be deemed to have been complied with if the author was during any substantial part of that period a British subject or resident in New Zone. (5.) For the purposes of the provisions of this Act as to residence, an author of a work shall be deemed to be a resident in New Zealand if he is domiciled therein. PART I.—CopyricuHt. Rights. f this Act, copyright shall subsist in New 3.—(1.) Subject to the provisions © ee Zealand for the term hereinafter mentioned in every original literary, musical, and artistic work if— (a) In the case of a publishe eee lished k, the autho b) In the case of an unpublished work, th oe’ ee de oat . making of the work a British subject or resident in New ok o but in no other works, except so far as the protection conferred by this Act 1s extended by the Governor in Council pursuant to this Act. . sa (2.) For the purposes of this Act “‘ copyright *’ means the sole right to produ Pp y cl pe or re roduce the Ww rk or an substantial art Ww d work, the work was first published in New r was at the date of the the case of a lecture Copyright. and if the work is unpublished, to publish the work or any and shall include the sole right— e, perform, or publish any translation of the work ; atie work, to convert it into a novel or other non- part thereof in public ; substantial part thereof ; (a) To produce, reproduc (b) In the case of a dram dramatic work ; (c) In the case of a nove to convert it into a dramatic work by way of performance In public 1 or other non-dramatic work, or of an artistic work, or otherwise ; (d) In the case of a literary, dramatic, or musical work, to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered ; and to authorize any such acts as aforesaid. (3.) For the purposes of this Act “ publication ” in relation to any work means the issue of copies of the work to the public, and does not include the performance in public of a dramatic or musical work, the delivery in public of a lecture, the exhibition in public of an artistic work, or the construction of an architectural work of art, but for the purposes of this provision the issue of photographs and engravings of works of sculpture and architectural works of art shall not be deemed to be publication of such works. No copyright 4. No person shall be entitled to copyright or any similar right in any literary, eed “ dramatic, musical, or artistic work, whether published or unpublished, otherwise this Act. than under and in accordance with the provisions of this Act or of any other statutory enactment for the time being in force ; but nothing in this section shall be construed as abrogating any right or jurisdiction to restrain a breach of trust or confidence. Infringement 5,—(1.) Copyright in a work shall be deemed to be infringed by any person ae aoe who, without the consent of the owner of the copyright, does anything the sole right to do which is by this Act conferred on the owner of the copyright : Provided that the following acts shall not constitute an infringement of copyright :— (a) Any fair dealing with any work for the purposes of private study, research, criticism, review, or newspaper summary : (b) Where the author of an artistic work is not the owner of the copyright therein, the use by the author of any mould, cast, sketch, plan, model, or study made by him for the purpose of the work, provided that he does not thereby repeat or imitate the main design of that work : (c) The making or publishing of paintings, drawings, engravings, or photo- graphs of a work of sculpture or artistic craftsmanship, if permanently situate in a public place or building, or the making or publishing of paintings, drawings, engravings, or photographs (which are not in the nature of architectural drawings or plans) of any architectural work of art : (d) The publication in a collection, mainly composed of non-copyright matter, bond fide intended for the use of schools, and so described in the title and in any advertisements issued by the publisher, of short passages from published literary works not themselves published for the use of schools in which copyright subsists : (¥) Provided that not more than two of such passages from works by the same author are published by the same publisher within five years, and that the source from which such passages are taken is acknowledged : (e) The publication in a newspaper of a report of a lecture delivered in public, unless the report is prohibited by conspicuous written or printed notice affixed before and maintained during the lecture at or about the main entrance of the building in which the lecture is given, and, except whilst the building is being used for public worship, in a position near the lecturer; but nothing in this paragraph shall affect the pro- visions in paragraph (a) as to newspaper summaries : (f) The reading or recitation in public by one person of any reasonable extract from any published work. (2.) Copyright in a work shall also be deemed to be infringed by any person who— (a) Sells or lets for hire, or by way of trade exposes or offers for sale or hire; or (b) Distributes either for the purposes of trade or to such an extent as to affect prejudicially the owner of the copyright ; or (c) By way of trade exhibits in public ; or (d) Imports for sale or hire into New Zealand, any work which to his knowledge infringes copyright or would infringe copyright if it had been made in New Zealand. (3.) Copyright in a work shall also be deemed to be infringed by any person who for his private profits permits a theatre or other place of entertainment to be used for the performance in public of the work without the consent of the owner of the copyright, unless he was not aware, and had no reasonable ground for suspecting, that the performance would be an infringement of copyright. 6. The term for which copyright shall subsist shall, except as otherwise expressly provided by this Act, be the life of the author and a period of fifty years after his death: . a Provided that at any time after the expiration of twenty-five years, or in the case of a work in which copyright subsists at the commencement of this > thirty years, from the death of the author of a published work, od idee emed to be infringed by the reproduction of the work for sale i ing the work proves that he has given the prescribed notice oduce the work, and that he has paid in the pre- refit of the owner of the copyright, royalties in calculated at the rate of ten per centum and for the purposes of this proviso work shall not be de the person reproduc in writing of his intention to repr scribed manner, to or for the ber i respect of all copies of the work sold by him, i rhie 2 ishes the work ; ey on the price at w hich he publish . ee a the Governor ma b Order in Council gazetted, make regulations p g . y, DY the mode in which notices are to be given, and the particulars to : given : os i i é quency of the payment of royalties, including notices, and the mode, time, and frequency ~~ (if he thinks fit) regulations requiring payment in advance or otherwise securing the payment of royalties. | : ” Tf at any time after the death of the author of a literary, eoree! or . 4 vy : : . musical work Guick has been published or performed in public a gt aint i rit ie the Judicial Committee of the Privy Council that the owner of the copy Term of copyright. Compulsory licenses. Ownership of copyright, &e. publish or to allow the republication of the work, ance in public of the work, and that by reason of such refusal the work is withheld from the public, the owner of the copyright may be ordered to grant a license to reproduce the work or perform the work in public, as the case may be, on such terms and subject to such conditions as the said Court may think fit. right in the work has refused to re or has refused to allow the perform 8.—(1.) Subject to the provisions of this Act the author of a work shall be the first owner of the copyright therein : Provided that— (a) Where, in the case of an engraving, photograph, or portrait, the plate or other original was ordered by some other person, and was made for valuable consideration in pursuance of that order, then, in the absence of any agreement to the contrary, the person by whom such plate or other original was ordered shall be the first owner of the copyright ; and (b) Where the author was in the employment of some other person under a contract of service or apprenticeship, and the work was made in the course of his employment by that person, the person by whom the author was employed shall, in the absence of any agreement to the contrary, be the first owner of the copyright ; but where the work is an article or other contribution to a newspaper, magazine, or similar periodical, there shall, in the absence of any agreement to the contrary, be deemed to be reserved to the author a right to restrain the publication of the work, otherwise than as part of a newspaper, magazine, or similar periodical. (2.) The owner of the copyright in any work may assign the right, either wholly or partially, and cither for the whole term of the copyright or for any part thereof, and may grant any interest in the right by license ; but no such assignment or grant shall be valid unless it is in writing signed by the owner of the right in respect of which the assignment or grant is made, or by his duly authorized agent : Provided that where the author of a work is the first owner of the copyright therein no assignment of the copyright, and no grant of any interest therein made by him (otherwise than by will) after the commencement of this Act, shall be operative to vest in the assignee or grantee any rights with respect to the copy- ‘right in the work beyond the expiration of twenty-five years from the death of the author, and the reversionary interest in the copyright expectant on the termination of that period shall, on the death of the author, notwithstanding any agreement to the contrary, devolve on his legal personal representatives as part of his estate, and any agreement entered into by him as to the disposition of such reversionary interest shall be null and void; but nothing in this proviso shall be construed as applying to the assignment of the copyright in a collective work, or a license to publish a work or part of a work as part of a collective work. (3.) Where, under any partial assignment of copyright, the assignee becomes entitled to any right comprised in copyright, the assignee as respects the right so assigned, and the assignor as respects the rights not assigned, shall be treated [ e) for the purposes of this A ses s Act as the owner of the copyri e provisi of this Act shall have effect accordingly. a Civil Remedies. ae loaded been infringed the owner of the remedies by Wey of fnninetion agit a nee: ee _ ee a, ot Seect 8 S, a es and otherwise, as are or may be J gement of a right. (2.) The costs of all parties in any proceedings in respect of the infringement of copyright shall be in the absolute discretion of the Court. | (3.) In any action for infringement of copyright in any work the work shall be presumed to be a work in which copyright subsists, and the plaintiff shall be presumed to be the owner of the copyright unless the defendant puts in issue the existence of the copyright or, as the case may be, the title of the plaintiff; and where any such question is in issue, then— (a) If a name purporting to be that of the author of the work is printed or otherwise indicated thereon in the usual manner, the person whose name is so printed or indicated shall, unless the contrary is proved, be presumed to be the author of the work : (b) If no name is so printed or indicated, or if the name so printed or indicated is not the author’s true name or the name by which he is commonly known, and a name purporting to be that of the publisher or proprietor of the work is printed or otherwise indicated thereon in the usual manner, the person whose name is so printed or indicated shall, unless the contrary is proved, be presumed to be the owner of the copyright in the work for the purposes of proceedings in respect of the infringe- ment of copyright therein. 10. All infringing copies of any work in which copyright subsists, or of any substantial part thereof, and all plates used or intended to be used for the pro- duction of such infringing copies, shall be deemed to be the property of the owner of the copyright, who accordingly may take proceedings for the recovery of the possession thereof or in respect of the conversion thereof. 11. Where proceedings are taken in respect of the infringement of the copyright in any work, and the defendant in his defence alleges that he was not aware of the existence of the copyright in the work, the plaintiff shall not be ent itled to any remedy other than an injunction in respect of the infringement if the defendant proves that at the date of the infringement he was not aware and had no reasonable ground for suspecting that copyright subsisted in the work. building or other structure which ich if completed would infringe, the copyright in some other —_ d, the owner of the copyright shall not be entitled to obtain construction of such building or structure oF to order Where the construction of a 12.—(1.) infringes, or wh has been commence an injunction to restrain the its demolition. (2.) Such of the other provisions of this ll be deemed to be the property of the owner of the Act as provide that an infringing copyright, copy of a work sha Civil remedies for infringe- ment of copy- right. Rights of owner against persons possessing or dealing with infringing copies, &c. Exemption of innocent infringer from liability to pay damages, &¢. Restriction remedies in the case of architecture. ew. or as impose summary penalties, shall not apply in any case to which this section applies. Limitation of 13. An action in respect of infringement of copyright shall not be commenced oor after the expiration of three years next after the infringement. Summary Remedies. Summary 14.—(1.) Every person who knowingly— offences. (a) Makes for sale or hire any infringing copy of a work in which copyright subsists ; or (b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire, any infringing copy of any such work ; or (c) Distributes infringing copies of any such work either for the purposes of trade or to such an extent as to affect prejudicially the owner of the copyright ; or (d) By way of trade exhibits in public any infringing copy of any such work ; or (e) Imports for sale or hire into New Zealand any infringing copy of any such work, is liable on summary conviction to a fine not exceeding two pounds for every copy dealt with in contravention of this section, but not exceeding fifty pounds in respect of the same transaction, or, in the case of a second or subsequent offence, either to such fine or to two months’ imprisonment. (2.) Every person who knowingly makes or has in his possession any plate for the purpose of making infringing copies of any work in which copyright subsists, or who knowingly and for his private profit causes any such work to be performed in public without the consent of the owner of the copyright, is liable on summary conviction to a fine of fifty pounds, or, in the case of a second or subsequent offence, either to such fine or to two months’ imprisonment. (8.) The Court before which any such proceedings are taken may, whether the alleged offender is convicted or not, order that all copies of the work, or all plates in possession of the alleged offender which appear to it to be infringing copies or plates for the purpose of making infringing copies, be destroyed, or delivered up to the owner of the copyright, or otherwise dealt with as the Court may think fit. Pormitt’ng 15. Every person who for his private profit permits any theatre or other ee. place of entertainment to be used for the performance in public of any musical or dramatic work without the consent of the registered owner of the sole right to perform or authorize the performance of the work in New Zealand, or any part of New Zealand where the theatre or place is situated, is liable on summary conviction to a fine of ten pounds, unless he was not aware and had no reasonable ground for suspecting that the performance would be an infringement of the right to perform or authorize the performance of the work. Sarohe 16.—(1.) Any Justice may, on the application of the registered owner of the warrant. copyright in any literary, dramatic, musical, or artistic work, or of the agent of such owner appointed in writing,— (a) If satisfied by evidence that there is reasonable ground for believing that infringing copies of the work are being sold or offered for sale, (i issue a warrant in accordance with the form prescribed authorizing any constable to seize the infringing copies and to bring them before a Court of summary jurisdiction : (b) If satisfied by evidence that there is reasonable ground for believing that infringing copies of the work are to be found in any house, shop, or other place, issue a warrant in accordance with the form prescribed authorizing any constable to search, between sunrise and sunset, the place where the infringing copies are supposed to be, and to seize and bring them or any copies reasonably suspected to be infringing copies of the work before a Court of summary jurisdiction. (2.) A Court of summary jurisdiction may, on proof that any copies brought before it in pursuance of this section are infringing copies of the work, order them to be destroyed, or to be delivered up, subject to such conditions, if any, as the Court thinks fit, to the owner of the copyright in the work. 17.—(1.) The registered owner of the sole right to perform or authorize the performance of a musical or dramatic work in New Zealand or any part thereof, or the agent of such owner appointed in writing, may, by notice in writing in the prescribed form, forbid the performance in public of the work in infringement of his right, and require any person to refrain from performing or taking part in the performance in public of the work in infringement of his right ; and every as been given in accordance with this section who rformance in public of the work in infringement fine not exceeding person to whom a notice h performs or takes part in the pe of the right of such owner is liable on summary conviction to a ten pounds. (2.) Every person who give cause is liable on summary convicti (3.) In any prosecution under the | s notice in pursuance of this section without just on to a fine of twenty pounds. ast preceding sub-section the defendant shall be deemed to have given the notice without just cause unless he proves : the satisfaction of the Court that at the time of giving the notice he _ . registered owner of the sole right to perform or authorize the oo 0 : work in New Zealand or any part thereof, or the agent of such owner gee in writing, and had reasonable ground for believing that nae Pees ae notice was given was about to perform or take part in the performance of the in infringement of the right of such owner. yurt of summary jurisdiction, work or the owner of the sole k, in respect of any offence 18. Where proceedings are instituted in any Cc by or on behalf of the owner of the copyright in any i orf se of any wor right to perform or authorize the performance gues | : a ew of his right, any fine imposed shall be paid to him by way © i i in ¢ ase any fine compensation for the injury sustained by him, but in any ee c - Le imposed in respect of any offence against this Act shall be paid in solidated Fund. 19.—(1.) No proceedi in respect of any offence @ gainst this the date of the offence. (2.) An appeal to the Supr (ineluding any dismissal of any 1 a Court of summary jurisdiction ; shall be instituted in TS e expiration of six months from Act after th vietion or order ion) of a Court eme Court shall lie from any con nformation, complaint, or applicat Owner of performing- right may forbid performance in infringe- ment of right. Application of fines. Limitation of summary proceedings. Certain provisions not to apply to works of architecture. Importation of infringing copies. Repeal. Works of “At t b . . joint authors. during the life of the author who first dies and for a term of fifty years after his (aa of summary jurisdiction in respect of any offence or matter under this Act, and such appeal shall be made within the time and in the manner provided by regulations. 90. Sections fourteen to eighteen hereof shall not apply to any case to which section twelve hereof, relating to infringement of copyright in the case of a work of architecture, applies. Importation of Copies. 21,—(1.) Copies made out of New Zealand of any work in which copyright subsists which if made in New Zealand would infringe copyright, and as to which the owner of the copyright gives notice in writing by himself or his agent to the Minister of Customs that he is desirous that such copies should not be imported into New Zealand, shall not be so imported, and shall, subject to the provisions of this section, be deemed to be prohibited imports within the meaning of the Customs Law Act, 1908. For the purposes of this section notices given to the Commissioners of Customs and Excise of the United Kingdom, and communicated by them to the Minister of Customs, shall be deemed to have been given by the owner to the Minister of Customs. (2.) Before detaining any such copies, or taking any further proceedings with a view to the forfeiture thereof, the Minister of Customs may require the regulations under this section, whether as to information, conditions, or other matters, to be complied with, and may satisfy himself in accordance with those regulations that the copies are such as are prohibited by this section to be imported. (3.) There shall be publicly exposed in the office of the Collector of Customs at every portin New Zealand lists of all works in which copyright subsists and as to which the owner of the copyright, by himself or his agent, has duly given a notice to the Minister of Customs pursuant to sub-section (1.) hereof. (4.) The Governor may, by Order in Council gazetted, make regulations, either general or special, respecting the detention and forfeiture of copies the importation of which is prohibited by this section ; and may by such regulations determine the information, notices, and security to be given, and the evidence requisite, for any of the purposes of this section, and the mode of verification of such evidence. (5.) The regulations may apply to copies of all works the importation of copies of which is prohibited by this section, or different regulations may be made respecting different classes of such works. (6.) The regulations may provide for the informant reimbursing the Minister of Customs all expenses and damages incurred in respect of any detention made on his information, and of any proceedings consequent on such detention ; and may provide for notices under any enactment repealed by this Act being treated as notices given under this section. (7.) Section ninety-two of the Customs Law Act, 1908, and the first paragraph of the Third Schedule to the said Act (relating to the importation of prohibited books) are hereby repealed. Special Provisions as to certain Works. 22.—(1.) In the case of a work of joint authorship, copyright shall subsist ( death, or during the life of the author who dies last, whichever period is the longer ; and references in this Act to the period after the expiration of any specified number of years from the death of the author shall be construed as references to the period after the expiration of the like number of years from the death of the author who dies first or after the death of the author who dies last, whichever period may be the shorter; and in the provisions of this Act with respect to the grant of compulsory licenses a reference to the date of the death of the author who dies last shall be substituted for the reference to the date of the death of the author. (2.) Where, in. the case of a work of joint authorship, some one or more of the joint authors do not satisfy the conditions conferring copyright laid down by this Act, the work shall be treated for the purposes of this Act as if the other author or authors had been the sole author or authors thereof : Provided that the term of the copyright shall be the same as it would have been if all the authors had satisfied such conditions as aforesaid. (3.) For the purposes of this Act ‘“‘a work of joint authorship ’’ means a work produced by the collaboration of two or more authors, in which the con- tribution of one author is not distinct from the contribution of the other author or authors. (4.) Where a married woman and her husband are joint authors of a work the interest of such married woman therein shall be her separate property. > 23.—(1.) In the case of a literary, dramatic, or musical work, or an engraving, in which copyright subsists at the date of the death of the author or, in the cee of a work of joint authorship, at or immediately before the date of the death of the author who dies last, but which has not been published, nor, in the case of a dramatic or musical work, been performed in public, nor, in the case of a lecture, been delivered in public, before that date, copyright shall subsist till publication, or performance or delivery in public, whichever may first happen, and 2h Ss of fifty years thereafter; and the proviso to seetion six hoe shall a . and of such a work, apply as if the author had died at the date of such publicat performance or delivery in public as aforesaid. : a (2.) The ownership of an author’s manuscript after his oe ee a ownership has been acquired under a testamentary disposition made by ae : and the manuscript is of a work which has not been ee nor ae a, public, nor delivered in public, shall be prima facie proof of the copyrig sing with the owner of the manuscript. 24, Without prejudice to any rights or privileges of the eR work has, whether before or after the commencement - ae we pn aoe or published by or under the direction or control of His Majesty of - . aa Department, the copyright in the work shall, subject to sa ae as author, belong to His Majesty, and in such panes shall — inue fifty years from the date of the first publication of the work. perforated rolls, and other lly reproduced, in like term of copyright 25.—(1.) Copyright shall subsist in records, pe contrivances by means of which sounds may be ae oe manner as if such contrivances were musical works : : os shall be fifty years from the making of the a ele a : trivance was directly or indirectly derived, and the perso from which the con- as the owner of Posthumous works. Provisions as to Govern- ment publica- tions. Provisions as to mechanical instruments. (ae such original plate at the time when such plate was made shall be deemed to be the author of the work, and, where such owner is a body corporate, the body corporate shall be deemed for the purposes of this Act to reside in New Zealand if it has established a place of business in New Zealand. (2.) It shall not be deemed to be an infringement of copyright in any musical work for any person to make in New Zealand records, perforated rolls, or other contrivances by means of which the work may be mechanically performed, if such person proves— (a) That such contrivances have previously been made by, or with the consent or acquiescence of, the owner of the copyright in the work; and (b) That he has given the prescribed notice of his intention to make the contrivances, and has paid in the prescribed manner to, or for the benefit of, the owner of the copyright in the work royalties in respect of all such contrivances sold by him, calculated at the rate hereinafter mentioned : Provided that— (i.) Nothing herein shall authorize any alterations in or omissions from the work reproduced, unless contrivances reproducing the work subject to similar alterations and omissions have been previously made by, or with the consent or acquiescence of, the owner of the copyright, or unless such alterations or omissions are reasonably necessary for the adaptation of the work to the contrivances in question ; and (ii.) For the purposes of this provision a musical work shall be deemed to include any words so closely associated therewith as to form part of the same work, but shall not be deemed to include a contrivance by means of which sounds may be mechanically reproduced. (3.) The rate at which such royalties as aforesaid are to be calculated shall— (a) In the case of contrivances sold within two years after the commencement of this Act by the person making the same, be two.and one-half per centum; and (b) In the case of contrivances sold as aforesaid after the expiration of that period, five per centum, on the ordinary retail selling-price of the contrivance calculated in the prescribed manner, so, however, that the royalty payable in respect of a contrivance shall in no ease be less than a halfpenny for each separate musical work in which copyright subsists reproduced thereon, and, where the royalty calculated as afore- said includes a fraction of a farthing, such fraction shall be reckoned as a farthing : Provided that, if at any time after the expiration of seven years from the commencement of this Act it appears to the Governor in Council that such rate as aforesaid is no longer equitable, he may, after such public inquiry as he may direct, make an Order either decreasing or increasing that rate to such extent as under the circumstances may seem just ; but any Order so made shall be provisional only, and shall not have any effect unless and until confirmed by Parliament ; but, where an Order revising the rate has been so made and confirmed, no further revision shall be made before the expiration of fourteen years from the date of the last revision. : (4.) If any such contrivance is made reproducing two or more different works in which copyright subsists, and the owners of the copyright therein are different ( Ww) .. the sums payable by way of royalties under this section shall tioned amongst the several owners of the copyright in such ee be BP POT agreement, may be determined by arbitration. - vor ce ala ersaveena (5.) When any such contrive ; by means ae : mechanically Sas have ieee po eR - ey : a He ean ni owner of the copyright in the work shall, in relation - ee pees oe eer ee a ree ol i > ‘ — within the Peer time. regulations prescribing niche a. a : a ce ae a a. a ae prescribing the dein ick actioss i. - oe ae pees oa de s are to be given, and the particulars to be given in such notices, and the mode, time, and frequency of the payment of royalties ; and any such regulations may include regulations requiring payment in advance or otherwise securing the payment of royalties. (7.) In the case of musical works published before the commencement of this Act the foregoing provisions shall have effect, subject to the following modifications and additions :— (a) The conditions as to the previous making by, or with the consent or acquiescence of, the owner of the copyright in the work, and the restric- tions as to alterations in or omissions from the work, shall not apply. (b) The rate of two and one-half per centum shall be substituted for the rate of five per centum as the rate at which royalties are to be calculated ; but no royalties shall be payable in respect of contrivances sold before the first day of April, nineteen hundred and fifteen, if contrivances reproducing the same work had been lawfully made or placed on sale in New Zealand before the commencement of this Act. (c) Notwithstanding any assignment made before the commencement of this Act of the copyright in a musical work, any rights conferred by this Act in respect of the making, or authorizing the making, of contrivances by means of which the work may be mechanically performed shall belong to the author or his legal personal representatives, and not to the assignee, and the royalties aforesaid shall be payable to and for the benefit of the author of the work or his legal personal representatives. (d) The saving contained in this Act of the rights and interests arising from or in connection with action taken before the commencement of this Act shall not be construed as authorizing any person who has made eans of which the work may be mechanically performed hether made before or after the com- and subject to the conditions contrivances by m to sell any such contrivances, W mencement of this Act, except on the terms laid down in this section. (e) Where the work is a work on which copyright is conferred by an Order in Council relating to a foreign country, the copyright so conferred shall t as may be provided by the Order, include not, except to such exten any rights with respect to the making of records, perforated rolls, or other contrivances by means of which the work may be mechanically performed. (8.) Notwithstandin -or other contrivance by mea here a record, perforated roll, y be mechanically reproduced g anything in this Act, w ns of which sounds ma La has been made before the commencement of this Act, copyright shall, as from the commencement of this Act, subsist therein in like manner and for the like term as if this Act had been in force at the date of the making of the original plate from which the contrivance was directly or indirectly derived : Provided that— ‘ (a) The person who at the commencement of this Act is the owner of such original plate shall be the first owner of such copyright ; and (b) Nothing herein shall be construed as conferring copyright in any such contrivance if the making thereof would have infringed copyright in some other such contrivance if this provision had been in force at the time of the making of the first-mentioned contrivance, Provision as 26. Notwithstanding anything in this Act, it shall not be an infringement pele ag of copyright in an address of a political nature delivered at a public meeting to publish a report thereof in a newspaper. Provisions as 27. The term for which copyright shall subsist in photographs shall be fifty near years from the making of the original negative from which the photograph was directly or indirectly derived ; and the person who was the owner of such negative at the time when such negative was made shall be deemed to be the author of the work, and, where such owner is a body corporate, the body corporate shall be deemed for the purposes of this Act to reside in New Zealand if it has established a place of business in New Zealand. Reciprocal 28.—(1.) The Governor may by Order in Council direct that this Act shall protection of extend— copyright. (a2) To works first published in any part of the British dominions to which the Order relates in like manner as if such works were first published in New Zealand; and (b) In respect of residence in any part of the British dominions to which the Order relates, in like manner as if such residence were residence in New Zealand ; and thereupon, subject to the provisions of this section and of the Order, this Act shall apply accordingly. (2.) Any Order made in pursuance of this section may provide— (a) That the term of copyright shall not exceed that conferred by the law of the part of the British dominions to which the Order relates ; (b) That the enjoyment of the rights conferred by virtue of the Order shall extend to New Zealand only, and shall be subject to the accomplishment of such conditions and formalities as are prescribed by the Order ; (c) For the modification of any provision of this Act as to ownership of copy- right or otherwise, having regard to the law of the part of the British dominions to which the Order relates ; and (d) That this Act may extend to existing works in which copyright subsists in the part of the British dominions to which the Order relates, but subject to such modifications, restrictions, and provisions as are set out in the Order. (8.) An Order in pursuance of this section shall be made only if the Governor in Council is satisfied that the part of the British dominions in relation to which the ( Ww) Order is proposed to be made has propos: 1 to be made has made, or has undertaken to make. s isi if any, as he thinks sufficient for the protection of work 6 soe if my . of works first prod ishec in New Zealand, and entitled to copyright therein ae 29.—(1 > Governor may in ¢ ( =) The Governor may by Order in Council alter, revok ‘Order in Council made by him in pursuance of ee ferr Bi pice fos be ' J ance of any power conferred a ene n) erred upon him b ” A i: but any Order made under this section shall not affect pe adieally y rights or interests acquired or accrued at the date when the Order comes es i. € ~ € ri > +4 , . operation, and shall provide for the protection of such rights and interests g sts. Te J Ov 7 1 7 : (2.) Every Order in Council made by the Governor in Council in pursuance a : < i . ms ; . of any power conferred upon him by this Act shall be published in the Gazette and shall be laid before Parliament as soon as may be after it is made 3 x a . 30.—(1.) This Act shall not apply to designs capable of being registered under the Patents, Designs, and Trade-marks Act, 1911, except gas wach though capable of being so registered, are not used or intended to be used - motels or patterns to be multiplied by any industrial process. (2.) Regulations may be made under section one hundred and twenty-three of the Patents, Designs, and Trade-marks Act, 1911, for determining the conditions under which a design shall be deemed to be used for such purposes as aforesaid 31. If it appears to the Governor in Council that a foreign country does not give or has not undertaken to give adequate protection to the works of New Zealand authors, he may by Order in Council direct that such of the provisions of this Act as confer copyright on works first published in New Zealand shall not apply to works published after the date specified in the Order the authors whereof are subjects or citizens of such foreign country and are not resident in New Zealand, and thereupon those provisions shall not apply to such works. 32.—(1.) Where any person is immediately before the commencement of this Act entitled to any such right in any work as is specified in the first column of the First Schedule to this Act, or to any interest in such a right, he shall as from that date be entitled to the substituted right set forth in the second column of that Schedule, or to the same interest in such a substituted right, and to no other right or interest ; and such substituted right shall subsist for the term for which it would have subsisted if this Act had been in force at the date when the work was made and the work had been one entitled to copyright thereunder : Provided that— (a) If the author of any work in which first column of the First Schedule to this Act subsists ment of this Act has be interest therein for the who put for the passing of this Act the ri tuted right conferred b ass to the author of the wor. t of this Act any such right as is specified in the agreement, Pp ated before the commencemen put the person who imme ld so have expired was the at his option, either— cre shall determine ; at which the right wou interest shall be entitled, at the commence- fore that date assigned the right, or granted any le term of the right, then at the date when ght would have expired the substi- y this section shall, in the absence of express k, and any interest therein and then subsisting diately before the date owner of the right or Provisions as to Orders in Council. Provisions as to designs registrable under the Patents, Designs, and, Trade-marks Act. Works of foreign authors first published in New Zealand. Existing works. Power to extend Act to foreign works, (i.) On giving such notice as hereinafter mentioned, to an assign- ment of the right or the grant of a similar interest therein for the remainder of the term of the right for such consideration as, failing agreement, may be determined by arbitration ; or (ii.) Without any such assignment or grant, to continue to reproduce or perform the work in like manner as theretofore, subject to the payment, if demanded by the author within three years after the date at which the right would have so expired, of such royalties to the author as, failing agreement, may be determined by arbitration ; or, where the work is incorporated in a collective work and the owner of the right or interest is the proprietor of that collective work, without any such payment. The notice above referred to must be given not more than one year nor less than six months before the date at which the right would have so expired, and must be sent by registered post to the author, or, if he cannot with reasonable diligence be found, must be advertised in the Gazette and in the Patent Office Journal, and in one newspaper published in each of the Cities of Wellington, Auckland, Christchurch, and Dunedin. . (b) Where any person has, before the first day of July, nineteen hundred and thirteen, taken any action whereby he has incurred any expenditure or liability in connection with the reproduction or performance of any work in a manner which at the time was lawful, or for the purpose of or with a view to the reproduction or performance of a work at a time when such reproduction or performance would but for the passing of this Act have been lawful, nothing in this section shall diminish or prejudice any rights or interest arising from or in connection with such action which are subsisting and valuable at the said date, unless the person who by virtue of this section becomes entitled to restrain such reproduction or performance agrees to pay such compensation as, failing agreement, may be determined by arbitration. (2.) For the purposes of this section the expression “ author” includes the legal personal representatives of a deceased author. (3.) Subject to the provisions of sub-sections (7.) and (8.) of section twenty- five hereof, copyright shall not subsist in any work made before the commence- ment of this Act otherwise than under and in accordance with the provisions of this section. PART II.—InTERNATIONAL COPYRIGHT. 33.—(1.) The Governor may by Order in Council direct that this Act (except such of the provisions thereof, if any, as may be specified in the Order) shall extend— (a) To works first published in a foreign country to which the Order relates, in like manner as if they were first published in New Zealand ; (b) To literary, dramatic, musical, and artistic works, or any class thereof, the authors whereof were at the time of the making of the work subjects or citizens of a foreign country to which the Order relates, in like manner as if the authors were British subjects ; (c) In respect of residence in a foreign country to which the Order relates, in like manner as if such residence were residence in New Zealand ; and thereupon, subject to the provisions of this Part of this Act and of the Order, this Act shall apply accordingly : Provided that— (a) Before making an Order in Council under this section in respect of any foreign country (other than a country with which His Majesty has entered into a convention relating to copyright), the Governor shall be satisfied that that foreign country has made or has undertaken to: make such provisions, if any, as it appears to the Governor expedient to require for the protection of works entitled to copyright under the provisions of Part I. of this Act: (b) The Order in Council may provide that the term of copyright in New Zealand shall not exceed that conferred by the law of the country to which the Order relates : (c) The provisions of section fifty hereof (relating to the delivery of copies of books to the Registrar) shall not apply to works first published in such country, except so far as is provided by the Order : (d) The Order in Council may provide that the enjoyment of the rights conferred by this Act shall be subject to the accomplishment of such conditions and formalities, if any, as may be prescribed by the Order : (e) In applying the provisions of this Act as to ownership of copyright, the Order in Council may make such modifications as appear necessary having regard to the law of the foreign country : (f) In applying the provisions of this Act as to existing works, the Order in Council may make such modifications as appear necessary, and may provide that nothing in those provisions as so applied shall be construed as reviving any right of preventing the production or importation of any translation in any case where the right has ceased. (2.) An Order in Council under this section may extend to all the several countries named or described therein. PART III.—CopyricutT OFFICE. 34.—(1.) The Governor may from time to time appoint such person as he thinks fit to be Registrar of Copyright, and in like manner may appoint a place to be the Copyright Office. (2.) The person who at the co Registrar under the Copyright Act, 1908, shall be and act as this Act. (3.) The place at the commencement of this Act used as the Copyright Office shall be deemed to have been appointed under this Act. mmencement of this Act holds the office of Registrar under time appoint a fit and proper person of the illness, incapacity, or absence of istrar ; and while 35.—(1.) The Governor may at any Registre act in the case to be Deputy Registrar to act in t the Resatrar, or in the case of any vacancy 1n the office of Reg A pad so acting such Deputy shall have all the powers and. privileges, and shall perform all the duties, and be subject to the responsibilities, of the Registrar. Registrar of Copyright. Copyright Office. Deputy Registrar. Seal. Fees. Registration optional. Copyright Registers. Mode of registration. Registration of assign- ments, &e. How registra- tion is to be effected. Registration of work published ina series. Trusts not registered. Register to be evidence, Certified copies, ( 20 ) (2.) The fact of the Deputy Registrar acting as aforesaid shall be conclusive evidence of his authority so to do, and no person shall be concerned to inquire whether the occasion has arisen requiring or authorizing him so to act. 36. There shall be a seal of the Copyright Office, and impressions thereof shall be judicially noticed and admitted in evidence. 3%, There shall be paid in respect of application for the registration of copy- rights and in respect of other matters with relation to copyrights such fees as may from time to time be prescribed by the Governor in Council, and those fees shall be paid into the Public Account and form part of the Consolidated Fund. 38. Registration of copyright shall be optional, but the special remedies provided for by sections fifteen, sixteen, and seventeen of this Act may be taken advantage of only by registered owners. 39. The following Registers of Copyright shall be kept by the Registrar at the Copyright Office :— (a) The Register of Literary (including Dramatic and Musical) Copyright. (b) The Register of Fine Arts Copyrights. 40. The owner of any copyright under this Act, or of the sole right to perform or authorize the performance of any musical or dramatic work in New Zealand or any part thereof, may obtain registration of his right in the manner prescribed. 41. When any person becomes entitled to any registered copyright or any other right under this Act by virtue of any assignment or transmission, or to any interest therein by license, he may obtain registration of the assignment, trans- mission, or license in the manner prescribed. 42. The registration of any copyright or other right under this Act, or of any assignment or transmission thereof, or of any interest therein by license, shall be effected by entering in the proper register the prescribed particulars relating to. the right, assignment, transmission, or license. 48. In the case of an encyclopedia, newspaper, review, magazine, or other periodical work, or a work published in a series of books or parts, a single registra- tion for the whole work may be made. ' 44,—(1.) No notice of any trust (expressed, implied, or constructive) shall be entered in any Register of Copyrights under this Act or be receivable by the Registrar. (2.) Subject to this section, equities in respect of any copyright under this Act may be enforced in the same manner as equities in respect of other personal property. : 45, Every Register of Copyrights under this Act shall be prima facie evidence of the particulars entered therein; and documents purporting to be copies of any entry therein or extracts therefrom certified by the Registrar and sealed with the seal of the Copyright Office shall be judicially noticed and admitted in evidence without further proof or production of the originals. 46. Certified copies of entries in any register under this Act or of extracts ( @ } therefrom shall, on payment of the p i ‘ £ 5 zi tT > Yr oO 2, > ; 7 . prescribed fee, be given to any person applying 47. Each register under this Act shall be open to public inspection at all convenient times on payment of the prescribed fee. — The Registrar may, in prescribed cases and subject to the prescribed conditions, amend or alter any register under this Act by— (a) Correcting any error in any name, address, or particular; and (b) Entering any prescribed memorandum or particular relating to copyright or other right under this Act. ' 49.—(1.) Subject to this Act the Supreme Court may, on the application of the Registrar or of any person aggrieved, order the rectification of any register under this Act by— (a) The making of any entry wrongly omitted to be made in the register ; or (b) The expunging of any entry wrongly made in or remaining on the register ; or (c) The correction of any error or defect in the register. (2.) An appeal shall lie to the Court of Appeal from any order for the recti- fication of any register made by the Supreme Court or a Judge thereof under this section. 50.—(1.) Every person who makes application for the registration of a copyright in a book shall deliver to the Registrar one copy of the whole book, with all maps and illustrations belonging thereto, finished and coloured in the same manner as the best copies of the book are published, and bound, sewed, or stitched together, and on the best paper on which the book is printed. s an application for the registration of the (2.) Every person who make liver to the Registrar one copy of the work of copyright in a work of art shall de art or a representation of it. (3.) The Registrar shall refuse to register the copyright in any book until sub-section (1.) of this section has been complied with, or the copyright in a work of art until sub-section (2.) of this section has been complied with. (4.) Each copy or representation delivered to the Registrar in pursuance of this section shall be retained at the Copyright Office. wilfully makes any false statement or representation to deceive the Registrar or any officer in the execution of this Act, or to procure or influence the doing or omission of anything in relation to this Act or any matter thereunder, is liable on summary conviction to imprisonment for a term not exceed- ing two years. 52,—(1.) The publisher of book which is first published in New “Zealand after the commencement of this Act, and in which copyright subsists under this Act, shall within one month after the publication deliver at his own pies of the book to the Librarian of the General Assembly Library, a written receipt for them. delivered to the Librarian of the General Assembly Library hole book, with all maps and illustrations belonging thereto, 51. Every person who every expense two co who shall give (2.) The copies shall be copies of the w. Public inspection of registers. Correction of register. Rectification of register by the Court. Copies to be delivered on registration. False repre- sentation to Registrar. Copies to be delivered to General Assembly Library. Power to make regula- tions. Repeals. Schedules. ( 22 ) finished, and coloured in the same manner as the best copies of the book are pub- lished, and bound, sewed, or stitched together, and on the best paper on which the book is printed. (3.) If a publisher fails to comply with this section he shall be liable on summary conviction to a fine not exceeding five pounds and the value of the copies. (4.) For the purpose of this section the expression “ book” includes every part or division of a book, pamphlet, sheet of letterpress, map, plan, chart, or table, but shall not include any second or subsequent edition of a book unless that edition contains additions or alterations either in the letterpress or in the maps, prints, or other engravings belonging thereto. 53. The Governor in Council may make regulations, not inconsistent with this Act, prescribing all matters which by this Act are required or permitted to be prescribed, or which are necessary or convenient to be prescribed, for giving effect to this Act or for the conduct of any business relating to the Copyright Office. 54,—(1.) The Copyright Act, 1908, and section one hundred and thirty-two of the Patents, Designs, and Trade-marks Act, 1911, are hereby repealed. (2.) The Imperial enactments referred to in the Second Schedule hereto shall, as from the commencement of this Act, cease to have any force or effect in New Zealand. SCHEDULES. FIRST SCHEDULE. Existing Ricuts. Existing Right. Substituted Right. (a) In the case of Works other than Dramatic and Musical Works. Copyright .. a ss a a .. | Copyright as defined by this Act.* (6) In the case of Musical and Dramatic Works. Both copyright and performing-right .. — .. | Copyright as defined by this Act.* Copyright, but not performing-right ae .. | Copyright as defined by this Act, except the sole right to perform or authorize the performance of the work or any substantial part thereof in ee public. Performing-right, but not copyright se .. | The sole right to perform or authorize the per- formance of the work in public, but ‘none of the other rights comprised in copyright as defined by this Act. For the purposes of this Schedule the following expressions, where used in the first column thereof, have the following meanings :— “ Copyright,” in the case of a work which according to the law in force immediately before the commencement of this Act has not been published before that date, and statutory copyright wherein depends on publication, includes the right at common law, if any, to restrain publication or other dealing with the work : “ Performing-right,” in the case of a work which has not been performed in public before the commencement of this Act, includes the right at common law, if any, to restrain the performance thereof in public. _* In the case of an essay, article, or portion forming part of and first published in a review, magazine, or other periodical or work of a like nature, the right shall be subject to any right of publishing the essay, article, or portion in a separate form to which the author is entitled at the com- mencement of this Act, or would, if this Act had not been passed, have become entitled under section eighteen of the Imperial Copyright Act, 1842. ( SECOND SCHEDULE. ImprriaL ENACTMENTS. 8 Geo. IT. c. 13.—The Engraving Copyright Act, 1734. 7 Geo. III. c. 38.—The Engraving Copyright Act, 1767. 17 Geo. IIL. c. 57.—The Prints Copyright Act, 1777. 54 Geo. III. c. 56.—The Sculpture Copyright Act, 1814. & 4 Will. IV. c. 15.—The Dramatic Copyright Act, 1833. & 6 Will. IV. c. 65.—The Lectures Copyright Act, 1835. & 7 Will. IV. c. 59.—The Prints and Engravings Copyright Act, 1836. & 6 Vict. c. 45.—The Copyright Act, 1842. & 8 Vict. ec. 12.—The International Copyright Act, 1844. 1 Vict. c. 95.—The Colonial Copyright Act, 1847. 6 ce. 12.—The International Copyright Act, 1852. 6 Vict. c. 68.—The Fine Arts Copyright Act, 1862. 9 c. 12.—The International Copyright Act, 1875. c. 36.—The Customs Consolidation Act, 1876: Section 152 (prohibiting the importation of foreign reprints of books under copyright). 46 Vict. c. 40.—The Copyright (Musical Compositions) Act, 1882. 50 Vict. c. 33.—The International Copyright Act, 1886. 52 Vict. c. 17.—The Copyright (Musical Compositions) Act, 1888. NDON AND TONBRIDGE. [D., PRINTERS, LO BRADBUKY, AGNEW, & CO, ‘SHTOW AYOLOLVIS ‘CL6T OV LHDTYAdOOD NVIIVULSNV STATUTORY RULES. 1913. No. 338. REGULATIONS UNDER THE COPYRIGHT ACT, 1912. I, THE GovERNOR-GENERAL in and over the Commonwealth of Australia ae os ee advice of the Federal Executive Council, do hereby make the ollowing Regulations under the Copyright i i aL pyright Act, 1912, to come into operation Dated this nineteenth day of December, One thousand nine hundred and thirteen. DENMAN, ‘ G Sean ar By His Excellency’s Command, oyemor Generel: W. H. Irvine, Attorney-General. THE COPYRIGHT REGULATIONS, 1913. PART I.—GENERAL. 1. These Regulations may be cited as the Copyright Regulations, 1918. Short title. 2, These Regulations are divided into Parts, as follows :— Part Tts. Part I.—General. Part Il.—Royalty System (General). Part III.—Royalty System (Mechanical Musical Contrivances). Part IV.—Repeal. Interpreta- 3.—(1.) In these Regulations— “The Act ” means the Copyright Act, 1912 ; tion. “¢ Mechanical musical contrivances > means records, perforated rolls, and other contrivances by means of which sounds may be mechanically reproduced ; “‘ Published work ‘ Unpublished. work to the public. 4, All letters should be addressed to wealth Offices, Treasury Place, Melbourne.” ider these Regulations shall be those specified in the Fees. aid at the Copyright Office. All remittances sent by and shall be made payable to the losed in a letter will be sent at the > means work which is printed and issued to the public ; > means work which has not been printed and issued “The Registrar of Copyrights, Common- Address, 5. The fees to be paid ut First Schedule, and shall be p post shall be by money order or postal note, Registrar of Copyrights. Coin or currency ene remitter’s risk. Registrar may refuse to act until fee paid. Forms. Where no forms pro- vided. Hours of business. Applications. Signature of applicants. Published work. Photographs. Unpublished work, Published mechanical musical con- trivance. Unpublished mechanical ; musical contrivance. Performing right in musical or dramatic work. Choreographic works. Variations. Cinemato- graph pro- ductions. 6. Where any fee is payable in respect of any act or document, the Registrar may refuse to permit or perform the act, or to receive or issue the document, as the case requires, until the fee payable is paid. ",—(1.) Where in these Regulations any Form is referred to, the reference is to the Form in the Second Schedule. (2.) The Forms contained in the Second Schedule may, as far as they are applicable, be used in any proceeding under the Act or these Regulations to which they are appropriate. 8. As regards proceedings not specifically provided for in the Forms in the Second Schedule, any appropriate Form will be accepted. 9. Except in case of holidays observed under the Commonwealth Public Service Act, the Copyright Office shall be open to the public on week days (other than Saturdays) from 10 a.m. to 4 p.m., and on Saturdays from 10 a.m. to noon. 10. Every application for the registration of copyright or performing right must be left at, or sent to, the Copyright Office, and may be sent by prepaid letter through the post, and must, in every case, be accompanied by the prescribed fee. 11. Every application for the registration of copyright or performing right must be signed by all applicants. 12, An application for the registration of copyright in a published literary, dramatic, musical, or artistic work may be in accordance with Form A, Al, A2 or A3 as the case requires. 18. An application for the registration of copyright in a photograph may be in accordance with Form C or Cl as the case requires. 14, An application for the registration of copyright in an unpublished literary, dramatic, musical, or artistic work may be in accordance with Form D. 15. An application for the registration of copyright in a published mechanical musical contrivance may be in accordance with Form E. 16. An application for the registration of copyright in an unpublished mechanical musical contrivance may be in accordance with Form F. 17. An application for the registration of the sole right to perform or authorise the performance of a musical or dramatic work may be in accordance with Form G and shall be accompanied by a copy of the work. 18. An application for the registration of copyright in an unpublished dramatic work, consisting of a choreographic work or entertainment in dumb show, must be accompanied by a description thereof, either type-written or written in a fair legible hand on one side only of the paper, and without interlineations or erasures. 19. Any variation in the arrangement or acting form of a choreographic work or entertainment in dumb show must be made the subject of a separate application for copyright registration. 20. An application for the registration of copyright in an unpublished dramatic work, consisting of a cinematograph production, must be accompanied by a description of the work, preferably typewritten, and by a photograph taken from each scene represented. If after registration the work is printed or reproduced (2 for sale, a complete copy of the work must be filed, and, if the E BO Registrar so desires, an amended description thereof. 21. An application for the registration of copyright in other than a work specified in Regulations by a copy of the work. an unpublished work, Nos. 19 and 21, must be accompanied 22. The title of a literary work should be given exactly as on the title page of the book, or on the work, and the other particulars required to be specified should be exactly as indicated in the work itself. 28. An application for the registration of copyright in a published book must be accompanied by a copy of the book, with all maps and illustrations belonging . , oS thereto, finished and coloured in the same manner as the best copies of the books are published, and bound, sewed, or stitched together and on the best paper on which the book is printed. 24, An application for the registration of copyright in an artistic work must be accompanied by a copy thereof, or a representation of it. 25. An application for the registration of copyright in an interchangeable part of a mechanical instrument for mechanically reproducing musical works must be accompanied by the dise, cylinder, or music roll, by means of which the music is reproduced. 26. Where an application for registration of copyright is made by a person, other than the author of the work, he shall in his application trace his title from the author, and shall attach to his application each assignment or instrument by virtue of which he derives his title, with an attested copy thereof. 27. In the case of new editions of works containing material additions or alterations either in the letterpress or in the maps, prints, or other oo : + oes » resistrati f ight me made in belonging thereto, applications for registration of copyright may be 1 respect of the new edition as if it were an independent work. . . . . ae a a r * a " 7 Ie 7 . ul 1 28. If it is desired to register the words only of a song, the application sho lc be made as for a literary work ; if it is desired to register both words and music, application should be made as for a musical work. 29. In the case of music published in different editions arranged - cae : : . ‘ : ; ‘ e for eac instruments, application for registration of copyright may be ma arrangement. 30. In the case of engravings, photographs, or se _ meds for cath i Fatt icati istrati f right ma e€ meé ac with variations, application for registration of On GBS . aa . ely differentiate t sues. variety, and should be so worded as to closely differe 31.—(1.) Every application for the r tistie works published egistration of a copyright, or performing ress, OF appoi 2 f agent ; right, shall be accompanied by a statement of address, or appointment of ee ications of e i onnexion W and all notices, requisitions, and communications of every kind in - : i sue r agent. an application may be sent by the Registrar to such address or ag’ a. (2.) The address for service shall be within the Commonwea a, e . = 1 ‘ A > situs > near to the city in which the Copyright Office is situs vice, or appointment of agent, left. at, or i@ on the person giving the notice until o Registrar requires, in or 32. Any statement of address for serv sent to, the Copyright Office shall be bindir Copy of unpublished work to be forwarded, Title of literary work. Published books. Artistic works. Interchange- able parts. Title. New editions. Registration of song. Music pub- lished for different instruments. Engravings, photographs, &e. Statement of address. Notice to be binding. ( ) he appointment of some other address for service, or furnished by him to the Registrar. person becomes entitled to any registered copyright or e of an assignment or transmission, or to any interest be left at, or sent notice of revocation, or of t of some other agent, has been Entry of 33.—(1.) When any interest on performing right, by virtu — therein, a request for the entry of his name in the Register may by post to, the Copyright Office. (2.) The request may be in accordance with Form I or Form J, as the case requires, and shall be made and signed by the person claiming to be registered as owner or licensee, or by his agent, and shall be accompanied by the deed or docu- ment upon which he bases his request for registration. (3.) An attested copy of every deed and document affecting the ownership of the copyright, or performing right, or of any licence thereunder, shall accompany the request. (4.) The Registrar, if satisfied with the request, shall register the assignment, transmission, or licence by entering particulars thereof in the proper Register. 34.—(1.) Declarations required for the purposes of these Regulations may be taken before any of the following persons :— (a) In Australia.—A Notary Public, a Justice of the Peace, a Commissioner for Affidavits, or any person authorized by any Act or State Act to administer oaths or take declarations. (b) In British Dominions other than Australia.—Any Judge, Magistrate, Justice of the Peace, Notary Public, or Commissioner for Oaths or Affidavits, or any person authorized by law to administer oaths or take Declarations. declarations. (c) In Foreign Countries.—Any Judge of a Supreme Court, British Consul or Consular Officer, or Notary Public of the foreign country in which the applicant may be, who is authorized by the laws of said country to administer oaths. (2.) The Registrar may take notice of the signature to any declaration, and of the signature of the person before whom it purports to have been declared, without proof of those signatures or of the official character of the person before whom the declaration purports to have been made. Alteration of 35. The Registers of Copyrights may be altered or amended by the Registrar registers. in the following cases :— (a) Where the error in entry has been made purely through the fault of the office ; or (b) Where the error in entry has been made through accident on the part of an applicant or his agent. In the latter case, however, no amendment shall be made unless the owner of the copyright or performing right lodges at the Copyright Office a request to amend, accompanied by the prescribed fee. ey of 36. The Registers of Copyrights shall be open to the inspection of the public = during office hours on every day during which the Copyright Office is open, except on the days and at the times following :— (a) Days which are from time to time notified by a placard posted in a con- spicuous place at the Copyright Office ; and : (b) Times when the Registers are required for any purpose of official use. (2) PART II.—Royatry Sysreu (GENERAL). 37.—(1.) The notice required by section three of the British C shall contain the following particulars :— (a) The name and address of the person intending to reproduce the work : (6) the name of the work which it is intended to reproduce, and (if necessary) a description sufficient to identify it ; (c) the manner in which it is intended to reproduce the work (e.g.), whether by printing, lithography, photography, &ec. ; (d) the price or prices at which it is intended to publish the work ; (e) the earliest date at which any of the copies will be delivered to the pur- chaser. (2.) The notice shall, not less than one month before any copies of the work are delivered to the purchaser, be sent by registered post or published by advertise- ment as follows :— (a) If the name and an address within the Commonwealth of the owner of the copyright, or his agent for the receipt of notice, are known or can with reasonable diligence be ascertained, the notice shall be sent to the owner or agent at that address ; ; (6) if such name and address are not known and cannot, with reasonable diligence, be ascertained, the notice shall be advertised in the Gazette ; the advertisement in the Gazette shall give the particulars required by paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall also state an address from which a copy of the notice described in sub- regulation (1) of this Regulation may be obtained. 38.—(1.) Unless otherwise agreed, royalties thall be payable by means of adhesive labels purchased from the owner of the copyright, and affixed to the copies of the work. (2.) After the person reproducing the work has given the prescribed notice of his intention to reproduce the work, the owner of the copyright shall, by writing sent by registered post, intimate to him some reasonably convenient place within the Commonwealth from which adhesive labels can be obtained, and, on demand in writing and tender of the price, shall supply from such place adhesive labels of the required denominations at a price equal to the amount of royalty represented thereby. 39. Subject to these Regulations, no copy of the work shall be delivered to : purchaser until the label or labels denoting amount of royalty have been affixec thereto. ae 40.—(1.) In cases where royalties are payable by means of lt al € . i at any time labels of the required denomination are not available es ee (a) after the expiration of fourteen days from the date of the ao : notice the owner of the copyright has not duly sent to the person eS ducing the work an intimation of some reasonably covenant P ace within the Commonwealth from which such labels can be Shane i or (b) the owner of the copyright ee or eine to supply such labels within days after demand duly made, : copies of be wc oe be delivered to purchasers without having labels a thereto, and the amount of royalties shall be a debt due by the person repro y opyright Act Notice. Payment of royalties. Copies not to be delivered until labels affixed. Adhesive labels not available. Cc . the work to the owner of the copyright, and the person reproducing the work shall keep an account of all such copies sold by him. (2.) For the purpose of this Regulation “ the date of the prescribed notice ” means— (a) in cases when the notice is required to be sent by registered post, the date when the notice would in ordinary course of post be delivered ; (b) in cases when the notice is required to be advertised in the Gazette, the date of such advertisement. Royalties 41. Where royalties are by agreement payable in any other mode than by oo . means of adhesive labels the time and frequency of the payment shall be such as than by are specified in the agreement. adhesive Jabels. 42. The adhesive label, supplied as aforesaid, shall be an adhesive paper label, Form of square in shape, the design to be entirely enclosed within a circle, and the side of cc the label not to be greater than 4-inch in length. The label shall not be in a form which resembles any postage stamp nor bear the effigy of the Sovereign or any other person, nor any word, mark, or design such as to suggest that the label is issued by or under the authority of the Government or any State Government for the purpose of denoting any duty payable to such Government. PART IlL.—Royatry System (MecuanicaL MusicaL CONTRIVANCES). ‘Notice. 48,—(1.) The notice required by sub-section (2) of section nineteen of the British Copyright Act shall contain the following particulars :— (a) The name and address of the person intending to make the contrivances ; (b) the name of the musical work which it is intended to reproduce and of the author (if known) ; and (if necessary) a description sufficient to identify the musical work ; (c) the class ‘of contrivance on which it is intended to reproduce the musical work (e.g.) whether discs, cylinders or music rolls ; (d) the ordinary retail selling prices of the contrivances, and the amount of the royalty payable on each contrivance in respect of the musical work ; (e) the earliest date at which any of the contrivances will be delivered to the purchaser ; : (f) whether any other work is to be reproduced on the same contrivance with the musical work specified in accordance with paragraph (0). (2.) The notice shall, not less than ten days before any contrivances on which the musical work is reproduced are delivered to a purchaser, be sent by registered post or published by advertisement as follows :— (a) If the name and an address within the Commonwealth of the owner of the copyright, or his agent for the receipt of notice, are known or can with reasonable diligence be ascertained, the notice shall be sent to the owner or agent at that address ; (b) if such name and address are not known and cannot with reasonable diligence be ascertained, the notice shall be advertised in the Gazette ; the advertisement in the Gazette shall give the particulars required by paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall also state an address from which a copy of the notice described in sub- regulation (1) of this Regulation may be obtained. Any number of musical works may be included in the same advertisement. 44.—(1.) Unless otherwise agreed, royalties shall be payable by means of adhesive labels purchased from the owner of the copyright and affixed in the manner provided by this part of these Regulations. (2.) After the person making the contrivances has given the prescribed notice of his intention to make or sell the contrivances, the owner of the copyright shall by writing, sent by registered post, intimate to him some reasonably convenient place within the Commonwealth of Australia from which adhesive labels can be obtained, and on demand in writing and tender of the price shall supply from such place adhesive labels of the required denominations at a price equal to the amount of royalty represented thereby. 45. Subject to these Regulations no contrivance shall be delivered to a pur- chaser until such label or labels denoting the amount of royalty have been affixed thereto, or, in the case of cylinders to which it is not reasonably practicable to affix the labels, until such label or labels have been affixed to a carton or box enclosing the cylinder. 46.—(1.) In cases where royalties are payable by means of adhesive labels, if at any time labels of the required denominations are not available either because— (a) after the expiration of five days from the date of the prescribed notice of the intention of the person making the contrivances to make or sell such contrivances the owner of the copyright has not duly sent to the person making the contrivances an intimation of some reasonably convenient place within the Commonwealth of Australia from which such labels can be obtained ; or oe (b) the owner of the copyright refuses or neglects to supply such labels within three days after demand duly made, contrivances may be delivered to purchasers w or to the carton or box enclosing the same ; and debt due by the person making the contrivance and the person making the contrivances shall k vances sold by him. (2.) For the purposes of this Regulation means— (a) in cases where the notice is required to be sent by registered post, the date when the notice would in ordinary course of post be delivered : (b) in cases where the notice is required to be advertised in the Gazette, the date of such advertisement. ithout having labels affixed thereto the amount of royalties shall be a es to the owner of the copyright, eep an account of all such contri- “ the date of the prescribed notice ” 47. In cases where royalties are payable on contrivances before commencement of the Act, the person making such contrivances may 2 — of his intention to sell them, containing mutatis mutandis the same algae given in the same manner as is prescribed by these Regulations in the case of the notice required by sub-section (2) of section nineteen of the British Copyright Act. ayable in any other mode than by i t 48. Where royalties are by agreement P Fs aigabts ele means of adhesive labels, the time and frequency of the p are specified in the agreement. Payment of royalties, Contrivance not to be delivered without adhesive labels. Adhesive labels not available. Royalties on contrivances made before commence- ment of Act. Royalties payable otherwise than by adhesive labels. Form of adhesive label. Ordinary retail selling price. Inquiries. Time for reply. (wa 49. The adhesive label supplied as aforesaid shall be an adhesive paper label, square in shape, the design to be entirely enclosed within a circle, and the side of the label not to be greater than $-inch in length. The label shall not be in a form which resembles any postage stamp nor bear the effigy of the Sovereign or any other person, nor any word, mark, or design such as to suggest that the label is issued by or under the authority of the Government or any State Government for the purpose of denoting any duty payable to such Government. 50. The ordinary retail selling price of any contrivance shall be calculated at the marked or catalogued selling price of single copies to the public, or, if there is no such marked or catalogued selling price, at the highest price at which single copies are ordinarily sold to the public. 51.—(1.) The inquiries referred to in sub-section (5) of section nineteen of the British Copyright Act shall be directed to the owner of the copyright by name, or (if his name is not known and cannot with reasonable diligence be ascertained) in general terms to ‘“‘ the owner of the copyright ” of the musical work in respect of which the inquiries are made, and shall contain— (a) a statement of the name of the musical work in respect of which the inquiries are made and of the author (if known), and (if necessary) a description sufficient to identify it ; (b) a statement of the name, address and occupation of the person making the inquiries ; (e) an allegation that a contrivance has previously been made by means of which the musical work may be mechanically performed, with the trade name (if known) and a description of such contrivance ; (d) an inquiry whether the contrivance so described was made with the consent or acquiescence of the owner of the copyright. (2.) The inquiries shall be sent by registered post or published by advertisement as follows :—- (a) If an address within the Commonwealth of the owner of the copyright is known, or can with reasonable diligence be ascertained, the inquiries shall be sent to such address ; or (b) if such address is not known and cannot with reasonable diligence be ascertained, the inquiries shall be advertised in the Gazette. 52. The prescribed time for reply to such inquiries shall be .— (a) in cases where the inquiries are required to be sent by registered post, seven days after the date when the inquiries would in ordinary course of post be delivered ; and (b) in cases where the inquiries are required to be advertised in the Gazette, seven days after the date of such advertisement. PART IV.—REPEAL. 58. All Regulations, whether provisional or otherwise, heretofore made under the Act and in force at the commencement of these Regulations are hereby repealed Save as to any right, privilege, obligation, or liability acquired, accrued, or incurred thereunder. a 10. iL A. Al. A2. A3. REP AST BD (an 5 THE FIRST SCHEDULE. FrEeEs: On filing is as os ‘ : : tee ciple for registration of copyright in a literary or musical work n filing a atio istrati ri i isti pplication for registration of copyright in an artistic work (except copyright in a photograph) : : On filing applic 7 a pplication for registration vet copy sytickit i ina déadiwthe work (except Sopris ts in an original cinematograph production) On filing application for registration of copyright in a Sieies ck On filing application for registration of performing right in a musical or dramatic york O g ‘ > re n filing application for the registration of copyright in an a oe pro- duction ; On filing Sapien for the Waleiedion of the selevialtt in a ‘eseiical oni ance for reproducing a musical work : a . : On request to the Registrar to register an assignment, transmission, or licence, in connexion with a copyright or performing right For inspection of the Register—for each entry eincehiat re or inspec ted For certified copy of an entry in the Register .. On application to the Registrar for amendment of the Re gister ruler ection 36 of he Act SECOND SCHEDULE. InpEx TO CopyRicgHt Forms. Application for registration of copyright in a published original literary, dramatic, musical, or artistic work ve . . : Application for registration of copyright in ina pu blished cituinil fineras y> deinatis. ‘euseal, or artistic work. (By a firm) ae a. <s Application for registration of copy right j in a pu blished Geel ey dramatic, musical, or artistic work. (By a body corporate) .. Ae ae ws ae Application for the registration of copy right in a bolasiee work. (By owner or his assignee, agent, or attorney) is A ae = Application for registration of copy right in an + aapubliched gage literary, dramatic, musical, or artistic work a. oe & ee Application for registration of copyr ight ina pistons pl. (By the author or his assignee, agent, or attorney) z Se os Application for registration of cores a in a photogreph. (By a firm) va Application for registration of copyright in a published mechanical musical contrivance . Application for registration of copyright in an unpublished mechanical musical a vance Application for Hapa musical or dramatic work Statement of address Appointment of agent Request to enter name of sabesctient owner of bepyeicit upon the vegiaver of copy ee Request to enter notification of licence or other document in the register of copyrights . Application for amendment or alteration of the Register under Section 36 of the Act Search warrant under Section 16 (1) (a) of the Act... oe ee ie a a Search warrant under Section 16 (1) (6) of the Act t a Notice under Section 17 of the Act forbidding the performance WOK os “3 es pe aia ce . deter of ‘he sole ik to poctorme or authorize the performance ots a e of a musical or dramatic .. po 5 0 or Oo oo -. 10-0 So ot OL eoooo or PAGE 12 13 14 14 15 16 16 20 20 21 21 FORM A. Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC, Musica, or ArTIsTIC WoRK. (By the author or authors, or his or their assignee, agent, or attorney.) 2. (1) of (2) (3) hereby make application for the registration of the copyright in a (4) work being a (5) entitled (6) W. do hereby declare that the said (4) was first published in (*a part of His Majesty’s ‘Demanions to which the Act extends or a foreign country to which an Order in Council under the Act relates) by at on the and that such date was not later than fourteen days (or such further time as is fixed by law) after the date of its first publication elsewhere. : a do further declare that (7) the author of the said (4) work, and that ger the owner of the copyright therein. And ,,, make this declaration conscientiously believing the statements contained therein to be true in every particular. : Declared at this day of 19 (8). Before me (9) : To the Registrar of Copyrights, Commonwealth of Australia. (1) Name of Applicant (in full). (2) Address. (3) Occupation. S ook i eo (4) State whether “ Literary,”’ “ Dramatic.” or * Musical, oo Artistic ” Work, as the case may be. (5) State whether ‘‘ Book,” “‘ Drama,” “Song,” ~ Painting,” ‘“‘ Work of Sculpture,”’ ‘‘ Lecture,’ &c., as the case may be. : aS : aS (6) Title of Work (in full) or description sufficient to identify it. (7) State the Name of the Author of the Work. (8) Signature of Applicant. one (9) Signature of Person before whom the Declaration is made. : : Nors.—Where the applicant is the assignee from the author the applicant must forward with his application each assignment or instrument by virtue of which he derives his title, with an attested copy thereof. * Strike out whichever is not needed. | FORM Al. a. Commonwealth of Australia, Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC, Musica, or Artistic WoRK. (By a Firm.) (1) doing business at (2) and composed of the following members (3) hereby applies for the registration of the copyright in a (4) work, being a (5) entitled and I (7) a member of the firm of (1) the applicant named herein, declare that the said (4) work was first published in (*a part of His Majesty’s Dominions to which the Act extends or a foreign country to which an Order in Council under the Act relates) by at on the and that such date was not later than fourteen days (or such further time as is fixed by law) after the date of its first publication elsewhere. I, the said (7) do further declare that (8) the author of the said (4) work, and that the said firm of (1) is the owner of the copyright therein. Coif) And I, the said (7) i A ; 8 7 make this declaration conscientiously believi ee eee ey artis é scientiously believing the statements contained ¢ Declared at this day 19 : Before me—(10) Z r Rae teas AF Cl . ‘ To the Registrar of Copyrights, Commonwealth of Australia (1) Name of Firm (in full). (2) Place of Business. (3) Name of individual Members of Firm (in full). : — Soar ge nee ** Dramatic,’’**‘ Musical,” or ‘‘ Artistic?’ work, as the case may be ate whether ED A rani! (4 29 C6 Petit 0) SOTO Ok aa Sema ee - - ook, Drama, Song, Painting, Work of Sculpture,” &c., as the (6) (7) Name (in full) of Member of Firm who makes the Declaration. (8) State the Name of the Author of the Work. (9) Signature of person authorized to sign the application. (10) Signature of person before whom the Declaration is made. _ Nore.—W here the Applicant is the Assignee from the Author, the Applicant must forward with his application each assignment or instrument by virtue of which he derives his title, with an attested Copy thereof. * Strike out whichever is not needed. 1 2 3 4 5 m 6 7 8 FORM Az. Copyrights. . 5 alte Commonwealth of Australia. Copyright Act, 1912. ATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC, APPLICATION FOR REGISTR MustcaL, on Artistic WoRK. (By a body corporate.) The (1) a corporation duly organized under the laws of (2) located at (3) and having an established place of business at (4) hereby applies for the registration of the copyright in a (5) work, being a (6) entitled (7) and I (8) declare that the said (5) work was first published in (*a part of His Majesty’s Dominions to which the Act extends or a foreign country to which an Order in Council under the Act relates) by at on and that such date was not later than fourteen days (or such further time as is fixed by law) after the date of its first publication elsewhere. : I, the said (8) do further declare that (9) _ the author of the said (5) work, and that (1) is the owner of the copyright therein. And I, the said (8) make this declaration conscl articular. therein to be true in every particula ae was hereto affixed in the presence of (10) ‘ Signature of Declarant— entiously believing the statements contained The Common Seal of (1) Witness to signature of declarant— : To the Registrar of Copyrights. Commonwealth of Australia. (1) Name of Company (in full). : (2) Name of State or Country under whose laws Company is organized. (3) State where Company is located. : blished. 4) State where place of business is esta oe : i mi ied Skee “Literary, ‘ Dramatic,” “‘ Musical,” or ‘‘ Artistic ° Work, as the case may be. (6) State whether “ Book,” ‘‘ Drama,” “Song,” ‘‘ Painting,” “ Work of Sculpture,” &c., as the case may be. ae (7) Title of Work (in full), or descriptio (8) Name and Address of Secretary es So f the Author of the Work. : of ce} Te ented with Signatures of Officers as prescribed by the Articles of Association of Company. : ‘ oe Nove.—Where the Applicant 1s the Assignee the application each assignment or instrument by Copy thereof. PY, Strike out whichever is not needed. n sufficient to identify it. ) authorized to make Declaration. from the Author, the Applicant must forward with virtue of which it derives title, with an attested (1 ) —_—_—_—— FORM A3. Copyrights. Commonwealth of Australia. i Copyright Act, 1912. APPLICATION FOR THE REGISTRATION OF COPYRIGHT IN A CoLLEcTIVE Work. (By the owner or owners or his or their assignee, agent, or attorney.) (1) hereby make application for the registration of (2) copyright in a collective yor ing a (¢ entitled (4 ae ear declare that a Lad (3) was first published in (*a part of His Majesty's Dominions to which the Act extends or a foreign country to which an Order in Council under the Act relates) by at on the and that such date was not later than fourteen days (or such further time as is fixed by law) after the date of its first publication elsewhere. I do further declare that (5) is the owner of the copyright in the said (3) And I make this declaration conscientiously believing the statements contained therein to be true in every particular. (6) Declared at this day of 19 Before me—(7) : To the Registrar of Copyrights, Commonwealth of Australia. (1) Name (in full), Address, and Occupation of Applicant. If application is made by an Agent or Attorney, evidence of authority to make the application must be furnished. (2) “My.” our; “then, or — its: (3) State whether ‘‘ Encyclopaedia,” ‘‘ Dictionary,” ‘‘ Year Book,” or similar work. (4) Title of Work (in full), or description sufficient to identify it. (5) Name of Owner of Collective Work. (6) Signature of Applicant. (7) Signature of person before whom the Declaration is made. Notse.—Where the Applicant is the Assignee from the Owner, the Applicant must forward with his application each assignment or instrument by virtue of which he derives his title, with an attested Copy thereof. * Strike out whichever is not needed. FORM B. Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED ORIGINAL LITERARY, DRAMATIC, Mustcat or Artistic Work. (By the author or authors, or his or their assignee, agent, or attorney.) I We (1) of (2) (3) hereby make application for the registration of the copyright in a (4) work, being a (5) entitled (6) We declare that (7) the author of the said (4) work, and at the time of the making thereof, was (9) Iam I We do further declare that wo Ate the owner of the copyright in the said (4) work. ( i) And I ake this i we make this declaration conscientiously bel true in every particular. : Declared at this day of leving the statements contained therein to be 19. Before me (11) (10) E ecistre 1 ; 4 o the Registrar of Copyrights, Commonwealth of Australia Name of Applicant (in full) Address. : Occupation. State whether ‘‘ Literary,” ‘“‘ Dr: ic ical,” State whether ‘ ass co yee ing,” 7 oo... State Title of Work in full, or deseri aon ffici chistes ea ee | Name of the Author of the Work. oe ” a. of the negative in the case of a photograph. OS siihjaot mares . _ part of His Majesty's Dominions to which the Act or “ Resident in a foreign Soanery to oe ee cue on : g rder in Council under the Act relates,’’ as the case (10) Signature of Applicant. oe oe the Declaration is made. an soon erg — Assignee from the Author, the Applicant must forward with roe sama g strument by virtue of which he derives his title, with an attested SoS SS SSS FORM C. Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH. : (By the author or authors, or his or their assignee, agent, or attorney.) We (1) of (2) (3) hereby make application for the registration of the copyright in a photograph entitled (4) i os x7, declare that (5 of (6) We ) the making of the original negative (viz. (7) *T or he was (8) we or they were. I Iam . ce : : : the owner of the copyright in the said photograph. We do further declare that oo are And we make this declaration conscientiously believing the statements contained therein to be true in every particular. (9 the author of the said photograph, and at the time of ) from which it was directly or indirectly derived Declared at this day of 19 Before me—(10) ‘ : To the Registrar of Copyrights. Commonwealth of Australia. Name of Applicant (in full). Address. Occupation. ae a : ee Title of Photograph (in full), or description sufficient to identify it. ae State the name of the Author of the Work, or the words “lam,” or we are, as the case ww ~eLTSTreTe~S 2 requir han the Applicant. 6) Here insert Address of Author if a person other t 7) Fill in date of the making of the negative. a : oe . (3) “A British Subject,” “ Resident within a part of His Majesty's Dopanioms te Ww on ~ Act : ; oe ae -y £0 which ¢ erin C >] er the Act relates, extends,” “‘ a subject or citizen of a foreign country to which an Order in Council unc scr regan or “ Resident in a foreign cou der in Council under the Act re Res ig may be. | (9) Signature of Applicant. |. 10) Signature of person before whom the declaration is made. : ae te Applicant is the Assignee from the Author, the Applic application each assignment or instrument by virtue Copy thereof. : * Strike out whichever 1s not needed. Vo ntry to which an Or vant must forward with his derives his title, with an attested of which he FORM Cl. Copyrights. Commonwealth of Australia. Copyright Act, 1912. AppLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH. (By a Firm.) (1) doing business at (2) and composed of the following members (3) : hereby applies for the registration of the copyright in a photograph entitled (4) and I (5) “a member of the firm of (1) the applicant named herein, declare that (6) of (7) the author of the said photograph, and at the time of the making of the original negative a. : ae : he was (viz., (8) ) from which it was directly or indirectly derived they ee) : I, the said (5) do further declare that the said firm of (1) is the owner of the copyright in the said photograph. oS : And I, the said (5) make this declaration conscientiously believing the statements contained therein to be true in every particular. oe ) Declared at this day of 19 Before me—(11) : To the Registrar of Copyrights, Commonwealth of Australia. (1) Name of Firm (in full). (2) Place of Business. (3) Names of individual Members of Firm (in full). (4) Title of Photograph (in full), or description sufficient to identify it. (5) Name (in full) of Member of Firm who makes the Declaration. (6) Here insert (in full) Name of Author of Photograph. (7) Address of Author. (8) Fillin Date of making of the negative. (9) “‘A British Subject,” ‘“‘ Resident within a part of His Majesty’s Dominions to which the Act extends,” “a subject or citizen of a foreign country to which an Order in Council under the Act relates,” ore: Agee in a foreign country to which an Order in Council under the Act relates,” as the case may be. (10) Signature of person authorized to sign the application. (11) Signature of person before whom the Declaration is made. Note.—Where the Applicant is the Assignee from the Author, the Applicant must forward with his apeenen each assignment or instrument by virtue of which he derives his title, with an attested Copy tnereotr. FORM D. Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED MECHANICAL MuUsIcaL CONTRIVANCE. (By the author or authors, or his or their assignee, agent, or attorney.) I we ()) of (2) (3) hereby make application for the registration of the copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a musical work entitled (5) by (6) . The original plate from which the said contrivance was directly or indirectly derived was made by (7) at (8) on (9) : L : of declare that the said contrivance was first published in (*a part of His Majesty’s Dominions to which this Act extends or a foreign country to which an Order in Council under the Act relates) by 5 at on and that such date was not later than fourteen days (or such further period as is fixed by law) after the date of its first publication elsewhere. I : We “oe further declare that (10) the author of the said mechanical contrivance, and that Ila am the owner of the copyright therein. WE are Cay Zz And make this i i f we me nis declaration conscientiously believi Q : sly eving the statements containe rel ee g the statements contained therein to be Declared at this day of 19 i Before me (12) : ay : the Registi - = ( epyTients, Commonwealth of Australia. Name of Applicant (in full). Address. Occupation. te whether “* Disc,” ** Cylinder,” ‘ Roll,” &c., as the case may be Pitle of Musical Work, and (if necessary) a description sufficient to identify it State the Name of the Author of the Musical Work. i State the Name of Maker of the Plate. State the Place where the original Plate was made. State date on which the original Plate was made. State the Name of the Author of the Contrivance. Signature of Applicant. (12) Signature of Person before whom the Declaration is made. airpiin ates the Applicant is the Assignee from the Author, the Applicant must forward with his vation each assignment or instrument by virtue of which he derives his title, wi attes Copy app 7 es his title, with an attested Copy * Strike out whichever is not needed. ON = _ —_————ererreee SS Se OO WAI OE FORM E. Copyrights. - oo Commonwealth of Australia. ee Copyright Act, 1912. APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED MxrcHANICAL Musical CONTRIVANCE. - (By the author or authors, or his or their assignee, agent, or attorney.) I i . : We (1) of (2) (3) hereby make application for the registration of the copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a musical work entitled (5) by (6) é The original plate from which the said contrivance was direct by (7) at (8) on (9) ae declare that (10) the author of the said contrivance, and at the time of the making thereof was (11) : We do further declare that . the owner of the ly or indirectly derived was made copyright in the said contrivance. And = make this declaration conscientiously believing the statements contained therein to be true in every particular. Declared at this day of 19, (12) Before me (13) To the Registrar of Copyrights, Commonwealth of Aust ralia. (1) Name of Applicant (in full). (2) Address. (3) Occupation. 0 . ek (4) State whether © Disc,” ‘‘ Cylinder,’ Roll,”’ &c., as the case may be. (5) Title of Musical Work, and (if necessary) @ description sufficient to identify it. (6) State the Name of the Author of the Musical Work. (7) State the Name of the Maker of the Plate. (8) State the Place where the original Plate-was made. (9) State the Date on which the original Plate was made, 0) State the Name of the Author of the Contrivance. : 1p a British Subject” “resident within a part of His Majesty's Dominions to w hich the Act extends,” ‘‘a subject or citizen of a foreign country to which an Order in Seon _ Jong ro oponl which an Order in Council under the # ct relates, may be. : (12) Signature of Applicant. (13) Signature of Person bef ° - “Norg.—Where the Applicant is f application each assignment or instrument by virtue Copy thereof. ~~ ert “eo W » Declaration is made. : oe oe ant must forward with his with an attested the Assignee from the Author, the Applica I | of which he derives his title, ( ) FORM F. Copyrights. : Commonwealth of Australia. a Copyright Act, 1912. AppLICATION FOR REGISTRATION OF THE SOLE Rigut TO PERFORM OR AUTHORISE THE PERFORMANCE or A MusicaL oR DramMatic WORK. So (1) of (2) (3) hereby make application for the registration of the sole right to perform or authorize the performance in the Commonwealth of a (4) work entitled (5) : a do hereby declare that (6) the author of the said work, and that (7) the owner of the sole right to perform or authorize the performance of the said work. And ! make this declaration conscientiously believing the statements contained therein to be we true in every particular. : Declared at this day of 19 (9) Before me ; To the Registrar of Copyrights, Commonwealth of Australia. (8) ) Name of Applicant (in full). ) Address. ) Occupation. ) State whether ‘* Musical ”’ or ‘* Dramatic”? Work. ) Title of Work (in full). ) ) (8) Signature of Applicant. (9) Signature of Person before whom the Declaration is made. Norz.—The applicant must forward with his application each assignment or instrument through which he derives his title, with an attested Copy thereof. S centemenaneiememenndamnnanaenen FORM G, Copyrights. | Commonwealth of Australia. Copyright Act, 1912. STATEMENT OF ADDRESS, Sir— I hereby authorize and request you to send all notices, requisitions, and communications in con- co with my application for the registration of the copyright in my (1) entitled (2) OG ; Dated this day of A.D. 19 (4) To the Registrar of Copyrights, Commonwealth of Australia. TH.—A p AC ares: beg OS} x = 2 ? No \* articular addre s must be given. ‘ Be: £ An address such as ‘* General Post office Melbourne (1) Here insert ‘‘ Literary,” ‘‘ ic,” ‘‘ Musical,”’ ‘‘ Artistic ”’ - i i Cuan crag al a Dramatic,” ‘‘ Musical, Artistic? Work, or ‘‘ Mechanical Musical (2) Title of work. (3) Here insert Name and Full Address. (4) Signature of Applicant in full. ( r ‘ FORM H. Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPOINTMENT OF AGENT. Sir— I(1) hereby nominate, constitute aad appoint (2) of (3) in the Common- wealth of Australia (4) my agent (5) for me in my name (6) registration of my copyright in my (7) entitled (8) and for that purpose to sign on my behalf all documents that my said agent may think necessary or desirable ; and I further empower my said agent to alter and amend any documents, whether originally executed by me or on my behalf, in any manner which may be necessary. Q Dated this day of A.D. 19 (9) Witness— To the Registrar of Copyrights, Commonwealth of Australia. (1) Here insert (in full) Name, Address, and Occupation of Principal. (2) Here insert (in full) Name of Agent. (3) Here insert Full Address of Agent. (4) Here insert Occupation of Agent. (5) Principal may here insert the words “ with full powers of substitution and revocation.” (6) Here insert purpose for which Agent was appointed, such as ‘‘ to apply for and obtain.” (7) ‘‘ Literary,” ‘‘ Dramatic,” ‘‘ Musical,” “ Artistic ” Work, or “‘ Mechanical Musical Contrivance,” case requires. ) Title of Work. ) Signature of Applicant (in full). 7 as the (8 (9 FORM I Copyrights. Commonwealth of Australia. Copyright Act, 1912. REQUEST TO ENTER NAME OF SUBSEQUENT OWNER OF COPYRIGHT UPON THE REGISTER OF Copy- RIGHTS. Place Date — a : I(1) hereby request that you will enter my name in the Register of Copyrights as owner of the copyright in the (2) entitled (3) which was entered in the Register of (4) yrig Dy) copyrights on the day of 19 : a T am entitled to the said copyright by virtue of (5) And in proof whereof T transmit the accompanying (6) Dated this day of Ap, 19. os with an attested copy thereof. To the Registrar of Copyrights, Commonwealth of Australia. é d tion of Applicant. : 5 Ne ad ia oa” Work: ae Mechanical Musical Contrivance, ” 1) Here insert (in full) ess, and Occu) ea ‘“‘ Literary,“ Dramatic,’ ‘‘ Musical, Artistic as the case requires. a a “Dramatic,” “* Musical,”’ or “* Artistic,” as the et requires. (5) Here insert particulars showing how Transferee derives his Title. (6) Here insert the Nature of the Document. (7) To be signed by the Person applying for Registration of the Transfer. (wo 4 ————————— FORM J. Copyrights. Commonwealth of Australia. Copyright Act, 1912. Request To ENTER NoviricaTIon OF LICENCE OR OTHER DocUMENT IN THE REGISTER OF COPYRIGHTS. Place Date T(1) hereby transmit an attested copy of (2) under Copyright No. (3) which was entered in the Register of (4) copyrights on the day of 19 L also enclose the original document for verific ation, and I have to request that a notification thereof may be entered in the Register. Dated this day of ap. 19 (Signature) To the Registrar of Copyrights, Commonwealth of Australia. ) Here insert (in full) Name and Address. ) Here insert a description of the Nature of the Document. ) Here insert the Number of the Entry. ) “Literary,” “ Dramatic,’ ‘‘ Musical,” or ‘‘ Artistic,” as the case may be. FORM K. & mre : Copyrights. Commonwealth of Australia. Copyright Act, 1912. APPLICATION FoR AMENDMENT OR ALTERATION OF THE REGISTER UNDER SECTION 36 OF THE ACT, I(1) of (2) (3) the owner of Copyright No. (4) which was entered in the Register of (5) copyrights on the day of A.D.19_ , request that you will amend or alter the Register in the following manner :—(6) And I do hereby declare that the error arose through the followi ing circumstances :—(7) And I make this solemn declaration ¢ onscientiously believing the statements contained therein to be true in every particular. Dated this day of A.D. 19 Declared before me at this day of A.D. 19 (9) To the Registrar of Copyrights, Commonwealth of Australia. (1) Name (in full) of Registered Owner of Copyright or Performing Right. (2) Address. (83) Occupation. (4) Here insert the Number of the Entry. (5) *‘ Literary,” ‘“‘ Dramatic,” ‘‘ Musical,” or ‘* Artistic,” as the case may be. (6) Here set out desired Amendment or Alteration of the Register. (7) Here furnish particulars of the circumstances under which the error arose. (8) To be signed by the Registered Owner. (9) "Eo be signed by the Person before whom the Declaration is made. FORM L. Copyrights. : Commonwealth of Australia. Copyright Act, 1912. Search Warrant UNDER Section 16 (1) (a) of THE Act. gi a a constable of police in the State of and to all constables of police in the said ate Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing copies of (1) work, bearing the following title or description, viz. : (2) are being sold , or offered for sale at (3) in the State of (4) . These are therefore to authorize and ( a) command you, in the Kin rs nh seiz k i oe f r s S g §S name, to seize t é i ‘ij i i i wi ir ) ( ) e said alleg d in ringing copies of said ork, and to bring Given under my ha 5 sad : ; on y hand and seal, at in the State of the day of : (L.3.) A Justice of the Peace in the State of (1) Here insert “‘ Literary,’’ ‘‘ Dramatic,’ “ Musical (2) Here insert, sufficient for identi Dramatic, Musical, or Artistic Work. (3) Here insert Name of Town or Place. (4) Here insert Name of State. S fe pe Sega the Court of Summary Jurisdiction before which the said alleged infringing copies : ,’ or “Artistic ” Work, as the case requires. fication purposes, the Title, or a Description of the Literary, FORM M. Copyrights. Commonwealth of Australia. Copyright Act, 1912. SHARCH WARRANT UNDER Suction 16 (1) (5) oF THE Act. é To a constable of police in the State of and to all constables of police in the said tate. Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing copies of a (1) work, bearing the following title or description, viz. : (2) are to be found in (3) in the State of (4) : These are therefore to authorize and command you, in the King’s name, to search, between sunrise and sunset, the said (5) , and to seize the said alleged infringing copies of the said (1) 's. work, or any copies reasonably suspected to be infringing copies of said work found by you therein, and to bring them before (6) ‘ Given under my hand and seal, at in the State of the day of A.D. 19 (L.S.) A Justice of the Peace in the State of (1) Here insert “‘ Literary,” “‘ Dramatic,” “‘ Musical,”’ or Artistic’? Work, as the cage requires. (2) Here insert, sufficient for identification purposes, the Title or a description of the Literary, Dramatic, Musical, or Artistic Work. oo : : (3) Here describe the House, Shop, or other Place where the alleged infringing copies are believed to be, and the Town or Place in which it is situated. (4) Here insert Name of State. : (5) Here insert House, Shop, or Place, as the case requires. (6) Here insert the Court of Summary Jurisdiction before w are to be brought. hich the said alleged infringing copies FORM N. Copyrights. Commonwealth of Australia. Copyright Act, 1912. ACT FORBIDDING THE PERFORMANCE OF A MUSICAL OR DRAMATIC ‘E 3R SECTION 17 OF THE Norick UNDER} ae To (1) I hereby give you notice that (2) Bre the registered owner of the sole right to perform a (3) nereby 5 i F g ich vi is i ) ig ffice on the day of *k entitle hich right was registered in the Copyright O 1e f Mig eg ee have pane ground to believe that bee ee pies pe oe. part i orm said work at (5 in infringement of the said sole mgat © ae ee ie pcre with section 17 of the Copyright Act, 1912 (a copy of which ( 22 ) in public of the said work in infringe- frain from performing or taking part , that I forbid the performance the said sole right to perform at (5) and that I require you to re id work in infringement of section is indorsed on this notice) ment of the said sole right to perform, in the performance in public of the sa or at any other place. Dated the day of A.D.19 . (6) and Address of the Person to whom notice is given. and Address of the Owner of the sole right to perform. > as the case requires. Dramatic Work. (1) Here set out the Name, Description, (2) Here set out the Name, Description, (3) Here insert ‘“ Musical ”’ or ‘* Dramatic,’ (4) Here set out the title of the Musical or (5) Here set out place where performance is believed to be about to take place. (6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent, the words “‘ Agent of the Owner of the sole right to perform appointed in writing ” are to be added. Norz.—A copy of section 17 must be indorsed on this notice. BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE, ( 22 ) section is indorsed on this notice), that I forbid the performance in public of the said work in infringe- ment of the said sole right to perform, and that I require you to refrain from performing or taking part in the performance in public of the said work in infringement of the said sole right to perform at (5) or at any other place. Dated the day of A.D. 19 6) 1) Here set out the Name, Description, and Address of the Person to whom notice is given. 2) Here set out the Name, Description, and Address of the Owner of the sole right to perform. ) Here insert “‘ Musical” or “ Dramatic,” as the case requires. ) Here set out the title of the Musical or Dramatic Work. 5) Here set out place where performance is believed to be about to take place. (6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent, the words ‘‘ Agent of the Owner of the sole right to perform appointed in writing ’’ are to be added. Notz.—A copy of section 17 must be indorsed on this notice. BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE. Supplement to THE AUTHOR, July, 1914 THE INDIAN COPYRIGHT BILL, 1914. SOCIETY OF AUTHORS, PLAYWRIGHTS AND COMPOSERS, THE INCORPORATED 1 CENTRAL BUILDINGS, TOTHILL STREET, WESTMINSTER, 8.W. A BILL TO MODIFY AND ADD TO THE PROVISIONS OF THE COPYRIGHT ACT, 1911. WueErEas it is expedient to modify and add to the provisions of the Copyright Act, 1911, in its application to British India; it is hereby enacted as follows :— CHAPTER I. PRELIMINARY. 1.—(1.) This Act may be ealled the Indian Copyright Act, 1914. (2.) It extends to the whole of British India, including British Baluchistan, the District of Angul and the Sonthal Parganas. 2. In this Act, unless there is anything repugnant in the subject or context— (1.) ‘* The Copyright Act ’’ means the Act of Parliament entitled the Copyright Act, 1911; and (2.) Words and expressions defined in the Copyright Act have the same meanings as in that Act. CHAPTER II. : CONSTRUCTION AND MopIFICATION OF THE Copyricut ACT. 8. In the application to British India of the Copyright Act (*a copy of which Act, except such of the provisions thereof as are expressly restricted to the United Kingdom, is set out in the First Schedule), the following modifications shall be made, namely :— (1.) The powers of the Board of Trade under section 8 shall, in the case of works first published in British India, be exercised by the Governor General in Council ; (2.) The powers of the Board of Trade under section 19 shall, as regards records, perforated rolls and other contrivances, the original plate of which was made in British India, be exercised by the Governor-General in Council; and the confirmation of Parliament shall not be necessary to the exercise of any of these powers ; The references in section 19, sub-section (4) ection 2: (1), to arbitration shall be read as references to arbitration in ae with the law for the time being in force in that part of British India in which the dispute occurs ; (4.) As regards works the authors whereof were at the time of the making of the works resident in British India, and as regards works first published in British India, the reference in section 22 to the Patents and Designs Act, 1907, shall be construed as a reference to the Indian Patents and Designs Act, 1911, and the reference in the said section to section ae of the Patents and Designs Act, 1907, shall be construed as a reference to section 77 of the Indian Patents and Designs Act, 1911; i rinted as they stand in the Act, but the Act of 1911 : ST “oh pain te Schedule : Members of the Society have already received this as a Supplement to The Author.—Ep. , and in section 24, sub-section accordance (3.) 1 & 2 Geo. 5, ec. 46, Short title and extent. Definitions. 1 & 2 Geo. 5, c. 46. Application of copyright Act to British India with adapta- tions. 7 Edw. 7, ec, 29. II, of 1911. Modification of copyright as regards translation of works first pub- lished in British India. Musical works made by resident of, or first published in, British India. Importation of copies. VIII. of 1878. VII. of 1878, (4A) (5.) As regards works first published in British India, the reference in section 24, sub-section (1), proviso (a), to the London Gazette and two London newspapers shall be construed as a reference to the Gazette of India and two newspapers published in British India ; and the reference in proviso (b) of the same sub-section of the same section to the 26th day of July, 1910, shall as regards works the authors whereof were at the time of the making of the works resident in British India, and as regards works first published in British India, be construed as a reference to the 30th day of October, 1912. 4.—(1.) In the case of works first published in British India, copyright shall be subject to this limitation that the sole right to produce, reproduce, perform or publish a translation of the work shall subsist only for a period of ten years from the date of the first publication of the work ; Provided that if within the said period the author or any person to whom he has granted permission so to do publishes a translation of any such work in any language, copyright in such work as regards the sole right to produce, reproduce, perform or publish a translation in that language shall not be subject to the limitation prescribed in this sub-section. (2.) For the purposes of sub-section (1) the expression ‘‘ author ”’ includes the legal representative of a deceased author. 5. In the application of the Copyright Act to musical works the authors whereof were at the time of the making of the works resident in British India, or to musical works first published in British India, the term ‘“ musical work ”’ shall, save as otherwise expressly provided by the Copyright Act, mean “ any combina- tion of melody and harmony, or either of them, which has been reduced to writing.” 6.—(1.) Copies made out of British India of any work in which copyright subsists which if made in British India would infringe copyright, and as to which the owner of the copyright gives notice in writing by himself or his agent to the Chief Customs Officer, as defined in the Sea Customs Act, 1878, that he is desirous that such copies should not be imported into British India, shall not be so imported, and shall subject to the provisions of this section, be deemed to be prohibited imports within the meaning of section 18 of the Sea Customs Act, 1878. (2.) Before detaining any such copies or taking any further proceedings with a view to the confiscation:thereof, such Chief Customs Officer, or any other officer appointed by the Local Government in this behalf, may require the regulations under this section, whether as to information, security, conditions or other matters, to be complied with, and may satisfy himself, in accordance with these regulations, that the copies are such as are prohibited by this section to be imported. (3.) The Governor-General in Council may, by notification in the Gazette of India, make regulations, either general or special, respecting the detention and confiscation of copies the importation of which is prohibited by this section, and the conditions; if any, to be fulfilled before such detention and confiscation ; and may, by such regulations, determine the information, notices and security to be given, and the evidence requisite for any of the purposes of this section, and the mode of verification of such evidence. (4.) Such regulations may apply to copies of all works the importation of copies of which is prohibited by this section, or different regulations may be made respecting different classes of such works. (5). The regulations may provide for the informant re-imbursing the Secretary of State for India in Council all expenses and damages incurred in respect of any (7) detention made on his informati : us infor , proceedings oy Seae] ne piaeaphe aie san and of any proceedings consequent on such — ; . Ly E Ovi 9h a given under the Copyright Act to the s ‘rs of Customs and Excise of the United King 1 a tt Kingdom, and communicated ; it a y to any authority in British India, shall be deemed to have been given by the owner to the said Chief Customs Officer. (6.) This section shall have effect as the necessary modification of section 14 of the Copyright Act. CHAPTER III. PENALTIES. 7. If any person knowingly— (a) Makes for sale or hire any infringing copy of a work in which copyright subsists ; or (b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire, any infringing copy of any such work; or (c) Distributes infringing copies of any such work, either for the purposes of trade or to such an extent as to affect prejudicially the owner of the copyright ; or (d) By way of trade exhibits in public any infringing copy of any such work ; or (e) Imports for sale or hire into British India any infringing copy of any such work ; he shall be punishable with fine which may extend to twenty rupees for every copy dealt with in contravention of this section, but not exceeding five hundred rupees in respect of the same transaction. 8. If any person knowingly makes, or has in his possession, any plate for the purpose of making infringing copies of any work in which copyright subsists, or knowingly and for his private profit causes any such work to be performed in public without the consent of the owner of the copyright, he shall be punishable with fine which may extend to five hundred rupees. 9. If any person, after having been previously convicted of an offence punish- able under section 7 or section 8 is subsequently convicted of an offence punishable under either of these sections, he shall be punishable with simple imprisonment which may extend to one month, or with fine which may extend to one thousand rupees, or with both. : es 10.—(1.) The Court before which any offence under this chapter . trie el whether the alleged offender is convicted or not, order that all pee of the w on or all plates in the possession of the alleged offender, which cage - - infringing copies, or plates for the purpose of making infringing caine e - Le or delivered up to the owner of the copyright, or otherwise dealt with as the Court may think fit. (2.) Any person a ffected by an order under sub-section (1) may, within thirty days of the date of such order, appeal to the Court to a _ sa i Court making the order ordinarily lie ; and such appellate see irect that execution of the order be stayed pending consideration of the appeal. ee, 11. No Court inferior to that of a Presidency Magistrate or a Magistrate inst this Act. f the first class shall try any offence against : 12. The provisions of this chapter shall not apply to section 9 of the Copyright Act, regarding the restrictions on r of a work of architecture, applies. any case to which emedies in the case Offences in respect of infringing copies. Possession of plates for purpose of making infringing copies, Punishment on second conviction. Power of Court to dispose of infringing copies or plates for purpose of making infringing copies. Cognizance of offences. Saving in case of infringe- ment by construction of building. fe) CHAPTER IV. MISCELLANEOUS. uit or other civil proceeding regarding infringement of copyright d tried in the High Court or the Court of the District Judge. Bn emit ding instituted after the 30th of October, of copyright. 1912, regarding infringement of copyright in any book the author whereof was at Effect of non- the time of making the book resident in British India, or of any book first published registration =| British India, shall be dismissed by reason only that the registration of such under Act : : ae s XX. of 1847. book had not been effected in accordance with the provisions of the Indian Copy- XX. of 1847. right Act, 1847. Repeals. 15. The enactments mentioned in the Second Schedule are hereby repealed to the extent specified in the fourth column thereof. Courts having 18. Every s oh pea shall be instituted an garding * ete une 14. No suit or other civil procee FIRST SCHEDULE. ImeurmaL Copyricut Act, 1911, pxcEPT SECTIONS 11—13. SECOND SCHEDULE. Repeal of Enactments. (See Section 15.) Year. No. Short Title. Extent of Repeal. 1847 XX. | The Indian Copyright | So much as has not already been repealed. Act, 1847 1867 XXV. | The Press and Regis- | In section 18 the following words, namely :—‘‘ Every tration of Books Act,| registration under this section shall, upon the payment 1867 of the sum of two rupees to the office keeping the said Catalogue, be deemed to be an entry in the Book of Registry kept under the Act No. XX. of 1847 (for encouragement of learning in the territories subject to the government of the East India Company, by the defining and providing for the enforcement of the right called copyright therein) ; and the provisions contained in that Act as to the said Book of Registry shall apply mutatis mutandis to the said catalogue.” 1878 VIII. | The Sea Customs Act, | Clause (a) of section 18. 1878 This Bill was passed at a meeting of the Council of the Governor-General : of India for the purpose of making Laws and Regulations on the twenty-fourth day of February, 1914. (Sd.) HarpincEe oF PENSHURST, President. The 24th February, 1914. I assent to this Bill. (Sd.) Harprince oF PENSHURST, Viceroy and Governor-General. The 24th February, 1914. Dublin Core 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. 24 Issue 10 (July 1914) Subject The topic of the resource The Author, Vol. 24 Issue 10 (July 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-07-01-The-Author-24-10 publications The Author https://historysoa.com/files/original/5/541/1914-06-02-The-Author-24-9.pdf 4d4a78512dfc1694bc7f9514926a1987 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-06-02 Volume 24 Issue 9 Pages Page range in volume 233–262 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140602 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Huthbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Vor. XXIV.—No. 9. Monthly.) WALTER BESANT. JUNE 2, 1914. [PRIcE SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. NOTICES. ——+—_ TT the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tur Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The ‘Author are cases that have come before the motice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on ‘application. ARTICLES AND CONTRIBUTIONS. Tur Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. o Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. pS ——- THE SOCIETY’S FUNDS. So | ‘ROM time to time members of the Society 4 desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. : The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other 234 matter closely connected with the work of the Society. : : (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. a THE PENSION FUND. oS N January, 1914, the secretary of the I Society laid before the trustees of the Pension Fund the accounts for the year 1918, as settled by the accountants. After giving the matter full consideration, the trustees instructed the secretary to invest a sum of £350 in the purchase of Great Eastern Railway Ordinary Stock. The amount pur- chased has been added to the investments set out below. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. They have given notice to the Pension Fund Com- mittee that there is sufficient money at their disposal to enable them to give another pension. The nominal value of the investments held on behalf of the Pension Fund now amounts to £5,419 6s., details of which are fully set out in the following schedule :— Nominal Value. £8. d Enea) Boas 20.2.5 ie 500 0 0 Victoria Government 8% Consoli- dated Inscribed Stock ............ 291 19 11 London and North Western 3% Debenture Stock ................. 250 0 0 Egyptian Government Irrigation Trust 4% Certificates............ - 200 0 0 Cape of Good Hope 84% Inscribed e NLOCK a as 200 0 0O Glasgow and South-Western Rail- way 4% Preference Stock ...... 228 0 0 New Zealand 34% Stock .......... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 102% 6% ie vccoccas 438 2 4 Jamaica 84% Stock, 1919—49 ... 18218 6 Mauritius 4% 1987 Stock ......... ~ 120 12 4 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ......... 198 8 8 Antofagasta and Bolivian Railway 5% Preferred Stock ........:05.04. 237 0 0 Central Argentine Railway Or- GBORY BOCK cosh piceisss ci ccensy est 282 0 0 THE AUTHOR. [JUNE, 1914. Nominal V alue. £ 8. a $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ................ 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares <...........-... 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) .................. 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue... 30 0 0 Great Eastern Railway Ordinary Stock wieceiccccece 655 0 0 Total 4.3..5:.4...; £5,419 6 0 PENSION FUND. —— Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 1913. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. : : : Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo 1 Oct. 18, Knowles, Miss Oct. 20, Collison, Harry Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . : Nov. 6, Bentley, E. C. y Nov. 6, Petersen, Miss Margaret Noy. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert Dee. 4, Lunn, Arnold . ‘ Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana Dec. 4, Vallois, Miss Grace Dec. 17, Beresford, J. D. Dec. 29, Inge, Charles . ; Dec. 29, Cross, Miss May . . Dec. 29, Hardy, Thomas, O.M. _ i NOooaannods aan Oo Oe OO Ot Or Or woeoscooooHrocoSoooSoCOHSSCOOOm SOmeoccooaoccoOoSC SoS OSOSCOSCOSCCOF JUNE, 1914.] 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. Jan. 16, Cooke, Arthur 0. Jan. 23, Exley, Miss M. Jan. 26, Sarawak, The Rance of Mar. 11, Dowson, Oscar F. April 8, " Stoeving. Paul : . April 14, Buckle, Gerard, F. » April 14, Grattan, Harry . : April 17, Rubenstein, H. F. . . April 20, Anon. . : April 25, Stacpoole, Mrs. de Vere . May 1, Miigge, Maximilian A, May e Davies, Miss Mary May 8, Simon, Andre L. May 8, Deutsch, H. . May 9, Campbell, Miss E. Hope May 12, Lardner, E. G. D. 1918. Donations. Oct. 7, Darwin, Sir Francis . Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold Oct. 30, Rosman, Miss Alice Grant Nov. 8, Holland, Theodore Nov. 3, Steane, Bruce Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elrington, Miss Helen Novy. 10, Waterbury, Mis... : Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dec. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. Dec. 21, Keating, J. Lloyd 1914. Jan. 8, Church, Sir Arthur Jan. 5, Anon . Jan. 5, Joseph, L. ; Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. Jan. 6, De Crespigny, Mrs. + Champion Jan. 6, Rankin, Miss I. ; Jan. 7, Sneyd- es E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. Jan. 10, Daniell, Mrs. E. H. . Jan. 12, Avery, "Harold ; Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullein, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane Jan. 19, P. H. and M. K. ; ; coor oceceocoocoeoooooo oY, _ COCO OFRrFOCOCOC COSHH ON _ oS emoocooocececococqcouccescr “e a ok fee OOo © Or Gr Ot © Or Or Or OF Or rt oc 10 _ od Or Ov Or An1n°onkteH Aanananododcsd edie et MHOKMIOOCAUWMBNUMNMONOMNAOH _ ccoomeocoooeoco Oo 0 eooocoooonacooooeao eceoceoaoaceooeocanaceo Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Mar. Mar. Mar. Mar. Mar. Mar. Mar. Mar. Mar. THB AUTHOR, 19, Greenstreet, W. J. . 19, Gibbs, F. Leonard A. 23, Campbell, Mrs. L. A. R. . 23, Cameron, Mrs. Charlotte, ERGS. . : 28, Blunt, Reginald : 24, Raphael, Mrs. Mary. 25, Plouman, Miss Mary 80, Gibson, Miss L. S. . 5, Brooker, Lt.-Col. E. P. 6, Buchrose, J. E. 4 7, Smith, Herbert W. 20, Eden Guy 21, Mayne, Miss Ethel Four | Col 21 KK 25, Aspinall, Algernon I E. 2 Dalziel, J: : 2.8. 8.G. . 5, Saies, Mrs. F. H 5, Thorne, Mrs. Isabel . 5, Haviland, Miss M. D. 5, Todd, Miss Margaret, M.D. 13, Cabourn, John . 20, Fenwick Miss S. F. . 26, Prendergast, Mrs. J. W. May 6, Ward, W. J. . May 7, Crosse, Gordon. May 8, Williamson, CoN: pad Mrs. CN. i May 21, Colebroke, Miss H. E. May 21, Munro, Neil. May 21, O'Higgins, Harvey May 25, Broadbent, D. R. HE May me being of mem was ele Jacobs, seconded by Mr. Hesketh Prichard was una This is his second year of of the former meeting were after which the elections were course, thirty-five mem being added to t total for the year 170. were accepted, bringing the to sixty-nine. .; The next ma was the solicitor’s repor —__—__+——>—_>+>—____——_ COMMITTEE NOTES. SOSCp ocrcoocorooornNooce COOFRrF OCC OME BOR oH 235 = bet oad Aone Aom=HOAbd OHH rt et aoe ee OL Or OS CUR Or OF OE es aaa tO pet OOH SOHROSSOSOSSOSOSSCOSCSO ScnSDSoOCaOSCO Coo onoos eting of the Committee of Management was held at the offices of the Society on Monday, May 4. the first meeting after the general meeting office. Hs ted, and, on the pro yosal of Mr. peers Ped Shaw, Mr. nimously re- -elected. The minutes then read and signed taken in due bers and associates he Society’s lists, making the Two resignations resignations up This bers the chairman for the current year W. W. tter dealt with by the committee t on the cases. go 25 In a question arising from the non-publica- tion of a work the solicitor reported that an order of the Court had been made by which the book had to be published by a certain date, subject to a penalty of £50 if publication did not ensue, the defendant undertaking to pay the costs of the action. In the case dealing with the title of Mr. Raleigh’s drama, “Sealed Orders,’’ the solicitor reported that further action had been taken, owing to the fact that managers of theatres in the country had used the title contrary to the order of the Court. The solicitor was pleased to report that in all cases where the title had been thus wrongfully used satisfaction had been obtained and the offending advertisements had been withdrawn. He also reported that, by the desire of the author, he had made full copies of the papers which had been sent over to the author’s American lawyer explaining that, without the express sanction of the com- mittee, the Society could not be responsible for the costs in the United States. There were two cases of non-payment, one on accounts delivered, and one for a sum due under a contract. In the first case the debt and costs had been paid, and, in the second, part of the sum had been paid and a proposal for settlement had been made. In four cases against magazine editors the follow- ing results had been obtained: In the first, judgment was obtained, but on execution being levied, the debenture holders had appointed a receiver. It was obvious that nothing further could be done. In the second case, the debt and costs had been paid, and in the remaining two cases proceedings were pending. It was probable that both would be settled, as other claims against the same magazine had recently been satisfied. In a case by a member against a film company for unauthorised use of a title, the solicitor was glad to report that, when the company’s attention had been drawn to the matter, the title was changed. ’ In a case of alleged infringement of dramatic copyright, the solicitor reported that the evidence of an expert had been obtained, and after consideration of his report, the solicitor had come to the conclusion that it would not be possible to take action. The member had been informed of the result. The position of a publishing company against whom the Society has claims on behalf of some dozen members was fully reported by the solicitor who had investigated the matter, and it was hoped that the reconstitution of the com- pany would be carried through successfully. THE AUTHOR. [JUNE, 1914. Where judgment had been signed on behalf of one of the members, it was decided, after consideration of all the details by the com- mittee, to throw the defendant into bank- ruptey if the claims were not properly met. There was a claim of one of the members against a cinematograph company for piracy and infringement of copyright. The company was a French company with offices in England. The solicitor reported that, as far as England was concerned, the matter had been finally settled, but it was decided that he should send in his full report, in order that the papers might be forwarded to Paris to be dealt with by the Society’s French lawyer. There were two small cases for the collection of dramatic fees, and in both the solicitor reported that writs had been issued. A difficult case of alleged misrepresentation by a music publisher came before the committee, and here also, so far as England was concerned, the matter had been settled. As the main difficulty arose in Germany, it was decided that the solicitor should make a full report to the secretary in order that the matter might be placed in the hands of the German lawyer of the Society. Finally, in a case of dispute between author and agent, after mature con- sideration, it was decided that the author’s contention could not be upheld, and that the matter must be left in the hands of the solicitors to make the best settlement they could on behalf of the author. The secretary then placed before the committee questions which had arisen during the past month. There were four cases in which the chairman having given authority for immediate action asked for confirmation from the committee of that authority. The first dealt with the collection of dramatic fees in England, the second with a dispute in the United States in respect of cinema fees, the third was a claim against a United States magazine for money due on a published article, and the fourth a question of documents alleged, by one of the members of the Society, to have been stolen. The chair- man’s sanction was confirmed. In a case of dispute between one of the members of the Society and the society with whom his con- tract had been made, the committee, after reading the letters from both sides, taking into consideration the fact that the conflict of verbal evidence would make it almost impossible for the member to substantiate his contention in Court, decided with regret to take no action on his behalf. There was a case of dispute between one of the members and a publisher JUNE, 1914.] as to the terms of a contract. The matter was referred to the committee for arbitration. The committee decided, with the sanction of the author, to leave the legal question involved to the decision of the Society’s lawyers. In a case of disputed accounts which had already been investigated by the Society’s accountants it was decided that no further action should be taken, as the committee felt that they could not go behind the accountants’ report. In a case of infringement of dramatic copyright in Canada they regretted they could not take the matter further, while it was decided to place an infringement by an Australian paper in the hands of the Society’s Australian lawyers as soon as the member had established a title to take action. The secretary read letters that one of the members desired referred to the committee, dealing with some negotiations between him- self and one of the religious publishing houses. It was decided to thank the member for the action he had taken, and, if possible, to get into communication with the publishing house mentioned. One of the members of the Society had referred to the committee an offer he had received from a magazine for the pur- chase of work submitted, and it appeared to the committee that the matter should be mentioned in The Author with the name of the magazine. A somewhat similar case, where the issues were not quite so clear, the committee left to the discretion of the secretary to act as he thought best. — 2 A question arose as to a contribution pro- mised by the Society to the Authors’ League of America, and the secretary was authorised to forward the sum due. The sub-committees of the Society were formally re-elected, the only change being the election of Mr. Charles Klein on the Dramatic Sub-Committee in the place of Mr. James T. Tanner, resigned. The motion passed at the General Mecting of the Society, on the subject of the Libraries Censorship was referred to the committee, and the committee felt that they were bound to carry through, to the best of their ability, the request made at the gene ral meeting. Accordingly, the secretary and chairman a instructed to get into touch once again with the publishers, the libraries and the _book- sellers, and Mrs. Belloc Lowdnes, Mr. Charles Garvice, Mr. Bernard Shaw and the chairman of the committee were elected delegates to represent the Society at a round-table con- ference. Dealing with the question of International THE AUTHOR. ify Copyright, the secretary drew the attention of the committee once again to the fact that when France made a treaty with Russia the attention of the Foreign Office was called to the fact by the committee, and it was suggested that England should take the opportunity of obtaining a similar treaty. A polite letter had been received in reply ; when subsequently Germany made a similar treaty with Russia the attention of the Foreign Office was again called to the position, and, again, a polite reply was received. The secretary now suggested that as the matter was of vital importance to all members whose literary and dramatic works were being translated and pirated in Russia, another attempt should be made to obtain a treaty with Russia. The committee decided to leave it with the chairman and the secretary to arrange that a deputation should wait on the responsible parties in the Government, with a view to pressing forward the settlement of a treaty with Russia at-the earliest opportunity. The ‘secretary put before the committee a letter he had received from the India Office in regard to the passing of the Indian Copyright Act, and stated that he hoped to have the Act for insertion in The Author shortly. He then referred to the difficulties surrounding Canadian copyright, owing to the law of 1842 still running in Canada, as the Canadian Government had not passed any new legisla- tion adopting the Act of 1911. It was decided in this matter, also, to see if it would not be possible, by representation to the Colonial Office, to remove some of the difficulties from the present position, and the committee determined, should it prove politic, that a deputation should attend the Colonial Office also. . Questions regarding the salaries of the clerks of the office and an articled clerk to serve under the secretary of the Society were considered and settled, and two or three minor matters of no general interest. et Dramatic SUB-COMMITTEE. I. ig of the Dramatie Sub- Committee was held on Friday, May 1, at the offices of the Society, to meet the Society’s American agent, Mr. W alter Jordan, who had come over to England. The main subject for discussion was the question of cinematograph ights and prices. : oie Jordan pointed out that ten or twelve A speEcIAL mecetil ‘238 of the theatres in New York had gone over entirely to the production of picture plays, that the demand for good plays and good films was greatly on the increase, and that much higher fees could be obtained now than formerly. Mr. Jordan stated that he would forward to the Society of Authors, for the use of the secretary, a copy of the contract he had been making for the use of authors and dramatists. The legal questions respecting authors’ rights, which had been assigned before moving pictures were known, were also discussed, also questions of piracy and the legal decisions which had been given bearing on these points. The sub-committee thanked Mr. Jordan for his attendance, and for the information which had been given, which would be of undoubted assistance to them and to the secretary when dealing with these increasingly important questions. Il. Tue May meeting of the Dramatic Sub- Committee was held at the offices of the Society on Friday, May 15. After the minutes of the previous meeting had been read and signed, the first business dealt with by the committee referred to a dramatic agency agreement that had been sent for the consideration of the committee by one of the members of the Society. The agent was present at the meet- ing. It was clearly pointed out to him that the Society could not possibly advise any member to sign any agreement on the lines of the one put forward. After a considerable amount of questioning and discussion, the agent expressed himself willing to accept any reasonable agreement submitted by the Drama- tic Sub-Committee for the use of members of the Society of Authors. After the agent had retired, the sub-committee discussed at some length the position of agents in regard to the Society, and the secretary was instructed to draft an agency agreement for use in these particular cases, to be placed before the sub- committee at their next meeting. The next question dealt with cinematograph business. Mr. Carton reported that the meeting of the Joint Board, which had been held on the 14th had been unsatisfactory, owing to the small attendance, but that some important points had been discussed, and it had been decided to call a meeting for June 12. The question of cinema business, however, appeared to the chairman to be of such importance that he THE AUTHOR. [JUNE, 1914. proposed to the sub-committee that the Com- mittee of Management should be asked to consider the appointment of a sub-committee to deal only with cinematograph matters. The industry was, at present, in its infancy, and it was impossible, therefore, to come to any definite conclusion at the present time on the many important points involved; that cine- matograph representations were not simply matters concerning the dramatist, but also the novelist, and writers on educational subjects and on natural history—in fact, were so wide that it appeared essential to have a separate sub-committee to deal with the issues. Mr. Shaw was appointed delegate of the sub-com- mittee to attend and discuss the matter with the Committee of Management. ‘The secretary also brought to the notice of the sub-committee the question of cinema contracts and bad debts so far as they affected the author. The secretary pointed out that publishers paid royalties on all books sold and were responsible for all bad debts. It was most important that the same position should be adopted in regard to authors’ contracts with cinema manufac- turers. The sub-committee then considered certain cases. The first was a case of non-payment of fees by an American producer, and the sub- committee recommended the Committee of Management to do what was possible in the matter. The next case, the secretary reported, was also a case of non-payment of fees by an American manager. Immediate action had been taken and the papers sent to the Society’s lawyers in America. The Dramatic Sub-Committee this action. The third case, which was one of alleged copyright infringement, the secretary was glad to report had been settled. The fourth case also referred to the non- payment of fees by an American manager. The sub-committee recommended action to be taken in this case should an answer, which the author was awaiting from America, prove unsatisfactory. confirmed — Firm Ricuts Jomst Boarp. Tue first meeting of the Joint Board to deal with Film Rights was held at the offices of the Society on Thursday, May 14, at three o’clock in the afternoon. Regret was expressed by those present that the attendance was so small, owing to the fact that many of the delegates had important engagements elsewhere. JUNE, 1914] In these circumstances, it was decided that it would be inadvisable to pass any important measures, but it was determined to call another meeting for Friday, June 12, at three o’clock at the same place. The agenda before the meeting will include the rules for guidance of the committee, such as financial questions, the number to form a quorum, and other details. Beyond these there will be joint action in regard to piracy, and a proposal put forward by Mr. Browne, of the Kinematograph Manufacturers’ Associa- tion, that a sub-committee for purposes of arbitration should be appointed. 3 Dunrine the past nivnth the secretary has dealt with nineteen cases, of which seven have been satisfactorily settled. The record runs as follows :— There were six claims for the return of MSS., one has been settled, two have only recently come to the office, one has had to be abandoned, and in settling the remaining two it is possible that the Society will be unsuccessful, as they date back a considerable time. It is therefore difficult to obtain the necessary evidence. There were five claims for money. Three have been settled and the money has been paid; one in South Africa will necessarily take some time, and the remaining case has only recently come to the office. Two applications for accounts have been acknowledged, and the accounts have been forwarded to the authors. There were three disputes on contracts ; one has been settled, one has only recently come to the office, and one has had to be trans- ferred to the Society’s solicitors in the U.S.A. One infringement of copyright will take some time, as that is also in the U.S.A. There have been two claims for accounts and money; one has been settled and the other is still in the course of negotiation. The cases still open from the former month are all outside England, and consequently cannot be settled quickly; one is a case of infringement of copyright in the U.S.A., one a case of dispute on contract in the U.S.A., one a case of accounts in South Africa, and the last a question of royalties due in France. The record varies little from month to month, but during the last two or three months a much larger number of cases have come forward in foreign countries. These are naturally some- times very difficult to deal with. THE AUTHOR. 239 May Elections. Douglas Anstruther Major J. B. Arbuthnot, M.V.O. Percy J. Barrow . M. V. Barty S. Bristowe. Evelyn Hope bell Sir Valentine Chirol Camp- Miss H. Emma Cole- brooke Richard St. Colthurst Denis Cox . ‘ (* D. H. Dennis.” ) Gordon Crosse John J. Madame Blaze de Bury (FE. Dickberry ). Henry Deutsch, Ph.D. . Alan Drew . Aleck T. Ellis Wilfrid H. G. Ewart Miss M. Z. Hadwen (‘‘ Margaret Hope’’). -H. W. Hicks The Rev. Russell H. Jeffrey Capt. E. G. D. Lardner ¥F. Gerald Miller ; Mrs. Muriel Minnitt : Mrs. Richardson . Reginald Rogers Cavendish Club; Piccadily, W. Derry House, Ross- earbery, Co. Cork, Ireland. 5, Kingdon Road, West Hampstead, N.W. Glenacros, Dun- blane, Scotland. 122, Sutherland Avenue, Maida Vale, W. Templeton, Hunger- ford, Berks. ; 34, Carlyle Square, Chelsea, S.W. 85, Bruton Street, London, W. Blainey Castle, Co. Cork, Ireland. Weir Cottage, Har- low, Bucks. 64, Lauderdale Mansions, Maida Vale, W. 37, Rue Paris. 60, Venner Road, Sydenham, S.E. Lower House, Burn- ley. 512, Fulham Palace Road, S.W. 8 West Eaton Place, London, S.W. 20, St. Leonard’s Terrace, Chelsea, S.W. c/o Thomas Cook - & Son, London. Muckley Cross, Bridgnorth. The Army and Navy Club, Pall Mall, S.W. Studio Street, New- lyn, Penzance. Redmarley, Long- field Road, Ealing, W. 22, Egerton Gardens, S.W. 9, Upper Woburn Place, Tavistock Vaneau, Square, W.C. 240 The Rey. Ewart Rust . Hamsteels Vicarage, Durham. -é L. Simon . 24, Mark Lane, a London, E.C. The Rev. W. H. K. 6, Albany Road, Soames, M.A. Bexhill. Walter Stephens . 6, York Street, London, S.W. Gladys Unger . , 18, Pack. Village West, | Regent’s Park, N.W. William James Ward . 86, Westbourne Road, Penarth, Glam. Adéle Warren. . 47, Cornwall Gar- dens, S.W. 1, Pemberley Cres- cent, Bedford. F. W. Westaway . : F, Weston : . H. M. Dockyard, Hong Kong. Thomas Whittaker . 13, Sharples Hall Street, Regent’s Park Road, N.W. ————__+—>—_+___—__ BOOKS PUBLISHED BY MEMBERS. ——— 1 — While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however; that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate, ANTHROPOLOGY. THE CHILDHOOD OF THE WoRLD. A Simple Account of Man’s Origin and Early History. By Epwarp Oropp. (New Edition, rewritten and enlarged.) 74 x 5. 240 pp. New York. The Macmillan Co. 4s. 6d. n. ARCHITECTURE. MonvMentAL CLAsstc ARCHITECTURE IN GREAT BRITAIN AND IRELAND During THE EIGHTEENTH AND NINE- eTEENTH CENTURIES. By A. E. Ricnarpson. 15} x ll}. 124 pp. Batsford. £4 4s. n, : BIOGRAPHY. Tue Story or Dorotuy JorDAN. 9 x 53. 429 pp. Nash. 15s. n. RoMANcEs OF THE Pemrace. -By THorNTON Hatt, F.S.A. By Cuare JERROLD. 9x 53. 352 pp. HoldenandHardingham. 12s. 6d. n. My Variep Lire. By F.C. Puiirs. 9 x 53. 319 pp- Eveleigh Nash. 10s. 6d. n. 5 Lirze or WattrerR Bacenor. By Mrs. Russert B : TON. 9} x 58. y 8 ARRING 486 pp. Longmans. 12s. 6d. n. DRAMA. , Damacep Goops. A Play by Briuux. Translated b J. Pottock. With a Preface by Bernarp Saw ants Foreword by Mrs. Brr» : a Wiflelds. Je. a, RNARD SHAW. it Xx 5}. 244 pp- THE AUTHOR. [JUNE, 1914. Dusk. By R. Vansirrart. 7 x 4}. 43 pp. Hum- phreys. Is. n. Pures Wire. A Play by F. G. Layton. 7 x 5. 64 pp. Fifield. Is. n. PLAYWRIGHTING FOR THE CINEMA. Dealing with the Writing and Marketing of Scenarios. By E. A. Dencu. Tt x 43. 96 pp. Black. 1s. n. ECONOMICS. Tur Nation’s WEALTH. Witt it Expure? By L. G. CutozzA Money. 632 x 44. 264 pp. (The Nation’s Library.) Collins. 1s. n. FICTION. THe Woman’s Way. By C. Garvice. 7} x 5. 315 pp. Hodder and Stoughton. _ 6s. Tue Pricetess THrnc. By Mavup Srepney Rawson. 723 x 5. 352 pp. Stanley Paul. 6s. Tures AGAINST THE WorLp. By Suema Kaye-Smiru. 73 x 5. 304 pp. Chapman and Hall. 6s. Tue Lost Tripes. By G. A. BirmMINcHAM. 7} x 5. 331 pp. Smith, Elder. 6s. A GARDEN OF THEGODs. By Epira M.Keate. 7} x 43. 339 pp. Alston Rivers. 6s. THe Sent Cartan. By 304 pp. Stanley Paul. 6s. Pink Puriry. By Gertie De 8. Wentwortu-J AMES. at May Wynne. 74 xX 43. (Popular Edition.) 7} x 5. 375 pp. Werner Laurie. ls. n. Quinney’s. By H. A. VacHELL. 7$ X 5. 336 pp. Murray. 6s. BrepEsMAN 4. By Mary J. H. Sxringe. 63 x 43. 198 pp. Duckworth. 2s. 6d. n. DeEsMonpD O'Connor. By Grorce H. Jessop. 73 x 4. 320 pp. John Long. Tur Crowninc Gitory. By E. R. Punsnon. 7} x 5. 301 pp. Hodder and Stoughton. 6s. Eve AND THE Minister. By M. H. Saw. 7} x 43. 248 pp. Murray and Evenden. 6s. Tue Betovep Premipr. By H. MaAxweELt. 319 pp. John Long. 6s. THe Works OF MsarTEN MAARTENS: Gtory. 470 pp. An Oxp Matn’s Lovs. 449 pp. Her Memory. 281 pp. My Lapy Nopopy. 535 pp. Gov’s Foon. 442 pp. Tse Sry or Joost AVELINGH. 72 x 5. Tor GREATER 316 pp. 7% x 5. Constable. 3s. 6d. each. Resecca oF SunNyBRooK Farm. By Kate Doucias Wiaain. (Twentieth Edition.) 7} x 5. 347pp. Gay and Hancock. 2s. n. Aut Sorts. By Dorr Wytiarpe. 140 pp. THESECRET or CHAUVILLE. 140 pp. (Cheap Reprints.) 8} x 5}. Stanley Paul. 6d. each. Tue Wortp Set FRrEx. A Story of Mankind. By H. G. Weis. 7} x 5. zx 286 pp. Macmillan. 6s. Private Arrairs. By Caartes McEvoy. 320 pp. Everett. 6s. BREADANDBUTTERFLIES. By Dion Chayton CALTHROP. 7% x 5. 343 pp. Millsand Boon. 6s. THe Istanp. By Exeanor Morpaunt. pp. Heinemann. 6s. Tun Monny Hunt. A Comedy of Country Houses. By Kryeton Parkes. 74 x 4%. 318 pp. Holden and Hardingham. 6s. Tir Haven or DESIRE. 1d xX 4. 72 x 5. 296 By Caprain Frank H. SHAw. 74 x 4%. 322 pp. Cassell. 6s. Tue Curse or Croup. By J. B. Harrtis-BurLanD. 7} <x 43. 342 pp. Chapman and Hall. 6s. A Strance Sotution. By Wrnirrep GRAHAM. 252 pp. Tue Furnace or Youtn. By J. 8. Fuercuer. 252 pp. Mysrrry Srorres. Told in Brief. (Cheap Reprints.) 63 x 43. Pearson. 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Mrs. Barrington, who Is the sister-in-law of her subject, tries to present a picture of Bagehot the man, as traceable in his own and his friends’ letters and in the memortes of those still alive who were his closest inti- mates. The material used ranges from family correspondence in Bagehot’s carly boyhood to the tributes of his contemporaries on his death at the age of fifty-one (Longmans, Green & Co.). Mr. W. L. George’s ‘“‘ Woman and To- morrow,” will be published in America by the firm of Appleton. Archdeacon Hutton writes the latest addi- tion to Macmillan’s Highways and Byways Series, ‘‘ Shakespeare’s Country,” to which Mr. E. H. New furnishes the illustrations. Mr. Philip W. Sergeant’s next book will be published by Messrs. Stanley Paul & Co., the subject being the Princess Mathilde Bonaparte, the niece of the great Napoleon, and the link (it might almost be said) between him and the present day, since it is only ten ycars ago that she died. In “ The Utilisation of Solar Energy,” Mr. A.S.E. Ackermann, B.Sc., describes the expe1i- ments in this direction, costing about £30,000, with which he has been associated during the past four years, including those in the Shuman- Boys Sun Power Plant at Cairo. A method for estimating the value for power purposes of steam is a feature of the work; and there is also a full description of the Shuman high and low pressure engines. The publishers are the Society of Engineers, 17, Victoria Street, S.W., and the price of the book is 2s. 3d., post free. Mr. Max Rittenberg has a book called ‘‘ Gold and Thorns,” for the spring of 1915. It deals with the sensational adventures of a cosmo- politan “‘ gentleman of fortune.’ Ward Lock & Co. will publish in England. Mr. Selwyn Brinton has just visited Venice to report for the Studio and the Graphic at the Eleventh International Art Exhibition of Venice, which was opened on April 24th. The exhibition this year is of special interest to English art, as, besides the excellent show in the British Pavilion, a whole room in the Central Palace is dedicated to the work of Mr. Frank Brangwyn. A German translation of Mr. C. E. Goulds- bury’s latest book, ‘‘ Tiger Land,” is to be published and issued shortly by Mr. Robert a of Stuttgart, in his Memoirenbibliothek series. Mrs. Frederika Macdonald, D.Litt., is the THE AUTHOR. (JUNE, 1914. writer of the article upon Jean Jacques Rous- seau in the fifth volume of the “* Cyclopedia of Education,” published by Columbia University, New York. Mrs. Alec Tweedie’s ‘‘ Mexico as I Saw It ” is being translated for publication in Germany. ‘“‘ Pagan,” is the name of a book of verse by Mrs. Amy Skovgaard-Pedersen (A. C. Fifield, 1s. 6d. net). We have received from Messrs. William Collins & Sons copies of five books in their new Nation’s Library, published at 1s. net :—“t The Nation’s Wealth,” by Mr. L. Chiozza Money ; “The Relations of Capital and Labour,” by Mr. W. T. Layton ; ‘‘ The State and the Poor,” by Mr. Geoffrey Drage; ‘‘ The Future of Egypt,” by Mr. W. B. Worsfold; and “ The Star World,” by Mr. A. C. de la Crommelin. Mrs. Dawson Scott’s' novel, “‘ The Caddis Worm,” is being published immediately by Messrs. Hurst and Blackett. Miss Sheila Kaye-Smith’s novel, “ Three Against the World,” which Messrs. Chapman and Hall published in April, is to be produced in the United States by Messrs. Lippincott. A two-shilling edition is announced of Rita’s story of Bath, “A Grey Life,” of which the publishers are Messrs. Stanley Paul. The same firm is adding to its sixpenny Clear Type series Mr. Keble Howard’s ‘‘ The Cheerful Knave,” and Mr. Charles E. Pearce’s “ The Snake Girl.” ‘“ Megan of the Dark Isle,”’ is the title of Mrs. J. O. Arnold’s new novel (Alston Rivers). Mr. Georg? H. Jesscp’s historical novel ‘‘Desmond O’Connor ”’ has been issued by John Long, Ltd. Miss May Crommelin, who has lately returned from India, is engaged on a novel to be pub- lished in September by Messrs. Hurst and Blackett. The scene of this is mostly laid in Kashmir, and the book will describe the life in houseboats of English visitors to the country, with its comic incidents and opportunities for flirtation and courtship. Miss Crommelin’s previous book, “The Golden Bow,” is now being issued in a cheap edition by Messrs. Holden and Hardingham. Mr. James Baker’s ‘‘ By the Western Sea,” has been added to the popular edition of his novels (Chaprnan and Hall, 2s.). ‘“¢ World’s-End,” by Amelie Rives (Princess Troubetskoy), has been produced in the United States by the Frederick A. Stokes Co. Mr. F. R. M. Fursdon’s novel, ‘‘ The Story of Amanda,” deals with the rise of a girl from the slums to be wife to a leading English politician (Simpkin, Marshall & Co.). JUNE, 1914.) H.M. the Queen has accepted a copy of ** Where Pharaoh Dreams,’ by Mrs. Irene Osgood, with a foreword by Mr. Stephen Phillips and illustrations by Mr. W. Gordon Mein. *“* How to Breathe, Speak, and Sing ”’ is the name of a book by Mr. Robert Stephenson, upholding the old Italian method of respiration and dealing with all aspects, including the therapeutic and hygienic, of voice-production (Jarrold, 2s. cloth; 1s. 6d. paper covers). DRAMATIC. At the Little Theatre on April 24th, Mr. R. Vansittart’s one-act fantasy, ‘ Dusk,’ was pro- duced for the first time. On May 3rd, ‘“‘ The Patience of the Sea,” a new play by Mr. Norreys Connell, was produced by the Pioneer Pleyers at the Ambassador’s Theatre. On May ‘th, Mr. H. V. Esmond returned to the London stage at the Vaudeville Theatre, appearing in his own play ‘“‘ The Dangerous Age” (originally ‘“‘ The Dear Fool”), with which he has been touring Canada and the United States. On May 5th Mr. Israel Zangwill’s play “ The Melting Pot ’ was played for the hundredth time at the Comedy Theatre. On May 28rd, after its 120th performance, it was replaced by Mr. Zangwill’s new play “ Plaster Saints.” In “ The Holy City,” played at some special matinees at the Comedy Theatre in the first half of May and subsequently at the Haymarket, Mr. Sydney Valentine filled the part of Judas. Mr. Roy Horniman is the adapter from the German of “ The Blue Mouse,” presented at the Criterion Theatre on May 12th. Mr. John Galsworthy’s ‘‘ Justice ’’ was seen at the Coronet Theatre during the week com- mencing May 18th. Mr. Jerome K. Jerome’s comedy “ The Great Gamble” was produced at the Hay- market Theatre on May 21st. The French rights of Mr. W. Somerset Maugham’s play “The Land of Promise ~ have been secured by Mme. Bady for produc- tion in Paris next autumn. ee At a special matinee of West End Produc- tions, Ltd., at the London Pavilion on May 6, one of the plays was Mrs. E. P. Medley’s ‘Sold! At Store Prices.” MUSICAL. Mrs. Agnes Mary Astle’s song “ Morning tide ” was sung by Miss Gertrude Macaulay at Basingstoke on Sunday, April 26. The same composer has recently published — Nell’s Doll”. “The Doctor”; and “Light of ? THE AUTHOR. 243 pies One ad Morning ”’—the words of all ree songs being by Mrs. A. M. All Stai and Bell, 1s. 6d. net). Pee Sg a gg PARIS NOTES. — + : E MONARQUE ” is the title of Pierre § 4 Miulle’s new book, and all friends of Barnavaux will be delighted to make the acquaintance of Juste Claude Bonnafoux a native of a little provincial town of Southern France. Born with the imagination and the optimism of a true Meridional, Bonnafoux ought certainly to have known Tartarin. His fellow-townsmen surnamed him ‘ The Mon- arch” for the simple reason that, possessing nothing of his own, he had no eares and no responsibilities such as men have who must earn their living. He was kept, more or less, by the community, as he was considered an ornament to society. He visited one family during the shooting season, another during the vintage ; he was invited to all the marriages and baptisms. He had always plenty of time, and was always in a cheerful frame of mind. There- fore, as he said himself, he lived like a king, accepting everything from the world at large and giving himself in return. The stories of his various exploits are entertaining and, like Barnavaux, the ‘‘ Monarch ” is a philosopher, so that we learn many homely truths from his sayings and doings. ‘“*Mes Origines, Memoires et Recits ” (Tra- duction du Proveneal), by Frédéric Mistral. This is a translation of the poet’s Moun Espelido. An edition is also published with the original text and the translation together. Among the new books are the following :— “ La Dormeuse éveillée ” is the title of Helene Vacaresco’s latest volume of poems. “A travers Shakespeare,” by Jean Riche- pin. This volume contains the lectures recently given at the University of Les Annales. _ ‘La Vie et la Mort de Paul Derouléde,” by Jérome et Jean Tharaud. “Le Commerce et l’Industrie de la Plume re,” by Edmond Lefevre, should be read by all interested in the subject of birds and feathers for millinery purposes. It con- tains 300 illustrations, and M. Lefevre is the President of the Committee of Ornithologie économique. He gives us a chapter on the different causes of destruction of the birds and another one on the situation of the feather trade in the various countries. _ ‘‘Napoléon et sa Famille,” by Frédéric Masson, is the eleventh volume of this work. pour paru 244 The twelfth and last volume of the series is announced for publication next season. “Les Cathédrales de France,’ by Auguste Rodin, is the title of a volume by the famous sculptor. Some time ago _ Maurice Barrés published his book entitled ‘* La Grande Pitié des Eolises de France,’’ and now Rodin writes, as an artist and a thinker, on the cathedrals. The volume contains about a hundred illus- trations. oe “Les Pays d’Albanie et leur Histoire,’ by Frédéric Gibert. The author is a specialist in Oriental subjects. He gives a detailed account of the actual condition of the Albanian countries. “* Histoire de la Musique européenne ” (1850 —1914), by Camille Mauclair, will be greatly appreciated by music lovers. About a quarter of the book is given up to the works of Wagner. The author then studies the music of the various European nations. “Les Universités Allemandes au XX° Siécle,”’ par Dr. René Cruchet, is an account of a visit to twenty German universities by a Professor of the Bordeaux University. Dr. Cruchet gives us various anecdotes and a résumé of his conversations with the German Professors. He also shows up the various differences between the French and German university. In the Revue hebdomadaire, M. Laudet is now publishing a series of articles by prominent persons on the subject of France as it was in their youth and at present. The first of these articles is by General Lebon, who was formerly Commander of the first corps darmée. The General goes back to his recollections of 1866. He is now in his seventieth year, and after twenty-six admirable pages devoted to his experiences and observations, his advice to the present generation is: ‘‘Soyez gais, mes Jeunes camarades, d’une saine et vigoureuse gaieté qui vous donne le ressort d’un Gallifet.”” Another of these fine articles is by Charles Richet of the Institute. He tells us of the “* Physiology of former days and of to-day.” He points out that physiological chemistry has made great progress during the last thirty-five years. He tells us of the experiments of Pasteur (1857—1880). M. Richet says, in conclusion, that the “ future of humanity is in science only, and that the miseries of humanity can only be attenuated by means of the discovery of scientific truths.”” He declares that disease is our enemy, and that, in order to fight it, it must be known and then treated by science, In an eloquent appeal, he asks that the scientists who are devoting their lives to this end shall not be allowed to die of starva- THE AUTHOR. [JUNE, 1914. tion themselves. He declares that the dearth of physiologists is largely due to the fact that the State does so little for scientists. ‘“‘ Ignor- ance with regard to science was the great error of former times; it is the great error too, of modern times,’”’ concludes M. Charles Richet. One of the most interesting articles of the series is certainly the one written by Madame Mary Duclaux. She tells us of the literary Paris of 1885. She left the ‘‘ poetic and pre-Raphaelite England of her early life,’ and went to Paris. Among the people she first met were Mlle. Louise Read, at whose house she met Barbey d’Aurévilly and Mme. Ackermann. Two or three years later she married James Darmes- teter, and at the house of his brother, Arséne Darmesteter, she met Sully Prudhomme, Gaston Paris, and Mme. Dieulafoy and the Renans. (Arséne Darmesteter, the celebrated. philologist, had also married an Englishwoman. Her Salon pictures have won for her a place in the recent book on ‘Celebrated Woman Painters.”) After James Darmesteter’s death his widow married M. Duclaux, who was then. at the head of the Pasteur Institute. Paris is. now the second home of Madame Duclaux, and, in her clever article, she tells us her impressions. of the Paris of former days and of to-day. Her advice to the present generation, in conclusion, is that they should not only follow General Lebon’s advice and be “ gay,” but that they should be “sincere and true.” Madame Duclaux finds that the great danger of modern times is the hurry to see the immediate result of everything. She wonders whether a group of young workers could be found now such as the group which devoted itself to the founding of the Pasteur Institute. She wonders, too, whether the words renoncement, désintéresse- ment and recueillement are as well understood: now as in the nineteenth century ? M. Gavault has been appointed Director of the Odeon Theatre. He is himself a well-- known dramatic author, whose plays have had. great success. At the Bouffes-Parisiens M. Arthur Meyer’s play, ‘“‘ Ce qu’il faut taire,”’ is- now on the bill. M. Meyer, as Director of the- Gaulois, is a well-known Parisian, and the first night of his play was a society event. Autys HA.uarp. “Le Monarque’’ (Calmann Levy). “Mes Origines, Memoires et Récits ” (Plon). “La Dormeuse éveillée ” (Plon). “ A travers Shakespeare ” (Fayard), ‘““ Napoléon et sa Famille ’? (Ollendorff). “Les Cathédrales de France” (Colin). “Les Pays d’Albanie et leur Histoire” (Rosier). ” ‘‘ Histoire de la Musique européenne ” (Fischbacher). “Les Universités Allemandes au X Xe Sitcle” (Colin)... =e a ® JUNE, 1914.] AUSTRALIAN BOOK RIGHTS. —— + {Reprinted fromthe * Bulletin of the U.S.A. Authors’ League.’’) Wuo SHouLD Have THEM—THE AMERICAN OR THE BrITISH PUBLISHER ? MEMBER of the Authors’ League who has had several of his books published in London, some sold through his American publisher, who supplied “ sheets ” (unbound copies), and some through a separate contract with English publishers, in attempting to sell an English edition of a recent work, encountered considerable difficulty in disposing of his British rights unless the London firm was permitted to handle the Australian rights also. The author was informed by his agent, more- over, that there appeared to be a greater and greater disposition on the part of English pub- lishers to insist upon Australian rights, and it might be difficult, in the future, to dispose of the English rights alone. In view of this fact, the League has investi- : c 3 sie gated the Australian situation in the endeavour to obtain for authors information which might enable them to decide advantageously as to the disposition of any Australian editions. To this end, inquiries have been made of a number of New York publishers and literary agents, the results of which we quote in abridged form. The following description, supplied by a well- known New York publisher, of actual sales con- ditions in Australia, will enable one to under- stand the reason for many of the opinions after- wards cited. This firm says, in part :-— “Many American publishers have placed the sale of their books in the hands of an importing firm in Sydney, which has agencies in Melbourne, Hobart, Launceston, Adelaide, Brisbane, and in several places in New Zealand. To this firm we send, as early as possible, advance copies of the books likely to find a market in Australia, and. also review copies for a number of papers. We then receive by cable orders for such books as our agents find the Australian trade will take. These agents concern them- selves with nothing but the wholesale importation of books and the sale of them to booksellers. As they have no retail trade whatever, their interests and those of the book- sellers are identical, and there exist, we believe, very friendly relations between them and the booksellers. “« Opposed to such agents as ours and to the bulk of the book trade in Australia is a large importing house in Melbourne which also conducts a retail business. This house, we are informed, endeavours to secure the exclusive rights in Australia to books from English and American publishers. Maintaining, as the house in question does, a large retail establishment of its own (perhaps more than one), it has aroused the antagonism of the Australian book- sellers, the more so because the prices it charges booksellers are much in excess of those charged for similar books by firms engaged in importing in wholesale business only. Booksellers in Australia have a further grievance in that THE AUTHOR. 245 the house in question will not supply popular books i quantities desired by the teil, Wihsaiver hey an that they can sell their stock at retail themselves they either cut down the orders from the booksellers or do not fill them at all. “The attitude of booksellers toward this house was demonstrated to us in the case of a book for which we received an offer from the Melbourne house after we had shipped a large quantity to our agents. Two of the principal booksellers in Sydney, hearing that the Melbourne house might get a consignment of the book, notified our agents that if this were true their orders were to be cut from 250 copies each to 50 copies each. We have in the past urged our agents to try to arrange some basis by which the Melbourne house could sell at retail, but this has been foundimpossible. And whether the antagonism is justified or not, the attitude of booksellers in reducing orders from 500 to 100 copies shows that the condition is not one about which to theorize. “‘ Since we have had to choose between the jobber who also conducts retail business and the wholesale agent, we have decided in favour of the wholesale agent, partly influenced by the facts we had gathered, and partly by actual figures. In the case of a novel which sold in America less than 15,000 copies, our total orders for Australia were 2,000 copies, whereas the offer made by the jobbing and retailing firm was only 1,500.” So much for the details of market conditions. The American publishers who have answered the request of the League for their opinions on the matter are, as might have been expected, unanimous in declaring that the American authors are best served by disposing of their Australian rights to or through their American publisher, rather than to the English house publishing in London. One of the largest publishing firms answers as follows :— “In one case where we had sold an edition of only 500 copies to England, our Australian sales exceeded 3,000 ; and in another case where the English publisher took only 250 copies, our Australian sales were 2,000. Two facts should be borne in mind when deciding the disposition of Australian rights: First, the Australians prefer the books of American manufacture. We always send cloth bound books exactly like those that are sold in America, Of course, we have to make very low prices, and, therefore, cannot pay more than half royalty. But the returns to authors on this basis, are, we are certain, much greater than they would be if the Australian sales were controlled by the English publishers. Second: we are informed that in many cases the English publisher sends what he calls his ‘Colonial edition,’ which is a cheap edition much inferior to the edition prepared for England. If, as must be the case, the royalty is computed on the low selling price of the Colonial edition, it 1s doubtful if the returns per book are as great as they are on the American edition. There is no doubt in our minds that the authors’ interests are best served by having the Australian rights remain with the American publisher.” A New York publishing house which has also an English office writes :-— “For a number of years we sold Australian rights through our English house, or through English agents. In recent years we have reversed this policy and have sold the Australian market directly from this country. We find that in doing so we are able to place more editions of 246 to secure the continuing interest in each of the nee Se By the English method one edition is taken and there the matter usually ends. In the case of certain very popular authors this original edition would be larger than the edition taken from America; but this in only a very few cases indeed, and even in these instances when handled from America succeeding editions would more than make up the difference.” ; “The Australian public,” he adds, “seems to like the type of books which appeal to Americans rather than the type which appeal to the English.” Another prominent publisher, while desiring Australian rights for his own publications, thinks that individual cases may differ and leaves the general question in some doubt. He says :— “The American publisher, who has occasion to arrange with an English publisher for the British edition of a book, may often find it desirable to retain in his own hands the arrangements for Australasia. Firms like my own, whose imprint reads ‘ New York and London,’ and which carry on their publishing business on both sides of the Atlantic, make a practice of retaining in their own hands the control of the selling arrangements for Australasia. I should take the ground, therefore, that there was no such thing as ‘a proper ownership of Australian rights,’ but that the matter was one to be determined wholly by the origin of the book (that is to say whether England or America), and very largely by the status of the connections and the publishing machinery of the house controlling the book.” The following communication, however, from an equally important firm, is bolder and more definite in its reasons, corroborating a previous opinion :— ‘“We oftentimes secure from Australia alone an order just as large, if not larger, than we get from England, even when they have all foreign rights. As a general rule, we think the English publisher wishes the Australian market simply to use as a dumping ground. In case he is not able to dispose in England of books at the regular price, he sends them over there (Australia), and brings them out as a cheap edition. My feeling is that he does very little, if anything, to promote the sale in Australia.” Two New York literary agents, both of whom have had wide experience in placing foreign rights of American authors, take opposing positions in regard to the disposal of Australian rights. One of them says :— “Tt is my belief that a popular author gets more out of his Australian rights when they are sold by the American publisher than when they are sold by the English publisher. In the cases of several popular authors the American pub- lisher has got more out of the Australian rights than the English publisher was willing to offer for the English rights plus the Australian rights. Australia in its outlook on life and in the kind of books which attract it is much nearer to America than it is to England.” _The other literary agent makes the following distinction :— # “(a) Given an American novel of the type that is li to obtain manufacture and publication in Se oo. separate contract with an English publisher, I believe it is to the advantage of the author to put the Australian volume rights into the hands of the English publisher. (6) If the novel is of the type not likely to be sufficiently THE AUTHOR. (JUNE, 1914 acceptable in England to attain the publication under a separate contract, I advise giving all rights of volume pub- lication in the English language, including Australia, to the American publisher. Taking two average standard con. tracts, one with an English publisher, the other with an American publisher, it is my experience that the author receives from the English publisher a larger sum per copy than from the American publisher. I need scarcely say that where American publishers have a fully equipped English house (and not a mere agency), and conform to the Australian royalty scales customary with the best English publishers, my advice to American novelists is—as a rule— to let such American publishers have all volume rights in the English language, including Australia. But (as you know), American publishers thus equipped are few.” One of the agents quoted above states :— “Many English houses will not take a book on which they don’t have the Australian rights, so that if you have sold the Australian rights to an American publisher you may find it difficult to place the book in England at all.” This opinion confirms that of the English agent first cited. But there is still another reason for favouring the American publisher. Every American author who has had books published and printed in England has bewailed their inferior appearance, as compared with his American edition. In typography, paper and binding most English editions are far behind the usual American made books. Not only does this displease the author’s esthetic sensibilities, but it probably seriously affects the sale of his book. A case could be mentioned in illustration of one book whose English sale fell far behind the American, indubitably for that reason alone. Says one of the above quoted New York pub- lishers :— “‘ We are certain that the appearance and manufacture of the American book is of more advantage, especially in the Australian market, where it is much preferred to the English book.” The concensus of opinion of those interested (on this side of the water at least) is, therefore, that the American publisher can do better for the author, in Australia, than the English. But, meanwhile, the League is iz communics- tion with London firms and agents, and hopes, later, to present the British side of the question, as well as supply direct information from Australia itself. Se FRANCIS, DAY, AND HUNTER v. FELD- MAN & CO. 8 fe eee action was tried on May 21 and 22, and involved two issues: (1), whethet the plaintiffs’ song called ‘‘ You made me love you (I didn’t want to do it),” written i ' asain ities JUNE, 1914.] by Joe McCarthy and James V. Monaco, both American citizens, was “ first published ” in the British dominions within the meaning of the Copyright Act, 1911, so as to entitle it to copyright thereunder; and (2) whether the words of the defendants’ song, called ** You didn’t want to do it—But you did,” infringed the copyright in the words of the plaintiffs’ song. No complaint was made with regard to the music of the defendants’ song. : Section 1 (1) of the Copyright Act, 1911, provides that copyright shall subsist in every original literary, dramatic, musical and artistic work if, in the ease of a published work, the work was first published within His Majesty’s dominions to which the Act extends. Section 1 (3) provides that publication in relation to any work means the issue of copies of the work to the public ; and section 35 (3) provides that a work shall be deemed to be first published within the parts of His Majesty’s dominions to which the Act extends, notwithstanding that it has been published simultaneously in some other place, unless the publication in such parts of His Majesty’s dominions is colourable only and is not intended to satisfy the reason- able requirements of the public, and a work shall be deemed to be published simultaneously in two places if the time between the publica- tion in one such place and the publication in the other place does not exceed fourteen days. The plaintiffs’ song was published in New York and Toronto on May 5, 1918. On April 24, the Broadway Music Corporation, who pub- lished the song in New York, transmitted twelve copies to the plaintiffs and requested them to copyright the song in England on May 5. On that day the plaintiffs caused one copy of the song to be sent to the British Museum, four copies to be sent to the agent for the other libraries, and one copy to be filed as a record. The remaining six copies were placed in the plaintiffs’ retail premises in a box labelled ‘‘ New works issued this day.” They remained in the box from ten to fourteen days, other music being placed on the top each day as published. The six copies were then r moved to the stock room. It was proved that on the average from eighty to one hundred customers would come into the plaintiffs retail premises each day. It was also proved that American songs. were Oe ei oe until they had been performed 1n this co y- The sischite ae John Abbott, stated that it was their intention to have copies of the song in question available to meet any demand as and when it might arise. There was, how- ever, no demand for the song until August, and THE AUTHOR. 947 no sale could be traced before August 12. In July, the plaintiffs heard that the song was going to be performed in England, and on July 18, they ordered by cable ten further copies from America. On July 26, they ordered ten more. These twenty copies came to hand on August 12. On August 18, they cabled for 100 copies, which came to hand on August 25. The song was first sung in England on July 25 by Miss Florence Smithson at the Chiswick Empire. On August 4 it was sung by Miss Grace la Rue at the Palace. The demand began about August 12, and on August 20, they published an English reprint of 750 copies. They had always been in a position to supply any demand which was made, Beyond placing the six copies of the song in the box in their retail premises, the plaintiffs never advertised the song either in the Press or in their catalogue or otherwise until’ Sep- tember. On these facts the defendants contended that the song had not been issued to the pwhlie in England within fourteen days from May 5, and, alternatively, if it was so issued that the publica- tion was colourable and was not intended to satisfy the reasonable requirements of the public. Mr. Justice Neville, however, held that there was an issue of copies to the public and that, as there was a bona fide intention on the part of the plaintiffs to satisfy any demand for the song, as and when it might arise, the publica- tion was not merely colourable and the con- dition required by the Statute had been satis- fied. On the question of infringement, the defen- dants contended that their song was what was known as a reply song to the plaintiffs’ song, and as such was a legitimate publication. Evidence was given on behalf of the plaintiffs to the effect that there was great similarity between the words of the two songs in rhythm, idea and language, and that the sale of the defendants’ song was calculated to prejudice the sale of the plaintiffs’ song. Mr. Justice Neville said that the question was not free from difficulty. A song might well be what was called a reply song, and yet be an infringe- ment of the song to which it was a reply. The court must be guided by the general impression created on the mind by the one song and the other. In this case he thought the defendants’ song was but a colourable imitation of the plaintiffs’ song, and he granted an injunction and inquiry as to damages. el HOW TO USE THE SOCIETY. — 4 VERY member has a right toask for and to receive : advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The ‘Secretary of the Society is a solicitor; but if there is any -special reason the Secretary will refer the case to the ‘Solicitors of the Society. Further, the Committee, if they «deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel 8 opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright -and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send ‘the document to the Society for examination. 4, Remember always that in belonging to the Society ~you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of ‘members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as -confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements, Fuller particu- ‘lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary - of the Society. 7. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The ‘Secretary will undertake it on behalf of members, 8. Some agents endeayour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own ‘deductions and act accordingly. 9. The subscription to the Society is £1 4s. per annum, or £10 10s. for life membership. ——>— + WARNINGS TO THE PRODUCERS OF BOOKS. oe ERE are a few standing rules to be observed in an | [ agreement. There are four methods of dealing with literary property :— I, Selling it Outright, This is sometimes satisfactory, 7f a proper price can be THE AUTHOR. [JUNE, 1914. obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for ‘‘ office expenses,”’ unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. “By Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It isnow possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in The Author. I¥. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— C1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. a WARNINGS TO DRAMATIC AUTHORS. ee EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating ‘for the production of a play with any one except an established manager, 3. There are three forms of dramatic contract for plays in three or more acts :— (2.) Sale outright of the performing right. This is unsatisfactory, An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, : 5 i JUNE, 1914.] (.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable, ‘Lhey should never be included in English agreements without the author obtaining a su. bstantial consideration. 9.Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —> -— REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —— CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 22, 6d. per act. THE AUTHOR. 249) DRAMATIC AUTHORS AND AGENTS. Ee De authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author's fees. from it, As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is: required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess: to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ee ae WARNINGS TO MUSICAL COMPOSERS. Segoe : ITTLE can be added to the warnings given for the- ey assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. a STAMPING MUSIC. Sage ee The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, _—_____+—<»—e —__—_ THE READING BRANCH. —+— EMBERS will greatly assist the Society in this N branch of its work by informing young writers. of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, > + EMITTANCES. f the Society begs to give notice a ee Ses are Scuyowiodued by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered. letter only, COLLECTION BUREAU. ee ecg HE Society undertakes to collect accounts and money due to authors, composers and dramatists. : 1. Under contracts for the publication of their works. : : 2. Under contracts for the performance of thei and amateur fees. é . 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. : For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. r works AGENTS. Holland . ‘ ‘ A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs. Poason. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ee = GENERAL NOTES. ae es PUBLISHERS’ AGREEMENTS AND THE AGENCY CLAUSE. Our attention has been drawn once again to the agency clause inserted by agents in publishers’ agreements. The clause runs as follows :— ** All accounts due and all moneys payable under this agreement shall be rendered and paid to of and it is hereby agreed that his receipt shall be a fulland sufficient discharge therefor and that shall have authority to treat for and on behalf of the said author in all matters under this agreement.” The publishers’ agreement, with a covering letter from the agent making several comments on the document as far as it concerned the publishers’ proposed terms, was submitted through the author to the Socicty for criticism, but the agent’s letter written to the author made no comment whatever upon the clause which referred to his own position and which he had inserted. We have on former occasions and at full length dealt with this matter. If an agent, when commenting on the publishers’ agree- ment, sets fairly before the author the diffi- culties that may arise under the clause which he inserts for his own benefit, states that it is irrevocable, that it may handicap the author THE AUTHOR. [JUNE, 1914. seriously, ete., ete., and if the author, having the full statement before him, says ‘* You are my agent, I am quite willing to trust you as regards this clause,” then no blame whatever can attach to the agent; though something might be said on the question of the author’s folly. But when an agent as in the present case says nothing the matter assumes quite another aspect. Supposing, for instance, a solicitor when drawing up a contract for a client inserted a clause which, of great benefit to him- self, might be seriously detrimental to his client, and omitted to point out the facts ; if the matter was then referred to the Incorporated Law Society, the result would most probably be that the solicitor would hive his name struck off the rolls. But agents who dealin a similar manner with their clients are full of anger when com- ments are made upon their methods of doing business. Solicitors are responsible to the council of their profession, but agents have no such responsibility. It has been said that all authors are not angels, and that unless the agent protect himself he runs a chance of being swindled; but the agent seems to forget that the author runs exactly thesame chance. It would be interesting to know the proportion of corrupt agents to the total number of agents, as com- pared with the proportion of corrupt authors to the total number of those who follow authorship as a profession. It is doubtful if this sum were worked out whether the agent’s care for himself could be wholly justified. AGENTS AND ACCOUNTS. WHILE we are discussing the question of agents, there is another matter to which the members’ attention should be called. Agents —literary, dramatic, and others—are very fond of receiving accounts and passing them on to authors without any comment. They take no trouble to compare them with the former accounts, to compare them carefully with the agreement and to see that the proper percentage is given throughout. They simply ask the author, who is helpless in the matter, whether he is satisfied with them. Many agents, however, have got a worse habit still. They make out an account of their own, presumably from the original accounts, deduct their agent’s fees, and send it on with a cheque to the author, who has no possibility of viewing - the original documents. We are glad to see, that this is not always the case, One or two of the best-known agents: make a point of always sending on the originals for consideration. Even then it is the agent’s | JUNE, 1914.] duty to state clearly that he has compared the accounts with the former accounts and with the agreement. The matter would not be of such importance if, in the clause which we have quoted, the agent’s receipt was not a valid discharge. The insertion of these words into the clause cannot be supported by the same arguments that warrants the agent to collect the monies. They are merely an added burden to the author. Prorit SHARING ON THE SALES OF SHEETS IN ture U.S.A. WE re-publish in another part of The Author an article which deals with a clause inserted in Publishers’ Agreements giving the author half profits on sales to America. The matter is of growing and serious importance, be- cause such a clause, although the author is receiving a royalty on other sales, is being inserted more frequently in author's agree- ments, and its interpretation, when the accounts come in, is nearly alweys—there are honourable exceptions—to the detriment of the author. Every form of profit sharing in literary as well as dramatic agreements is unsatisfactory. If the accounts are rendered with the most honourable intentions, distrust and suspicion is bound to spring up, often because the author cannot understand the intricate details. Profit sharing on American sales is a subject which might very usefully be discussed between the committee and the Publishers’ Association, if the latter would care to discuss it. There are two reasons why, from the pub- lishers’ point of view, the power to sell on half profits to America benefits them. It enables them to cut down prices to an absurdly low figure. This is detrimental to the author, who practically gets no profits, but is not a serious matter for the publisher, because in any case, he takes care to get his cost of production eovered. The cost of production including, as is shown by the article, the cost of composition. The second point is that, however equitable the arrangement may appear, it is impossible, as shown in the article, that it should be an equitable arrangement if the book continues to sell briskly in England. Bot h these points are detrimental to the author's financial interests. We hope, therefore, that all authors who receive a royalty on the English sales, failing to obtain U.S.A. copyright, will oppose the clause of profit sharing on the American sales, THE AUTHOR. 251 and will insist upon receiving a royalty of so much per copy, which will force the publisher to keep up a reasonable price for the sale as he has to pay the author a reasonable price also, A Boox aspout AUTHORS. __WE are quoting the following from Mr. Hope Moncrieff’s ‘‘ Book about Authors ”’ :— *“The Authors’ Society has recently started a pension fund of its own which appears to be usually applied for the benefit of novelists, the only class of authors that does make any money to speak of. And in two cases it is paid to gentlemen also enjoying Civil List pensions. This looks as if the Authors’ Society contained few really necessitous members. But one has known only too many authors, and of note and of usefulness, who could not afford even the guinea subscription to this association.” We think Mr. Moncrieff is a little unfair to the Authors’ Society. The Authors’ Society is paying at the present time five pensions. Three of the pensioners are novelists ; two are not. The proportion of three to two is not an excessive proportion considering the member- ship of the Society. Mr. Moncrieff states, however, about novelists ‘‘ the only class of authors that does make any money to speak of.” With all Mr. Moncrieff’s large knowledge of authorship, he has failed to understand that many educational writers have a much larger circulation and a much surer and continued income than novelists, and that the suecesstul dramatist again is often far ahead of the successful novelist. The remark also is not quite fair because after all it is not the class that benefits by the pension but the individual. There is a further point to which attention might be drawn. It would appear that Mr. Moncrieff has written the paragraph without a correct knowledge of the Pension Fund scheme. It is absolutely essential that the author secking a pension should have been a member for a certain number of years. We regret to say we know more than one case in which an author has resigned from the Society, not always on account of poverty, and coming on bad days, has desired to rejoin the Society with a view to getting a pension. There is also a limit of age in the Society’s Pension Fund scheme. There is also the fact that the Pension Fund scheme was started with a view not to cut in any way into the work of the Royal Literary Fund. Like Mr. Moncrieff, we have known too many authors who have fallen on evil days. has only been tempore by the Royal Literary F In many cases their position ary, and being relieved und, they have regained 252 their work and stemmed the tide of misfortune. The Socicty, although it cannot assist directly in these cases from its Pension Fund, can assist indirectly and is constantly doing so, by giving advice and referring members to the Royal Literary Fund, and by calling the notice of the more fortunate members of the profession to an urgent case. Again, amongst those authors who are not only known to Mr. Moncrieff, but also to_us, many were not entitled by age to relief. Finally, the Pension Fund of the Society is an exceedingly small fund, and when the income is exhausted by the payment of present pen- sions, however pressing may be the needs of those who claim, it is impossible for the Society to assist until the income at the disposal of the trustees is sufficiently increased. We think the Society may well be proud of its Pension Fund, small as it is. The first pension granted was to Mrs. Riddell. The fund was started by the Society, ten prominent members heading the list with donations of £100 each—and for members of the Society only. It has never appealed to the public by way of advertisements, charity concerts and other methods, but has gone steadily from year to year, supported by members of the Society both rich and poor, until its funds are over £5,000 in value. The amount invested per annum usually runs to between £200 and £300. It has not been a one-man fund, born of the generosity of this or that millionaire, although no doubt the trustees would be willing to receive outside gifts. It is because the funds are really part of the life of the Society, and its membership that the Society has reason to be proud of it. Tue Art or LEAyING Orff. _ A very interesting little paragraph appeared in the May number of the Chicago Dial, which we take the liberty of copying :— “* The Art of Leaving Off, in writing, in story-telling, in specch-making, in preaching, in calling, and in much else, is an art that many never learn, perhaps chiefly because it is so simple—to stop when you get through. Scott more than atones for the long-winded preliminaries to his novels by the masterly abruptness with which he closes them, A compliment worth winning from one’s readers is the involuntary exclamation at the end of the book, Is that all! Those who have read much aloud will recall many a masterpiece of fiction that has elicited from breathless hearers that unmistakeable testimony to the attention- compelling quality of the narrative. In her useful treatise on “The Art of Story-Telling,’ Miss Julia Darrow Cowles pertinently remarks : ‘ Story-tellers sometimes remind one THE AUTHOR. (JUNE, 1914. of a man holding the handles of an electric battery. The current is so strong that he cannot let go. The story-teller must know when and how to “‘let go.”’ Letus suppose that, in telling Hans Christian Andersen’s story of ‘‘ The Nightin- gale,” the story-teller—after the delightful denouement of the supposedly dead Emperor’s greeting to his attendants, where he “‘ to their astonishment said ‘ Good morning !’ ”” —were to add an explanation of the effect of the nightin- gale’s song in restoring the Emperor to health! It would be like offering a glass of ** plain soda’ from which all the effervescence had departed.’ .. .” But is it true that authors generally know when to stop ? In the old days of long serials, many authors being bound by the serial market to make the beginning of the story interesting dragged on interminably towards the end. Is not the second volume of Thackeray’s “ Virginians” a fair example of not knowing when to stop? Copyricut Casrs, 1918. WE have received from the Publishers” Association the ‘‘ Copyright Cases for 1913,” edited by Mr. E. J. MacGillivray. This. collection is produced for private circulation at the expense of the Publishers’ Association, and the Society cannot be too grateful to that Association for allowing the Society every year to have a copy. It is an invaluable production. In the summary, Mr. MacGillivray touches on the question of titles, which he rightly says has jumped into supreme importance by reason of the fact that the producers of films are claiming the right to appropriate the title of any novel or drama. is one that may effect seriously all authors, and it is hoped that the efforts of the Society will be successful in organising a satisfactory defence. INTERNATIONAL CONGRESS OF AUTHORS AND JOURNALISTS. WE have received some papers with regard to the Congress of Authors and Journalists to- be held at the Panama-Pacific International! Exposition which will take place at San Francisco in 1915. The papers give some idea of the arrange- ments that are going to be made for all those who, specially invited, are able to accept the invitation. Fuller particulars may be obtained from: Miss Ina Coolbrith, 1067, Broadway, New York, or from Mr. Hermann Scheffauer, Bank Point,. Jackson’s Lane, Highgate, N. The matter vip JUNE, 1914.] ‘MODIFICATION OF THE BERNE-BERLIN COPYRIGHT CONVENTION OF 1908. —o— + (Reprinted from the U.S.A. “ Publishers’ Weekly.’’) TWFNHE following additional protocol to the Convention of 1908 adopted by the countries of the International Copy- right Union, March 20, 1914, is of especial importance in the United States because it _ doubtless originated in and reflects the dis- satisfaction with the manufacturing and other restrictions of our own copyright code felt by those countries which grant full copyright. Under it, Great Britain can impose counter- restriction on books of American authorship without violating its full relations of reciprocity with the other countries of the Union. ADDITIONAL ProrocoL TO THE REVISED BERNE CONVENTION OF NOVEMBER 13, 1908. The countries, members of the International Union for the protection of literary and artistic works, desiring to authorise an optional limita- tion of the extent of the Convention of Novem- ber 13, 1908, have, by mutual agreement, -adopted the following Protocol : 1. When a country not belonging to the Union does not protect in a sufficient manner the works of authors who belong to a country -of the Union, the provisions of the Convention -of November 13, 1908, cannot prejudice, in any way, the right which appertains to the con- tracting countries to restrict the protection of works of which the authors are, at the moment -of the first publication of these works, subjects -or citizens of the said country ‘not being a member of the Union, and are not actually domiciled in one of the countries of the Union. 2. The right accorded to the contracting States by the present Protocol, equally apper- tains to each of their trans-marine possessions. 3. No restrictions established in virtue of No. 1 above, may prejudice the rights which an author has acquired upon a work published in -one of the countries of the Union prior to the putting into force of these restrictions. 4. The States which, in virtue of the present protocol, limit the protection of the rights of authors, will notify the Government of the Swiss Confederation by a written declaration ‘indicating the countries against which the protection is restricted, and also the restrictions to which the rights of authors from these -eountries are submitted. The Government of the Swiss Confederation communicates at once the fact to all the other states of the Union. THE AUTHOR. 2538 5. The present Protocol to be ratified, and the ratifications to be deposited in Berne within a maximum delay of twelve months from its date. It enters into foree one month after the expiration of this delay, and has the same power and duration as the Convention to which it relates. In witness whereof the Plenipotentiaries of the countries, members of the Union, have signed the present Protocol, of which a certified copy is to be transmitted to each of the govern- ments of the Union. _ Made in Berne, the 20th day of March, 1914, in only one copy deposited in the archives of the Swiss Confederation. (The signatures of the representatives of the countries of the Union follow) :— Liberia, Luxembourg, Monaco, Norway, The Nether- lands, Portugal, Spain, Switzerland, France, Tun’‘s, Great Britain, Germany, Haiti, Belgium, Italy, Denmark, Japan. ——__—— @ > +~<4 6 ROYALTY AGREEMENTS AND HALF PROFITS ON SHEETS TO AMERICA. Pe Se EEE HERE is a clause often embodied in agree- ments issued by the best houses in London in which the author—failing to obtain the American copyright—is entitled to half of the profits on the sale of sheets to America. If this clause is inserted in the usual half-profit agreement, there is little to be said against it. The only points at issue, then, are: (1) Is a profit-sharing agreement desir- able? (2) In what proportion should profits be divided between author and publisher ? But if the clause is inserted in an agreement where the author is to obtain a royalty on the publication of the English edition, there are two very strong points of objection. The first point rests on the fact that a clause drafted on these lines is a distinct pitfall to the author. Itis 4 pitfall for the following reasons: (1) because to the ordinary person the difficul- ties with which the clause 1s pregnant are altogether invisible ; (2) because the amount the author receives is always calculated—see the books of the Society on the point—on the basis that the full cost of composition is charged against the English edition. If this were not the ease, the author ought to receive a higher royalty on British sales. 254 Let us explain what we mean more fully. Take the ordinary 6s. book :— £8 ¢, Cost of composition of 3,000 copies . : : 35 60, 0:0 Cost of printing of 3,000 copies . ; : - 16 0, 0 Cost of paper of 3,000 copies 58 0 0 Total - 104° 0 0 Of the 3,000 copies the publisher sends 2,000 to America and receives for the same (say) Ls. a copy—£100. The cost of composition was compulsory for the completion of the English edition, the author’s royalty, as stated, being based on this understanding; but the pub- lisher takes two-thirds of this cost towards the American edition as well as two-thirds of the cost for the print and the paper, leaving to be divided between himself and the author— £ sg By sale of 2,000 copies to America : ; . 100 QO 0 Two-thirds cost of produc- tion : 69 6 8 {30 138 4 As the cost of composition has no right to be charged against the American edition, but only the cost of print and paper, the difference would work out as follows :— £3. d. By sale of 2,000 copies to America : : - 100. 0: 0 Two-thirds cost of print and paper : 49 6 8 £50 18 4 Instead, therefore, of the author receiving £25 6s. 8d., by the publisher’s method of cal- culation of half profits, the author receives £15 6s. 8d. and the publisher £85 6s. 8d. It is almost as reasonable an arrangement as the ordinary half-profit agreement, whose clauses and workings have so often been exposed in The Author. To show how this method may be worked out in the interests of untrustworthy publishers unfairly to the author, say the publisher in the first instance only publishes 1,000 copies. The cost of composition would still be £80; print- ing, £10; paper, £20. He sells 500 copies to Amcerice,, end on the same principle the follow- ing sum is worked out :— fos ad. Half cost of production _ $0 0-0 By sale of 500 copies to America at ls. per copy . 25 0 0 £5 0 0 THE AUTHOR. [JUNE, 1914. This would leave a deficit against the author’s. account of £2 10s., as the sale to America has failed to cover the cost of production. As soon as the edition is sold and the amount is worked out against the author he prints 10,000 copies for the English edition, but never takes into account the proportion of the cost of production of the 500 sent to America to the 10,000 printed in England. Again, supposing you take the first instance and 20,000. were subsequently sold, the cost of the 2,000 sold to America is still taken in proportion to the cost of the 3,000 of the first edition printed, and not in proportion to the whole cost. It will be seen, therefore, that, quite apart from the contract being unfair, and a pitfall to the unwary (as on the face of the agreement the difficulty is invisible), even if it is worked out by a publisher with an honest idea of doing nothing dishonourable, the result of its working, its natural evolution, becomes a fraud on the author, as it is impossible to calculate this sale to America on the basis of future sales. It must always be calculated upon the sales that have already been made. The position is ridiculous. It is to be hoped that the Pub- lishers’ Association will dissociate themselves from this form of agreement. The second objection arises from the fact that this sale to an American house is mere agency work. If conducted through the medium of an author’s agent, the latter would be highly pleased with the payment of 10 per cent. on the net result. Not so the publisher, although he is constantly erying out against the agent and his charges. It is a well-known fact —instances have often been quoted—that the publisher, although he expresses strong dis- approval of the intervention of the agent who charges a modest 10 per cent., makes—when he endeavours to undertake any of the agent’s duties—a general charge of 50 per cent. Further arguments against allowing a pub- lisher to undertake an agent’s work need not be repeated here. ——_____o—>_+_____—_- THE FAMILY HERALD PRESS. THVHE attention of the committee has been LT called to a letter issued from the ‘Family Herald Press ” to one of the members of the Society of Authors. The letter runs as follows :— “Dear Srr,—On the understanding that you are the author and sole owner of the above-named story, the Editor is prepared to pay you for the entire rights of i ‘JUNE, 1914.] ~publication and re-publication (Home, Colonial and International) the sum of ten shillings, the Editor to shave the right of making any alteration he nmy deem advisable in title, names of characters, and text. “Should the Editor’s offer be acceptable to you, we shall be obliged by an early intimation of the fact, so that a remittance may be sent at the end of the month. ‘“* WintraMs, STEVENS, Lrp.” The article for which the magnificent sum of 10s. was offered was an article of 2,000 -words in length; therefore, the price being ‘paid was at the rate of 5s. per 1,000 words. Now from the point of view of the worst author, 5s. per thousand words must be considered an ‘impossible price even when the purchaser desires only the first serial use for a special paper ; but to offer to pay 5s. per 1,000 words for rights intended (as the form of receipt subse- quently sent showed) to cover the copyright ‘which now includes dramatic rights, transla- tion rights, and cinematograph rights is, from the author’s point of view, wholly absurd. No doubt the argument on the other side would be that there are many papers that pay as low as 5s. per 1,000 words. There is no doubt that some papers do fall as low, but two ‘wrongs will never make a right. and it is rather a shock to find an old and well-estab- lished paper like the Family Herald pays such prices. It is not often that so low a figure is paid, even for the first serial use, and it is quite the exception that the copyright is purchased for so low a figure. It would be further urged no doubt that the letter was a printed form, that as amatter of fact the work proposed to be purchased was not such as could be used either in book form, or for dramatisation, and. that, therefore, the author, although the contract embraced rights of so extensive a character, lost nothing. There is really nothing in this second argument, the point being that it is for the author to decide whether or not he ares to yield these rights, even though they are not likely to bring him in anything. There is one good point in the letter quoted. The author receives it before the article is published and puts quite clearly before him what the urchaser desires for the pittance that has een offered. This is a thousand times better than the case of those magazines which give an indefinite acceptance or no acceptance at all, then publish the story or article, and, when it has been published, claim, by an endorsement on the back of the cheque, all the copyright and prevent the author from obtaining his money until the cheque 1s signed without alteration. ———_—_—__—_4+—-_+___—_—_ THE AUTHOR. 255 TRANSLATIONS. See Tue RecENT ACTION OF THE ‘‘ SocrkTE Drs Gens DE LETTRES.”’ VERY author whose works are capable of translation should take notice, and immediate notice, of the recent action of the ‘‘ Société des Gens de Lettres” respecting translations. If any one will remark that to say this is hardly necessary, seeing that all the proceedings of the great French society, the Queen of authors’ societies, are always of con- summate importance, it shall be immediately admitted that this is essentially true; but, at the seme time, it is to be feared that there are among authors, or at any rate among English authors, very many who have not realised that the “ Société des Gens de Lettres ” is not only the oldest, and by far the most powerful of all authors’ societies, but also on every occasion the first to seize the meaning of new situations and developments, and the quickest to per- ceive how they can be turned to the advantage of its members; in effect, in all cases the leading society of all societies of the same kind. Before proceeding farther, it may be well to mention, in case any reader should not be acquainted with the methods of the “‘ Société des Gens de Lettres,” that the society is not only a society for protecting the rights of its — members, but represents also a single and. most powerful agency. Its members confide their works to its care, publish through its inter- mediation, and find all their business interests most attentively watched by its officials ; whilst it at the same time enjoys a prestige so indisputable that any publisher or editor who gets his name into the black books of the society, if this expression may be used, finds his affairs in a very awkward predicament. — Some little time since the society turned its particular attention to the subject of trans- lations, and appointed a special commission to inquire into the whole question of trans- lations and royalties on and payments for translations. The ‘‘ Rapport sur la Tra- duction ” rendered to the general meeting of the society on Sunday, March 29 last, 1s published in the official organ of the society (Chronique de la Société des Gens de Lettres, Mai, 1914, Paris, Cité Rougemont, No. 10), and is well deserving of attentive perusal. A sum- mary only of it follows here ; ever, of importance 1s omitted ; nothing, how- and it will be 256 seen at once that an entirely new light has been thrown upon the whole problem of translations and of authors’ benefits to be derived from translations. Authors’ rights in translations are fixed and protected by the Berne Convention, revised and regulated by the Congress of Berlin. The exercise of these rights, on the other hand, is often qualified by arrangements and engagements with some third party, publishers becoming frequently, under various stipula- tions, co-proprietors of the rights, and having interests indissoluble from those of the authors. (Here, in France, the position of the ** Société des Gens de Lettres,’ as agent for its members, naturally comes into consideration.) Translations can be regardedin three different aspects. 1. The translation of a work in book form again in book form. 2. The translation in serial form (feuilleton) in a periodical, either of a work that has originally appeared in book form; or of one that has appeared as a serial (feuwilleton) not published in book form; or of tales, novels, articles, or poems, which have appeared in a periodical, but have not appeared in a book. 3. The reproduction of a translation, of class either 1 or 2, in a serial form. (In this case there are three different stages of publication ; the original work, its translation as first pub- lished, a reproduction of this translation in some other manner.) In reality there is another possibility, not mentioned in the society’s report. A work appears by some well-known author ; for it is only in the case of works by popular authors that the complication here considered takes place. The work is very soon published, in book form, in a translation ; first of all almost always either in French or German, and then, from this translation another translation is made. That, evidently, ought never to hap- pen. The best of translations is never any better than it should be—and often a great deal worse than it should be; but a trans- lation of a translation is an abomination for which no excuse can be pleaded. Still the things exist. At the present moment there is lying before us a Roumanian translation of Sienkiewicz’ well-known Polish novel ‘ Quo Vadis,” with the statement shamelessly printed on its title page “* Translated from the French.” Such frank admissions are indeed rare, but that in many cases what are offered as trans- lations are merely translations of translations is certain. The aberrations from the original THE AUTHOR. [JUNE, 1914. are, in many instances, such as to leave no- possibility of a doubt of a German inter} mediary. Neither can there be any possibility of a doubt that these lucubrations represent the happy hunting ground of the literary pirates of many tongues. There is probably no kind of literary production in which the producer of contraband wares is more. active. To return, however, to the French report. Up to the present authors and publishers have paid attention to translations of the first class only, either completely ignoring the second and the third, or, at the best, taking the second only into consideration quite by accident. ‘In fact, generally, and excepting only in the case of some agreements with England or with the United States, we are accustomed hitherto to sell our works purely and simply for a single payment made once for all either by translator or publisher, who afterwards makes of these works what use he pleases. ** Meanwhile the formidable development of the international Press tends to render more and more profitable to the foreign purchaser the exploitation of the complete right which he has obtained. Having become absolute proprietor (of the translating right) the foreigner is able to sell and to re-sell his translation, to publish it and to re-publish it in various forms, in volumes of various prices, in illustrated editions, in parts, to offer it for serial publica- tion, to publish it in twenty different periodi- cals, and everywhere to gather profits with both hands, whilst neither the author nor his co-proprietor has any suspicion of the con- tinuously increasing profits resulting from his having agreed to accept a single payment for his rights.” It appears, however, that some authors have been a bit more prudent, and whilst ceding rights of French translation, have reserved the rights of French serial production. Respecting which the report observes, ‘‘ We see no reasom why we should not treat our fellow-authors as: they treat us.” For the future the ‘“ Société des Gens de Lettres ” intends to support, with a firm expectation of making this mode of action triumphant, the following equitable general theory: the French author who treats with a foreign translator (publisher, editor of a journal, or individual translator) will sell for a fived sum the right to translate a work in one form strictly defined, and will explicitly reserve all the other rights, and in particular those which in any way represent reproductions of the translation. 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Ajotoos oy} vtoy ‘asamod Jo ‘ures _ UoIstAdodns FUIURUE -iod pue yous B dopun [[@—uoT}E[sUBs} oF jo suorjonpoidas poydrynut ‘sowmnyjoa ‘s.toquna ul UoT}RoTTqnd ‘szYSII [VLIos “ToYZOUR WOT} UO Susuttds ‘suoyovsupi, fo saisas @ oyUT “poyuas -oidaa A]Petouad sey S}YSM UWoryepsues} Jo [vs df} OMY IY YT “YAOAL Moy} Jo JUauuopungy oy} tWtojsuety OF ottsop OAL 9soyy Ie jo uortsodsrp oy} ye Fpos}t Soovd Azowoos oY, ,, [FI6l ‘ANOS 258 “THE LAW OF COPYRIGHT.” * +4 TYNHIS volume is a reprint of a series of articles which appeared in The Bio- scope. In the nature of things, it was not to be expected that the author, in the space at his disposal, could give more than the merest outline of the law. Nevertheless, Mr. Croasdell has succeeded in presenting a fairly concise summary of the main features of the Copyright Act of 1911, and has added a certain amount of information respecting international copyright. We gather that the articles which go to make up the work were written, in the main, for the guidance of those interested in the cinematograph industry, and, no doubt, some- thing may be said in favour of a short treatise, such as the one before us, which presents the main features of the Copyright Law as amended by Parliament. There is, however, as we have pointed out on previous occasions, great danger in con- sulting works which seek to explain so complex a subject as copyright in the limited space which Mr. Croasdell allows himself. We are glad, therefore, to observe that it is to be followed by a larger work on the same subject. Mr. Croasdell, referring to the question of titles remarks :— Copyright exists in the title of a book if such title is a new and original literary composition, for the title is part of the book, and is as much the subject of copyright as the book itself. Although a book may have been out of print several years, still the copyright may exist, and another person is not justified in adopting the title so long as the copyright continues. This statement of the law is very misleading. Practically speaking, there is no copyright in a title, though there may be a certain property acquired by user. A general statement such as the one we have quoted is sure to mislead rather than to enlighten the layman. No doubt in the larger work which has been promised Mr. Croasdell will amplify what he has said on this subject, but it is precisely because such amplification is necessary, that we feel the dangers incidental to any attempt to explain the law in the small compass chosen by the author. bite In the chapter on Copyright Abroad, Mr. Croasdell speaks of Holland and the United States of America, among other countries, as being outside the Berlin Convention, In regard to the former, the statement is in- _* “The Law of Copyright,” by W. Carlyle Croasdell, Barrister-at-Law. London: Ganes, Ltd. 85, Shaftesbury Avenue, W. , THE AUTHOR. ‘JUNE, 1914. accurate—Holland joined the Convention in November, 1912. In regard to the United States of America, the statement is inadequate, for while it is true that America is not a party to the Convention, copyright protection may be obtained in that country, and this should have been explained. ——— ¢ —~<— THE TRADE OF AN AUTHOR.* oe \7 OT the least interesting of Mr. Hope ae Moncrieff’s ‘* Reflections and_ Recol- lections,”” is the Introduction, where we get the personal note, rather lacking in the rest of the volume. This is the more welcome, as this ‘‘ author of sorts,’? as Mr. Moncrieff modestly styles himself, has always been a determined opponent of publicity. Indeed, we would prefer more recollections and less reflections. The earlier chapters, which deal with a general history of authorship, the making of the author, his genesis and development, show traces of wide reading and a remarkable insight into the varied conditions of the literary ‘ife. The author’s genial personality is constantly reflected in the autobiographical portion of the book and in his tolerant and good-humoured reference to the eccentricities and shortcomings of certain well-known authors—a_ pleasing contrast to the mordant and cynical comments on contemporary writers in several popular books of reminiscences recently published. The book is not over-laden with anecdotes and good stories, but the few that are given are new and full of point. There is one of a cele- brated author who had had an unsatisfactory interview with two of the partners in a well- known New York firm of publishers. He had left them in high dudgeon, but before he had reached the corner of the block, he was accosted by a stranger who told him that he had seen the wrong man—that he had interviewed the literary partner and the financial member of the firm. ‘* You should have come to me first ; Tam the drinking partner!” Ultimately they both came to an harmonious understanding. Under the well-known pseudonym, Ascott R. Hope, the author has a high reputation as a writer of sound and wholesome stories of school life and adventure for boys, and with the late George Henty he stood at the top of the tree in this kind of fiction. * “ A Book about Authors: Reflections and Recollec- tions of a Bookwright.” By A. R. Hope Monerieff. 10s. net. A. & C. Black. 1914. JUNE, 1914.] His stories of school -life, which” show a remarkable insight into boy nature, though well known and popular, have not, however, attained such success as they deserve. But the writer is, no doubt, handicapped through con- fining himself almost exclusively to studies of life at grammar schools and what are known as private schools, and ignoring the more popular field offered by the public schools and those public schools in miniature—the preparatory schools. Then too, Ascott R. Hope’s school-boy rather lacks modernity, especially as regards school-boy slang—his boys, indeed, talk too correctly. Perhaps this accounts for the fact that, though many of his books have reached several editions, he cannot claim one great out-standing success like his rivals, Desmond Coke or Ian Hay. In an instructive chapter on publishers, the unbusinesslike methods of some firms is humorously indicated by the following epi- sode. A publisher, “ who long somehow escaped bankruptcy,” happened to be travel- ling by the same train as our author. ‘* Guess- ing that the likes of him would travel first, I took a third-class ticket, and walked slowly along the train. Sure enough, he sat in state, where he graciously invited me to join him. ‘No,’ said I, * You can travel first-class ; I pay my debts.’ ” In the course of some good-humoured strictures on editors and their ways, in con- nection with one who wanted to commission him to write a school history of Europe, which should make no mention of the Reformation, he tells an anecdote of Leo XIII.. which is new to us. He had given a celebrated historian access to the archives in the Vatican Library, but impressed upon him that he need not feel restricted in the use he made of them, and added slily, ‘‘ There are some good people who would like to edit the Scriptures, cutting out the story of Peter and the cock, for instance, lest it should bring discredit on the Holy See)” The author holds rather pessimistic views of present-day literary criticism. The Early Victorian sledge-hammer methods of censure have had their day, and are apt to be replaced either by indiscriminate eulogy or tame and colourless criticism. With books, as with the stage, the public is more and more inclined to be its own critic, and our author asks with reason, Is the plebiscite of the readers a better guide than its professed counsellors ? Who shall say ? : On the question of press criticism, Mr. Mon- crieff is uncompromisingly severe. To prove the contradictory character of reviews he THER AUTHOR. 259 devotes a page to a selection of favourable and unfavourable criticisms of the same book. But this method of the “‘ deadly parallel,” to show the futility of press criticism, is, however, mis- leading. It assumes that the exaggeratcd encomiums of the Mudford Mercury are of «qual value to the author and publisher as the few lines of guarded approval in the Times or Atheneum. Among Mr. Moncrieff’s excursions in. the various ficlds of literary enterprise, perhaps his most notable success has been in topography. A marked feature of his guide-books and topo- graphical works is their literary distinction—a feature which frees them from the reproach of not being literature—from which this class of book usually suffers. In ‘“ London” for instance, the following illumining speculation on London in posse is worth quoting as a vivid piece of word- painting :— “Are there children now elive whose bleared eyes may see London shrunk to its old bounds, perhaps huddled on some choice site like the heights of Highgate and Hampstead— which, according to Mother Shipton’s prophecy shoald become its centre—when for leagues, as about the walls of Delhi or Pekin, the open country will be dotted with ruined temples and towers, round the broken dome on Ludgate Hill, standing up in solitary state like the Kutub Minar? Can it ever come to lie squalidly deserted for a new city, rebuilt by some conqueror, as at Bokhara and Samarcand? Are there generations yet unborn to whom this capital will be a show, like ~ hundred-gated Thebes,’ a quarry of antiquities like Nineveh, or Knossos, a mystery like the Cambodian Angkhor, or the Bolivian Tiahuanaco, an over- grown wilderness like the buried ruins of Yucatan ? ” Probably the most enduring of Mr. Mon- crieff’s works is that by which he is least known to English readers. This is a monumental geographical work of reference in six volumes, called ‘‘ The World of To-day,’’ which gives a popular survey of the present-day geographical, historical, political, social and economic con- ditions of all the countries of the world. In- deed, the author of this colossal compendium of geography might almost be described as a twentieth century Reclus. The book ends with a note of encouragement to his fellow-craftsmen, and an impressive and dignified Vale to the reader. ‘‘ On coming to add up my account, I find a balance on the right side. I have lived my life; I a spoken my mind; I have done what I could, ‘260 in a world where at the best we are all but un- profitable servants.” “By diligently plying the pen rather than the sword or the plough, one may have more surely helped to turn the wilderness of life into a garden. If one have taken pains not to let one’s tool go rusty; if one have never prosti- tuted it to base uses; if one have cared to be an honest hireling in this day’s work; if one be aware of having given pleasure to some, of having sought to work harm to none, these are the things that should not make death terrible to an author who, like the silent many, must look to be forgotten ; yet what good or ill he could do for his generation will not die in the lives of men.” KH. A. R. B. BOOK-PRICES CURRENT.* to ry NUE first three numbers of the new volume of Book-Prices Current are lying before us, numbers as full as ever of interesting matter, presenting once more the insoluble problem of how any notice is to do justice to a publication of this kind. The modern reader of the notice of a book expects from the reviewer something more than an honest state- ment of how the work which the volume con- tains has been done; the reader wishes to know something about the book, something which will enable him to talk about it—without having read it; and how is any reviewer to enable a man to do that when the very essence and merit of the work lying before him is that it consists of hundreds of minutely accurate notes of various volumes, the excellence of the work and its interest being wholly in the minuteness of its details? Indeed, we will freely admit that our custom of selecting a few items for note, which we shall again do pre- sently, is really indefensible. In almost every vase not the books which anyone may happen to select, but very many others, are just those whose mention would be interesting to a reader of the periodical. All the books in the world cannot have a meaning for any one individual, any more than all the words in the world can have a meaning for him. Each real lover of books will be interested in his own specialities, and not at all interested in anything else ; for which reason the book-lover ought to read Book-Prices Current for himself; and will in * “Book-Prices Current.’ Volume XXVIII, Nos. 1 2,3. London: Elliot Stock, 1914, : THER AUTHOR. [JUNE, 1914. all cases find his pains well rewarded by information that he will not be able to gather anywhere else. We have said this more than once; and still fear that the periodical does not find its place even in the libraries of all public institutions, nor even in the libraries of all literary institutions ; though it is certain that no public library ought to be without it. Since the beginning of the new volume a new arrangement of the contents has been adopted. The books are no longer catalogued under the headings of the different sales; but each number displays all the books mentioned in it in one alphabetical arrangement. A good deal is to be said for this. Any single book is more easily found, and different copies of the same book come into juxtaposition. The last par- ticular is a distinct advantage. The whole is also more easily used as a book of reference— or at least the whole of each single number. What form the index which ends the number concluding the year is to take we cannot tell until that number reaches our hands. Still, on the whole, we think that it must be granted that the new arrangement is more convenient for ordinary purposes ; though we must confess to a regret at the loss of the distinctly picturesque presentment of the several libraries grouped one by one. Some- thing there was of interest, not altogether purely sentimental, and in some ways very real, in the perspective, if the term may be used, of the different collections of books ; perhaps because the tastes of the collector peeped out from among them ; perhaps because the books themselves, that had sometimes been so long together, had the appearance of a grave symposium which the auctioneer’s hammer was, alas, to scatter, so that they could never come together again. The breaking up of a library is the undoing of a thing that had organic life for the brain that created it. So whilst we admit again, we admit it with the Oriental proverb, ‘“‘ There is no advantage without a disadvantage.” Our own task of selecting a few volumes for mention—which we have already admitted cannot be defended—has also become more difficult. It is no longer possible to say, ‘“* Look at the sale of this library or that for books of such and such kinds.’”? The books have succumbed to the tyranny of the alpha- bet. And so there is all the more reason why the book-lover should read Book-Prices Current for himself. He, indeed, will find his favourite authors more easily than before; so be it hoped that he may be the more disposed to read, laa ib. if JUNE, 1914.) : Among the greatest rarities are the follow- ing :— Byron, ‘ English Reviewers,” fifth edition, original boards, uneut. The only copy known. The edition was suppressed by Lord Byron, and every copy ordered to be burnt before publication. The title page, preface, and postscript found in this copy are not found in the two or three copies of the fifth edition with a fourth edition title page. It seems surprising that the work should not have fetched more than £12. A first folio of Shakespeare—last two pages of ‘‘ Cymbeline ” in facsimile—probably unique in having the “ Tragedy of Troilus and Cres- sida’ regularly and correctly paged through- out. This was sold in one lot with three other folio Shakespeares—1632, 1664, and 1685 respectively—for £1,200. Richardson. A collection of the first edition of his works. ‘‘ Pamela,” 1741—42; “‘ Cla- rissa,” 1748; ‘‘ Grandison,”’ 1754, and ‘“‘ The Correspondence of S. Richardson,” by A. L. Barbould, 1804. The twenty-four volumes fetched £96. Records of sales of various works of Thackeray’s are numerous. Amongst them will attract particular interest— Thackeray, Autograph MS. of Lecture on Jonathan Swift, twenty-one pages written by Thackeray, and thirty-two by his daughter, Anne Thackeray Ritchie, with numerous cor- rections by Thackeray. $1,700. Still more interesting is the only known copy of “The Whitey-Brown Paper Magazine ” by Thackeray, lithographed. The mention of this strange periodical is accompanied by an explanatory note. $23,000. Books certainly have their fashions as well as their fates; and it is curious to place the following two sales side by side. : E. Fitzgerald, “‘ Omar Khayyam,” second edition in original wrapper. 1868. £12 10s. Sophocles, “* Edito Princeps,’’ Venice, Aldus, 1502. £11. From which it would be easy to deduce— well, too many different things to be set down here. ‘ Mark T'wain’s autograph MS. of “A Yankee at the Court of King Arthur,” 1889, sold for £100. : Meredith, ‘‘ Diana of the Crossways,” first edition, 3 vols., cloth, 1885, sold for £2 6s., and those who have in their libraries copies of the old three-volume novels, which Mudie no longer circulates, may easily possess works that are worth money. : her work of Meredith’s Bards and _ Scotch THE AUTHOR. 26r may be quoted, as evidence that when authors present their works to friends they should write their names in them. It makes a good deal of difference in the money value of the present. Meredith, “The Shaving of Shag- pat,” first edition, 1886, with author's inserip= tion, £19; although the original cloth binding- was cracked and the half-title torn. a ee i —2-+ + © ia ———__ CORRESPONDENCE. —+—<—+ MacazZInE Payments. Dear Sir,—I was very much pleased to see in last month’s Author, under the above title, an exposition of the effrontery manifested by some unprincipled ‘‘ MSS. snatchers.” The writer leads us to suppose that these literary ghouls occupied chairs of distinction; this, of course, is an all-important consideration. Presuming this to be the case, I feel sure that a strongly-worded letter to the owners of the publication would have received attention and ultimately brought forth a statement to the effect, “* We regret that your contribu- tion entitled -—— published in our issue was erroneously underpaid, through a clerical error, and we have much pleasure in enclosing cheque value £—— to cover the deficiency. Regretting the error, ete.” Another case that I recall with great readiness was that of a very respectable 6d. monthly (not an English publication) that underpaid me by several shillings; the editor, upon having his attention drawn to the deficiency (not by the proprietors, however), promised to add the amount on to the next cheque. Six “next cheques’ have come and gone since: then, but no increase has been apparent. The editorial memory is exceedingly defective: upon such issues, and I have not the slightest doubt that the incident has long ago passed into the sub-conscious portion of it. If the cditor should see this letter, doubtless he will gladly add the amount to the neat cheque. Jpon still another oceasion a very experl- enced friend of mine (an old editor) told me that he found the best plan was to return the cheque with a covering note politely intimating that the amount 1s insufficient. This pe apparently causes the editor to be stung . i : he hastens to write out a fresh cheque. f ‘ ass of editor I forbear to oubtful whether I could with the aid of any Of the other cl speak, indeed, it 1s d really do them justice, 262 printable words. These creatures trade upon the credulity of the inexperienced author, and are usually so bad that in many cases they reap their own reward, or at least the two very worst cases that came within my ken did. One rapscallion to whom I had sold some “ stuff’? arranged to pay for it on the instalment plan, which he did until he reached the third or fourth instalment (I forget which). He then heard rumours of absence in a far country, and promptly ceased to continue the pay- ments; no doubt he thought I had left the country for good, and, that, even if he did send it on, I should not be able to spend it. However, a little later the secretary of the Society relieved him of any doubts he may have entertained, by requesting him to send the rest of the monies to the secretarial depart- ment. This so scared him that he sent the remainder toute « coup. Haroup Ucrus. — <4 REAL EDITIONS. ‘ Srr,—On the question of “editions” as against a statement of the number of copies of a book issued, your correspondent may be interested in the letter of Jared Sparks printed in ‘George Palmer Putnam, a Memoir,” published by G. P. Putnam’s Sons, 1912, pp. 55 and 56. The writer says ‘ Prescott and Bancroft publish what are called ‘ editions,’ 500 each. They think there is some advantage in it, although where there are stereotype plates, one can hardly see the propriety of calling each impression a new edition.” Earlier in the letter he had given figures with regard to Washington’s writings. Yours faithfully, E. A. ARMSTRONG. — ++ A QUESTION AS TO PAPER. DrEar Sir,—A work of mine—published about a year ago—is printed on very thick, soft paper, which seems to me likely to be the sort that does not last. The paged proofs were printed on thin paper, which, apparently, is of much better quality. Bound up they make a book little more than half the bulk of those issued to the public; but I care nothing for bulk if the work is not to be lasting. Would some reader kindly tell me how I may know good, that is durable, paper from bad, THE AUTHOR. {JUNE, 1914. and what would, approximately, be the differ- ence in cost between the one and the other. The book in question is demy 8vo and consists of 360 pages. Cuaries F. Moxon. Sea peelings U.S.A. Puay Piracy. Dear Sir,—My attention has just been drawn to a paragraph in the May number of The Author referring to the piracy in New York of ‘“‘ La Petite Fille,’ under the title of “A Pair of White Gloves.” I shall be obliged by your publishing an immediate contradiction of the statement con- tained in this paragraph, to the effect that I prevented the authors, or the Société des Auteurs Dramatiques from benefiting from the unauthorised production at the Princess’s Theatre. The production was stopped at the instance of the Société des Auteurs Drama- tiques, acting for the authors, and the option I hold was only concerned so far as to make my consent to their action necessary. I am not, and have never been, a ‘‘ dramatic agent,” and am surprised that the editor of The Author should pass a paragraph oppro- briously mentioning a member of the Society of Authors without first submitting the con- tents to him. I have repeatedly tried to learn the particulars of the production of the play and the result of the French society’s action from the secretary of the Society of Authors, but so far without the slightest result. Your obedient servant, Joun PoLiock. [We gladly publish this letter, though we cannot admit that any opprobrious mention was made of the writer in the paragraph referred to, which was quoted from the United States Publisher's Weekly.]| a NovELISTS AND THE HosprraLs. Dear Sir,—Has it ever been suggested before that it would be a good plan if novelists and publishers sent proofs of novels to the fever hospitals for the amusement of patients and nurses? There are stages in illness when fiction is a good tonic and the last stage for these infectious sheets would, of course, be the fire. I see no harm that could come from this suggestion, if novelists will take it, and the corrections on the proofs would only add to the amusement and interest. Yours faithfully, A NOVELIST. 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. 24 Issue 09 (June 1914) Subject The topic of the resource The Author, Vol. 24 Issue 09 (June 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-06-02-The-Author-24-9 publications The Author https://historysoa.com/files/original/5/540/1914-05-01-The-Author-24-8.pdf fdd013c9e6a28e5bd58ae7e6c0afd96a 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-05-01 Volume 24 Issue 8 Pages Page range in volume 207–232 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Autbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vor. XXIV.—No. 8. May 1, 1914. [PricE SIXPENCE. TELEPHONE NUMBER : 874 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. ———_—_—__+_—~¢ NOTICES. ae : the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tur Editor begs to inform members of the Authors’ Society and other readers of The ‘Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tur Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. - Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. S Communications and letters are invited by the Editor on all literary matters treated from Von. XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising - Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to em. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. ee THE SOCIETY’S FUNDS. — 1 ROM time to time members of the Society K desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. : The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of rinciple, or in assisting to obtain copyright reform, or in dealing with any other 208 matter closely connected with the work of the Society. : (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. —\_—_+—>—_—__—_—_- THE PENSION FUND. —— N January, 1914, the sccretary of the I Society laid. before the trustees of the Pension Fund the accounts for the year 1918, as settled by the accountants. After giving the matter full consideration, the trustees instructed the secretary to invest a sum of £350 in the purchase of Great Eastern Railway Ordinary Stock. The amount pur- chased has been added to the investments set out below. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. They haveJgiven notice to the Pension Fund Com- mittee that there is sufficient money at their disposal to enable them to give another pension. The nominal value of the investments held on behalf of the Pension Fund now amounts to £5,419 6s., details of which are fully set out in the following schedule ;— Nominal Value. £ 8 a. Eocal Loans visi. eres ess 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ............ 291 19 11 London and North Western 3% Debenture Stock ...............088 250 0 0 Egyptian Government Irrigation Trust 4% Certificates............. 200 0 0 Cape of Good Hope 34% Inscribed Stock we a oe 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock ...... 228 0 O New Zealand 34% Stock .......... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 1927—57 ..........0c0.000. . 488 2 4 Jamaica 34% Stock, 1919—49 ... 182 18 6 Mauritius 4% 1987 Stock ......... -° 120 12° 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ......... 198 3 8 Antofayasta and Bolivian Railway 5% Preferred Stock ............... 237 0 0 Central Argentine Railway Or- dinary Stock... es 232 0 0 THE AUTHOR. [MAY, 1914. Nominal Value. £ os. 4 $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ...,...-0-0.s20- 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares ...........0..++ 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ..............000. 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue... 380 0 0O Great Eastern Railway Ordinary Stock so ccpecciocee hangin ee 655 0 0 Total {cas . £5,419. 6 O —_——\_1——_o_— PENSION FUND. —+—<—+ Tue list printed below includes all fresh dona- tions and subscriptions (7.¢e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 1918. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1918. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. : : : Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry : Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dee. 4, Vansittart, Robert Dec. 4, Lunn, Arnold . ‘ Dec. 4, Stewart, Miss Marie . Dec. 4, Berry,. Miss Ana Dec. 4, Vallois, Miss Grace . : Dec. 17, Beresford, J.D. . ‘ Dec. 29, Inge, Charles . j Dec. 29, Cross, Miss May. ‘ Dec. 29, Hardy, Thomas, O.M. , _ _ a NASCSCAAMMANMOOAAAAAAAHEaAoaanse wWwoococoooo oH COSC SCOOCOHSCOSCOSOOnm Soacccoascoscocoocooocoscoceoo MAY, 1914.] THE 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. : Jan. 16, Cooke, Arthur O. Jan. 23, Exley, Miss M. : Jan. 26, Sarawak, The Ranee of Mar. 11, Dowson, Oscar F. April 8, Stoeving, Paul ; April 14, Buckle, Gerard, F. April 14, Grattan, Harry. April 17, Rubenstein, H. Eo. April 20, Anon. . ‘ 1913, Donations. Oct. 7, Darwin, Sir Francis . ; Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold : Oct. 30, Rosman, Miss Alice Grant Nov. 3, Holland, Theodore Nov. 3, Steane, Bruce ; Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elrington, Miss Helen Nov. 10, Waterbury, Mrs. . ‘ Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dee. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. . Dec. 21, Keating, J. Lloyd 1914. Jan. 8, Church, Sir Arthur Jan. 5, Anon : ‘ Jan. 5, Joseph, L. : Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. Jan. 6, De Crespigny, Mrs. Champion Jan. 6, Rankin, Miss F. M. .- Jan. 7, Sneyd-Kynnesley, E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. : Jan. 10, Daniell, Mrs. E. H. . ‘ Jan. 12, Avery, Harold ‘ Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullein, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane Jan. 19, P. H. and M. K. Jan. 19, Greenstreet, W. J. .- Jan. 19, Gibbs, F. Leonard A. Jan. 23, Campbell, Mrs. L. A BR. . Jan. 28, Cameron, Mrs. Charlotte, a F.R.GS. . ; Jan. 28, Blunt, Reginald. Jan. 24, Raphael, Mrs. Mary. UTHOR. aH w OO Oo ore Or or or Or Ors seeooeooeoocoooos, et eccooooron et eooo _ or or Or O Or et et Or dO Or Or Or ro oo os Ore Oo coococooooaaoocoooens _ S coomoocooocoosooooeoeooooooor —_ et et MANMOOSCHUBMDAMOUCBONACH _ _ ore COoOnwngn So ooo eceococooooaocooaoocoooooaaceo ore _ 209 Jan. 25, Plouman, Miss Mary Jan. 30, Gibson, Miss L. S. . Feb. 5, Brooker, Lt.-Col. E. P. Feb. 6, Buchrose, J. E. Feb. 7, Smith, Herbert W. Feb. 20, Eden Guy : ‘ : Feb. 21, Mayne, Miss Ethel Col- bourn : : Feb. 21, K. ; : : Feb. 25, Aspinall, Algernon E. Mar. 2, Dalziell, J. j Mar. 2, S. F. G. . : Mar. 5, Saies, Mrs. F. H. ; Mar. 5, Thorne, Mrs. Isabel . Mar. 5, Haviland, Miss M. D. : Mar. 5, Todd, Miss Margaret, M.D. Mar. 13, Cabourn, John : Mar. 20, Fenwick Miss S. F. . : Mar. 26, Prendergast, Mrs. J. W. .« —______+—_+ COMMITTEE NOTES. —— HE April meeting of the committee was Si held on Monday, April 6, at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster. After the minutes of the previous meeting had been read and signed, the committee proceeded with the election of members. Forty members and associates were elected, bringing the total for the current year up to 135. The total number of resignations amounts to sixty-seven. The committee consider they may congratulate the Society on so large an election. The cases were next laid before the com- mittee. The solicitor attended and made a report. : ie an action for non-publication, authorised by the committee at their last meeting, the solicitor was glad to report that the defendant, through his solicitor, was coming to a settlement, and hoped that the matter would shortly be adjusted. He next reported the conclusion of the case of Raleigh v. The Kinematograph Trading Co., and that an injunction had been obtained as well as payment towards the costs. In a case 0 account the matter had_ been settled me factorily, the author having Seccgtiea : payment of the amount due. In a a arising out of accounts and monies au: on. Wk reproduction of a. cinematograph fi ae he solicitor reported that the statement £ ve had been delivered. He also reportec t . a writ had been issued against a publisher for. SOHrHoeo, —_ eocorocoocornNwrcoco ee none aon & Cacscoa® — oOo ONE DOO oO aoegocooocoece 210 money due on accounts, but only part of the sum due had been paid. A question of literary libel, which originating in the United States had taken place also in Great Britain, the solicitor reported had been settled, so far as the publication in this country was concerned, by the payment by the defendants of a sum in damages and costs, and by an undertaking to publish an apology if desired. In regard to the same issue in the United States the secretary reported that a letter had been received, and that he hoped to have further information to report to the next meeting. The committee sanctioned the placing of the matter in the hands of the Society’s United States lawyers if no satis- factory arrangement could be reached. In a ease of breach of agreement for the production of a play a writ had been issued, and the defendant had come forward with a proposal for settlement. It was hoped that the matter would be arranged amicably before the next meeting. The solicitors reported that in one of two small county court cases judgment had been signed and execution issued, and in the second the amount had been recovered with costs, and that in two other county court cases proceedings were being taken in the usual way. Another question of infringement of title by a film production, and possibly of infringe- ment of copyright, was considered. The solicitor reported he had gone carefully into the matter, and thought it was impossible, as far as the infringement of title was con- cerned, to take action until the film had actually been performed. On the question of the copyright infrimgement the solicitor had written to the author’s agent for further information, and was now awaiting his reply. ‘Two counsel’s opinions had been taken on the instructions of the committee, (1) dealing with the question of mechanical rights in cases where the composer had made an assign- ment before the new Act came into force; and (2) in regard to the publication of a whole novel in one issue of a magazine. The opinions will be filed for reference. A question was put forward of alleged infringement of an author’s play by a play now running in London. The committee decided to obtain some competent witness to attend a performance of the alleged infringing play and to report to them as to the question at issue. The secretary then dealt with other cases on his list. The committee decided, in the case of a THE AUTHOR. [MAY, 1914. publisher against whom the Society had five or six claims, to transfer the papers to the solicitors that they might deal with the issues. A small case against a publisher for non- delivery of account was, with the committee’s sanction, placed also in their hands. A question was raised by a member in respect to an endorsement on the back of a cheque which had been sent to him in payment for contributions, such endorsement purporting to be a conveyance of the copyright. The matter was seriously discussed, and one of the members of the committee undertook to see the editor of the paper on the point. A claim arising from non-payment of an article in a United States magazine was referred to the committee, who authorised the placing of the case in the hands of the Society’s American lawyers. The committee discussed and arranged for the settlement of a case in Germany where the Society had obtained judgment, and was unable, at present, to obtain satisfaction owing to the defendant’s inability to pay the whole amount at one time. In a case of dispute between an author and the editor of a series, the committee decided to write to the editor for an explanation, and lastly it was decided to place a claim for money due to one of the members in the hands of the Society’s solicitors. The committee then considered a statement laid before them by a member regarding an alleged infringement of ideas, and the secretary was instructed to write to the member. Ina small claim for money alleged to be due the committee regretted they could not support the member, as there appeared to be no legal right which could be enforced. The secretary reported a case of mutilation of an author’s work by a magazine, and was in- structed to write to the editorforan explanation. The chairman then reported what had taken place at the Film Trade Conference, at which representatives of the manufacturers, exhibitors, renters and hirers of films, as well as theatrical managers, were present, and the committee decided to leave to the Dramatic Sub-Committee the appointment of delegates to serve on the Joint Board which it is proposed to form. In regard to the Society’s change of name, it was decided to spend £25 in advertising as soon as the legal formalities have been carried through. The committee regretted they were bound to decline a request made by the Society’s former advertising agents for an honorarium. Re er Ne ree en ee RAO ae Se MAY, 1914.] Correspondence was laid before the com- mittee dealing with the question of the re- payment of subscriptions, but the committee regretted they were unable to accede to the request of the member concerned. The secretary placed before the committee a letter he had received from the American Authors’ League on the subject of the Presi- dent’s Proclamation in connection with the section of the British Act dealing with mechani- eal reproduction. The committee begged to thank Mr. Charles Garvice for a donation of £1 1s. eee Dramatic SuB-CoMMITTEE. Tue April meeting of the Dramatic Sub- Committee was held on Friday, the 24th of that month, at three o’clock After the signing of the minutes of the previous meeting and of the conference with the cinematograph trade, the formation of the Joint Board was fully discussed. The secretary reported that the following associations had already appointed delegates :— The Incorporated Society of Kinemato- graph Manufacturers. he Society of West End Theatre Managers. The Theatrical Managers’ Association. The Cinematograph Exhibitors’ Association of Great Britain and Ireland. The Touring Managers’ Association. Further, that he had not heard definitely from the Entertainments Protection Associa- tion and the Incorporated Association of Film Renters, as these two bodies were awaiting meetings of their respective committees. He hoped, however, to receive the names of their delegates in a few days. ? The next matter that arose was the appoint- ment of delegates from the Society of Authors. After considerable discussion, the following motion, proposed by Mr. Justin Huntly McCarthy, and seconded by Mr. Haddon Chambers, was passed unanimously :— “That the Authors’ Society be represented on the Joint Board by its Dramatic Sub- Committee.” It was decided to call a meeting of the Joint Board for Thursday, May 14, when the future working of the Board would be fully discussed. ; The secretary reported on the matter of the Managerial Treaty, that he had heard from Mr. Fladgate, who was acting as solicitor for the Society of West End Theatre Managers, THE AUTHOR. Olt that the matter had been further delayed owing to Mr. Gatti’s absence, but that he hoped to send a report in due course. Certain cases were then considered. The committee confirmed the action of the chair- man in a small case for the collection of a dramatist’s fees, and in a case of some import- ance for the collection of fees on cinemato- graph rights in America. It was decided to advise the committee of the Society to drop a small case of infringement of copyright in Canada, as the issues were exceedingly small and the expenses would be very heavy, as it would be necessary for a commission to be appointed to come to England in order to collect evidence. The secretary then reported that the solicitor’s opinion on a claim for alleged infringement of copyright put forward by a member was adverse to the claim, and the sub-committee decided that nothing further could be done. There was one case in which the French Society was involved, and the secretary was instructed to write to the secretary of the French Society on the matter. In regard to the copyrighting of a member’s work in Canada by Mr. Frohman, the secretary was instructed to write to Mr. Lestocq, Mr. Frohman’s London agent, for full particulars. 7 CONFERENCE FOR THE PROTECTION OF FILM PRODUCTION (CALLED By THE Dramatic SuB-CoMMITTEE), —_t-—— + CONFERENCE between the Dramatic Sub-Committee and representatives of the associations mentioned below was held on Friday, March 27, at three o’clock at the Society’s address. Touring Managers’ Association.—Messrs. H. Ralland and G. Carlton Wallace. Theatrical Managers’ Association.—Messrs. Walter Melville and Perey Hutchison. Incorporated Association of Kinematograph Manufacturers.—Messrs. H. A. Browne and J. F. Brocklies, and J. Brooke Wilkinson (Secretary). oS Cinematograph Eahibitors’ Association.—Mr. W. Fowler Pettie, Film Renters’ Association.—Mr. Cluett Lock. Mr. R. C. Carton, chairman of the Dramatic Sub-Committee, opened the proceedings by thanking the members of the various associa- 212 tions for their presence, and placed before the meeting the following agenda :— | (1) To consider what joint actions should be taken to safeguard— (a) Titles. : (b) Subject-matter. : (2) The appointment of a Joint Board to protect the common interests of authors, manufacturers and the film trade generally. Mr. Carton quoted the case which had just been carried through, viz., “ Sealed Orders,” and read a letter he had received from Mr. Cecil Raleigh, who was, unfortunately, unable to attend. Considerable discussion followed on different points which were raised, viz., the protection of titles and of cinema property generally, the representatives of the Kinematograph Manufacturers’ Association being very strong on the point that legislation was necessary. Finally, the following resolution :-— “That the appointment of a Joint Board to protect the common interests of authors, film manufacturers, exhibitors, renters, thea- trical managers and the film trade generally would be to the advantage of all parties concerned,” proposed by Mr. Justin Huntly McCarthy, and seconded by Mr. Haddon Chambers, was carried unanimously. The matter will be referred to the board of each association represented at the meeting, so that two delegates from each association may be appointed to sit on the Joint Board. It was decided also to ask the Society of West End Managers and the Music Halls’ Association to appoint delegates also. a Cases. Durine the past month the secretary has handled fifteen cases. Five of these dealt with disputes on contracts. It is interesting to note that these cases are referred to the Society in larger numbers, and that the publishers or editors concerned are often willing to accept the informal arbitration of the secretary. Out of five, two have been satisfactorily settled, and three are still in the course of negotiation. Disputes of this kind generally involve a good deal of letter writing before they are concluded. There are three cases,where accounts have not been rendered. ‘Two had to be handed to the solicitors of the Society and are now finished. In the third case the accounts were rendered in due course. - There were three cases where MSS. had been THE AUTHOR. [MAY, 1914. retained. In one instance the MS. has been recovered and forwarded to the member, and in the others the secretary is still waiting for a reply. In two cases of infringement of copyright, one lying in the United States is still in course of negotiation, and the other has been satis- factorily settled. In two claims for money, one in France has not yet been settled and the other has had to be handed over to the solicitors of the Society. This last is the case of a magazine against which the Society has had a fair number of claims. They have all been met in the end, but it is generally necessary that the solicitors should deal with the matter before a satis- factory result is obtained. Out of the total of fifteen cases, therefore, five have been successful, three have had to be handed to the solicitors, and two are out of England. : There are still a good many cases remaining over from last month. This is no doubt owing to the fact that little business has been done during the Easter holidays. There are two disputes on contracts. Of these one is in the United States, and will naturally take some time to settle. The second, having been referred to the committee, cannot be closed until after the committee meet in May. There are still four claims where the demand for the return of MSS. has not been complied with. It has often been pointed out in these columns that claims of this nature are difficult to deal with. In many cases it is only possible to bring the delinquent to book by continually reminding him by letter. As answers have been received from the retainers of the MSS. in all four cases, it is possible that they will terminate satisfactorily. There are two other matters still open, oné of infringement of copyright in the United States, which will be some time before it is settled, and a complicated dispute on accounts, which also will need further handling. te April Elections. Borthwick, Miss Jessica 22, The _ Bolton : Studio, Redcliffe Road, S.W. 2, St. John’s Hill, Lewes, Sussex. cfo Sir C. R McGrigor, Bart. & Co., 25, Charles Street, S.W. Brown, Mrs. Frances Buckle, Gerard Fort . MAY, 1914] Campbell, Miss M. M. Chalmers, C. , Chovil, A. Harold Clue, G. Leo Collins, Sewell Croysdale, Mrs. Agnes. Drummond, The Hon. Capt. Robert Charles Dunlop, Miss Jocelyn. Fairbridge, Miss Dorothea Farrer, Miss M. Bruce . Girdwood, John . Gordon, Miss Helen C.. Grattan, Harry . : Green, Emanuel, F.S.A., F.R.S.L. Haig, Elizabeth . Heape, Walter Inman, Arthur Conyers Leeney, G. H. Leeney, Harold, M.R.C.V.S. Lonsdale, Miss Eva MacMunn, Lt.-Col. G. F., D.S.O., R.L.F. a eens, Stephen M. Moore, William . . Morgan, Mrs. Caroline. Paine, Mrs. Josephine . _ Piercey, Benjamin H. . Platt, Charles. THE AUTHOR. Marchfield Bracknell. House, “Maison,” Russell Road, Moseley, Birmingham. — 3, Milton Herne Hill, S.E. 88, Loudoun Road, St. John’s Wood, N.W. London and South Western Bank, Notting Hill, W. 11, Walpole Street, Chelsea, S.W. Paradise, Claremont, S. Africa. 5, Kent Gardens, Ealing, W. 16, Ainslie Edinburgh, 29, Queen Street, S.W. Place, and Anne 4, Regent Street, W. 6, Piazza d’Azeglio, Florence, Italy. 10, King’s Bench Walk, Temple, E.C. 34, Hereford Square, S.W. Pilton, Mallet. Pilton, Mallet. 21, Talgarth Road, West Kensington, W. c/o Cox & Co., 16, Charing Cross, W.C. 6, Clement’s Strand, W.C. 23, Avenue du Bois de Boulogne, Paris, France. 38, Agincourt Road, Hampstead, N.W. 16, Emperor’s Gate, S.W. Medstead, Hants. 5, Queen’s Gate, S.We 60, Stapleton Road, S.W. Shepton Shepton Inn, Road,” Roscoe, Ada Ross, Charles , Rubenstein, H. F. Somerset, Raglan H. E. H Stacpoole, Mrs. Margaret de Vere Stoeving, Paul 213 c/o Shurey’s Publi- cations, 2 and 3, Hind Court, E.C. The Hippodrome, Aldershot. 76, Addison Road, Kensington, W. Raglan, Monmouth- shire. Swiss Cottage, Vent- nor, Isle of Wight. 29, Blenheim Road, Abbey Road, N.W. 20, Minford Gardens, West Kensington Park, W. Hunter Street, Brunswick Square, W.C. Williams, Hugh Wood-Jones, F., D.Se.. 8, Wrightson, Prof. John. ————_1 <_< BOOKS PUBLISHED BY MEMBERS. —+-—— + While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members, In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate, ANTHROPOLOGY. INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study in Social Evolution. By E. Carpenter. 8} x 5}. 185 pp. Allen. 4s. 6d. n. ARCHITECTURE. DILAPIDATIONS AND Fixtures. A Textbook in Tabulated Form for the use of Architects, Surveyors, and Others. By Proressor BANISTER FLETCHER. Seventh Edition. Revised and largely re-written by B, F. Frercumr and H.P.Frietcunr. 7} x 5. 191 pp. Batsford. 6s. 6d. BIOGRAPHY. RICHARD CORFIELD OF SOMALILAND. Barrerssy. 9 X 53. xviii + 259 pp. 10s. 6d. n. Tuer Doass or VENICE. 9 x 5}. 394 pp. Methuen. 12s. 6d. n. Tue Lire or Cesare Boraia. By. Raraet SABATINI. 465 pp. [First published 1912.] Honore DE Bauzac. His Life and Writings. By Mary F.Sanpars. 312 pp. [First published 1904.] (The Essex Library.) 8} x 5}. Stanley Paul. 5s. n. each. BOOKS FOR THE YOUNG. Tan Boy Scours’ Rott or Honour. By Eric Woop. With a Foreword by Lizvut.-Gen. Sir Ropert Bapen- Powe, K.C.B. 8} x 5}." 308 pp. Cassell. 3s. 6d. n. By H. F. Prevost Arnold. By Mrs. Ausrey RIcHARDSON, 212 tions for their presence, and placed before the meeting the following agenda :— _ (1) To consider what joint actions should be taken to safeguard— (a) Titles. (b) Subject-matter. (2) The appointment of a Joint Board to protect the common interests of authors, manufacturers and the film trade generally. Mr. Carton quoted the case which had just been carried through, viz., ‘‘ Sealed Orders,” and read a letter he had received from Mr. Cecil Raleigh, who was, unfortunately, unable to attend. Considerable discussion followed on different points which were raised, viz., the protection of titles and of cinema property generally, the representatives of the Kinematograph Manufacturers’ Association being very strong on the point that legislation was necessary. Finally, the following resolution :— “That the appointment of a Joint Board to protect the common interests of authors, film manufacturers, exhibitors, renters, thea- trical managers and the film trade generally would be to the advantage of all parties concetned,”’ proposed by Mr. Justin Huntly McCarthy, and seconded by Mr. Haddon Chambers, was carried unanimously. The matter will be referred to the board of each association represented at the meeting, so that two delegates from each association may be appointed to sit on the Joint Board. It was decided also to ask the Society of West End Managers and the Music Halls’ Association to appoint delegates also. Oo Cases. Durine the past month the secretary has handled fifteen cases. Five of these dealt with disputes on contracts. It is interesting to note that these cases are referred to the Society in larger numbers, and that the publishers or editors concerned are often willing to accept the informal arbitration of the secretary. Out of five, two have been satisfactorily settled, and three are still in the course of negotiation. Disputes of this kind generally involve a good deal of letter writing before they are concluded. There are three cases where accounts have not been rendered. T'wo had to be handed to the solicitors of the Society and are now finished. In the third case the accounts were rendered in due course. There were three cases where MSS. had been THE AUTHOR. [MAY, 1914. retained. In one instance the MS. has been recovered and forwarded to the member, and in the others the secretary is still waiting for a reply. In two cases of infringement of copyright, one lying in the United States is still in course of negotiation, and the other has been satis- factorily settled. In two claims for money, one in France has not yet been settled and the other has had to be handed over to the solicitors of the Society. This last is the case of a magazine against which the Society has had a fair number of claims. They have all been met in the end, but it is generally necessary that the solicitors should deal with the matter before a satis- factory result is obtained. Out of the total of fifteen cases, therefore, five have been successful, three have had to be handed to the solicitors, and two are out of England. . There are still a good many cases remaining over from last month. This is no doubt owing to the fact that little business has been done during the Easter holidays. There are two disputes on contracts. Of these one is in the United States, and will naturally take some time to settle. The second, having been referred to the committee, cannot be closed until after the committee meet in May. There are still four claims where the demand for the return of MSS. has not been complied with. It has often been pointed out in these columns that claims of this nature are difficult to deal with. In many cases it is only possible to bring the delinquent to book by continually reminding him by letter. As answers have been received from the retainers of the MSS. in all four cases, it is possible that they will terminate satisfactorily. There are two other matters still open, one of infringement of copyright in the United States, which will be some time before it is settled, and a complicated dispute on accounts, which also will need further handling. — April Elections. Borthwick, Miss Jessica 22, The — Bolton Studio, Redcliffe Road, S.W. 2, St. John’s Hill, Lewes, Sussex. cfo Sir C. R, McGrigor, ‘Bart. & Co., 25, Charles Street, S.W. Brown, Mrs. Frances Buckle, Gerard Fort . MAY, 1914] Campbell, Miss M. M. . Chalmers, C. : : Chovil, A. Harold : M2 Clue, G. Leo Collins, Sewell Croysdale, Mrs. Agnes. Drummond, The Hon. Capt. Robert Charles Dunlop, Miss Jocelyn. Fairbridge, Miss Dorothea Farrer, Miss M. Bruce . Girdwood, John . : Gordon, Miss Helen C.. Grattan, Harry . : Green, Emanuel, F.S.A., F.R.S.L. Haig, Elizabeth . : Heape, Walter Inman, Arthur Conyers Leeney, G. H. Leeney, Harold, M.R.C.V.S. Lonsdale, Miss Eva MacMunn, Lt.-Col. G. F., D.S.O., R.L.F. ns, Stephen M. Moore, William . Morgan, Mrs. Caroline. Paine, Mrs. Josephine . Piercey, Benjamin H. . Platt, Charles. : THE AUTHOR. Marchfield Bracknell. House, ‘*Maison,”? Russell Road, Moseley, Birmingham. 3, Milton’ Road, Herne Hill, S.E. 38, Loudoun Road, St. John’s Wood, N.W. London and South Western Bank, Notting Hill, W. 11, Walpole Street, Chelsea, S.W. Paradise, Claremont, S. Africa. 5, Kent Gardens, Ealing, W. 16, Ainslie Edinburgh, 29, Queen Street, S.W. Place, and Anne 4, Regent Street, W. 6, Piazza d’Azeglio, Florence, Italy. 10, King’s Bench Walk, Temple, E.C. 34, Hereford Square, S.W. Pilton, Mallet. Pilton, Mallet. 21, Talgarth Road, West Kensington, W. c/o Cox & Co., 16, Charing Cross, W.C. 6, Clement’s Strand, W.C. 23, Avenue du Bois de Boulogne, Paris, France. 38, Agincourt Road, Hampstead, N.W. 16, Emperor’s Gate, S.W. Medstead, Hants. 5, Queen’s Gate, S.We 60, Stapleton Road, S.W. Shepton Shepton Inn, , Rubenstein, H. F. 213 Roscoe, Ada c/o Shurey’s Publi- cations, 2 and 8, Hind Court, E.C. The Hippodrome, Aldershot. 76, Addison Road, Kensington, W. Somerset, Raglan H. E. Raglan, Monmouth- H. shire. Stacpoole, Mrs. Swiss Cottage, Vent- Margaret de Vere nor, Isle of Wight. Stoeving, Paul 29, Blenheim Road, Abbey Road, N.W. 20, Minford Gardens, West Kensington Park, W. Hunter Street, Brunswick Square, W.C. Ross, Charles Williams, Hugh Wood-Jones, F., D.Se.. 8, Wrightson, Prof. John. i BOOKS PUBLISHED BY MEMBERS. — + While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members, In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ANTHROPOLOGY. INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study in Social Evolution. By E. Carpenter. 83 x 53. 185 pp. Allen. 4s. 6d. n. ARCHITECTURE. DILAPIDATIONS AND Fixtures. A Textbook in Tabulated Form for the use of Architects, Surveyors, and Others. By PRroressor BaNniIsTER FLETCHER. Seventh Edition. Revised and largely re-written by B. F. Fiumrcuur and H.P.Furrcumr. 74 x 5. 191 pp. Batsford. 6s. 6d. BIOGRAPHY. RICHARD CORFIELD OF SOMALILAND. BaTrersBy. 9 X 53. xviii + 259 pp. 10s. 6d. n. Tur Dogus or Venice. By Mrs. AuBREY RIcHARDSON, 9 x 53. 394 pp. Methuen. 12s. 6d. n. Tue Lire or Cusarn Borat. By. Rarazt SaBaTInNi. 465 pp. [First published 1912.] Honors pr Bauzac, His Life and Writings. By MaryF.Sanpars. 312 pp. [First published 1904.] (The Essex Library.) 8} x 54. Stanley Paul. 5s. n. each, BOOKS FOR THE YOUNG. Tae Boy Scours’ Rott or Honour. By Eric Woop. With a Foreword by Limut.-Gen. Sir Ropert Bapen- Powstt, K.C.B. 8} x 5}.° 308 pp. Cassell, 3s. 6d. n. By H. F. Prevost Arnold. 214 BOOKS OF REFERENCE. Coxoisz Dictionary or Proper NAMES AND NoTaBLeE Marrers in tae Works or Dante. By PAGET ToyNBEE. 8X5. 568 pp. Oxford University Press. 7s. 6d. n. DRAMA AND ELOCUTION. Tue Two Virturs. A Comedy in Four Acts. By Atrrep Svurro. 6} x 54. 100 pp. Duckworth. ls. 6d. n. Prays By Leo Toxstoy. Translated by LovisE and ‘Ayumer Mavpr. (Complete Edition, including the Posthumous Plays.) 8} x 5}. 413 pp. Constable. 5s. n. Anpromacuz. A play in Three Acts. By GILBERT Murray. (Revised Edition.) 7} x 43. 104 pp. Allan. 1s. n. Dramatic Actuanitias. By W. L. Grorcs. 7} x 5. 124 pp. Sidgwick and Jackson. 2s. n. Rors Enovcn. A Play in Three Acts. By ConaL O’Riorpan. (Norrey’s Connell.) 73 x 5. 112. pp. Maunsel. 2s. n. Srx Monoroauss (performed by BRANSBY WILLIAMS). By Harry WYNNE. 7} x 43. 11 pp. Joseph Williams, Ltd. 6d. n. Tar Doctor’s Diremma. By Brrnarp SHaw. (Cheap Edition.) 8 x 53. 128 pp. Constable. 6d. FICTION. Tun Men wo Fovcut ror Us. A tale of the ‘‘ Hungry Forties.’ By Atuen CrarKe. 7} x 5$. 300 pp. Co-operative Newspaper Printing Society. 5s. Tanza. A Russian Story. By Merrie, BucHanan. 7% x 5. 328 pp. Jenkins. 6s. Jupas THE Woman. By F.C. Puitresand A. T. PHILies. 74 x 5. 283 pp. Eveleigh Nash. Tue Passionate ELOPEMENT. By Compron MACKENZIE. (Cheap Reprint.) 74 x 5. 344pp. MartinSecker. 2s.n. A Tuier in THE Nicut. By E. W. Hornune. (Cheap Reprint.) 376 pp. Nelson. 7d. n. Lismoyye. An Experiment in Ireland. By B. M. Croker. 74 x 5. 386 pp. Hutchinson. 6s. n. Mistress Cuariry GopoLPHin. By Guapys MURDOCK. 7% x 5. 309 pp. Murray. 6s. Tore Herm to THE THRone. By A. W. Marcumont. 74 x 5. 334 pp. Ward, Lock. 6s. Tue Heart or Monica. By Rosina Fivippi. 7} X 5. 214 pp. Cassell. 3s. 6d. Wuat wit Prorte Say? By RupertHvucues. 7} x 5. 510 pp. Harpers. 6s. Tue Jupament or Eve. By May Sincuarr. 7} xX 5. 323 pp. Hutchinson. 6s. Tue Fortunate Youtsu. By W. J. Locxr. 7} x 5}. 352 pp. Lane _ 6s. James WuITAKER’s DuKEDOoM. By E. Jepson. 7} X 5. 355 pp. Hutchinson. 6s. A Free Hanp. By Herren C. Roserts. 7} x 5. 322 pp. Duckworth. 6s. Unto Cmsar. By Baroness Ornczy. 73 X 5. 331 pp. Hodder and Stoughton. 6s. Joan Buirret’s Davauturs. By KaTHARINE TYNAN. 7% x 54. 333 pp. Smith, Elder. 6s. Jmi-Aut-ALonE. By “Rita” (Mrs. Desmond Hum- phreys). 73% x 5. 335 pp. Stanley Paul. 6s. Tue Gates or Doom. By Rararn Sapatini. 7} Xx 4}. 343 pp. Stanley Paul. 6s. Firemen Hor. By C. J. Curcnirre Hynn. 7 x 5. 309 pp. Methuen. 6s. Tue Hippen Mask. By C. Guise Mirrorp. 7} x 5. 336 pp. Greening. 6s. Tue Crimson Mascot. By Cuarues E.PEARCE, 7} x 4}. 335 pp. Stanley Paul. 68. THE AUTHOR. [MAY, 1914. Lonpon Crrovs. By Henry BazrRuern. 7} x 5}. 316 pp. Fifield. 6s. Turn Foot Errant. By Maurice Hew err. 383 pp. Tre Prince or Prosperity. By H.A.VACHELL. 320 pp. (The Wayfarers’ Library.) 7 x 44. Dent. 1s. each. Tae Spats of THE Miauty. By Sir GiperT PARKER. 6} x 44. 469 pp. Nelson’s Sevenpenny Library. Tun Wispom oF Fouuy. By Eten THORNEYCROFT Fowier. 260 pp. Napa tHe Liry. By H. Riper Haacarp. 321 pp. BreTrerTHan Lire. By CHARLES Garvice. 320 pp. (Sevenpenny Library.) Hodder and Stoughton. DopoTHESrconD. By E. F. Benson. Hodder and Stoughton. 6s. Tue OrLEY TRADITION. By Rap STRAUS. 360 pp. Metheun. 6s. Tur ReBELLion or EsTHEr. 7% x 5. 317pp. 717i x 5. By Marcaret LEGGE. 72 x 5. 314 pp. Alston Rivers. 6s. A Urrrue Raprant Girt. By Karuarinn Tynan. 63 x 54. 384 pp. Blackie. 6s. Tar Devries Proression. By GeRTIE DE S. WENT- wortH JamEs. 73 x 5. 319 pp. Everett. 6s. LeviaTHan. By Jeannette Marks. 7} x 5}. 329 pp. Hodder and Stoughton. 6s. HISTORY. HANNrBAL ONCE More. By D. W. FRESHFIELD. 9 X 5}. 120 pp. Arnold. 5s. n. LITERARY. Tam FRANCISCAN Ports IN ITALY AND THE 13TH CENTURY. By Freperick Ozanam. Translated and annotated by A. E. Neuien and W. E..Craic. Messrs. David Nutt. 6s. n. Wuere no Far was. A Book about Fear. By A. C. Benson. 8 x 5}. 240 pp. Smith, Elder. 68. n. In Pursuit oF SPRING. 301 pp. Nelson. 5s. Lerrers to Caroyine. By Exmyor Guyn. 7} X 5. 154 pp. Duckworth. 2s. n. Love. By Gipert Cannan. 55 pp. FLOWERS. By J. Foorp. 68 pp. TrRexs. By ELEANOR FaRJEON. 54 pp. Naturs. By W. H. Davins. 54 pp. THE Meaning or Lire. By W. L. Courtney. 72 pp. Portry. By A. QuitueR-CovcH. 64 pp. (Fellowship Books. Edited by Mary Stratton.) 7 Xx 4}. Bats- ford. 2s. 6d. n. Sounps AND Siens. A Criticism of the Alphabet, with Suggestions of Reform. By A. Witpr. 7} xX 5. 180 pp. Constable. 4s. 6d. n. MUSIC. By Epwarp Tuomas. 8} x 6. Tue Music or Hinpostan. By A. H. Fox Straneways ~ 9} x 5%. 364 pp. Oxford: Clarendon Press. London: Milford. 21s. n. NATURAL HISTORY. British Frowerine Prants. Ilustrated by 300 Full- Page Coloured Plates, reproduced from Drawings by Mrs. Henry Perrin, with detailed descriptive notes and an Introduction by Prorsssor Bovunesr, F.L.S. Vol. L., xiii. +10}. Quaritch. £12 12s. the set of four vols. PAMPHLETS. EvucnHarist AND BisHop. By the Rrv. J. H. SKRINE, D.D. Longmans. Ils. n. In Quust or TRuTH. Being a Correspondence between Sim Artruur Conan Doyir and CaprarIn STANSBURY, R.N. Watts. 2d. E 1 | MAY, 1914.] POETRY. ‘Tus Sea is Kiyp. By T. Srurce Moors. *-174 pp. Grant Richards. 6s. n. Tue REVERBERATE Hints. By E. OprpeNHEIM. m 56 pp. Constable. 3s. 6d. n. A Raapsopy For Lovers. By A. Maquarie. 47 pp. Bickers. & x 62. ue & 6. 5 x 3h. POLITICS. Tue TrutTH apout Utster. By F. Franxrort Moor. 9 x 5%. 286 pp. Nash. 7s. 6d. n. REPRINTS. Karty Bett tHE ORPHAN. Possibly an Earlier Version of Charlotte Bronté’s ‘‘ Jane Eyre.”” With an Introduc- tion by Mrs. Exuis H. Caapwick. 7$ x 5. xxviii. + 146 pp. Sir Isaac Pitman. 2s. 6d. n, ‘Tue Poems or Sir Tuomas Wiat. From the MSS. and Early Editions. Edited by A. K. Foxwnty. 7} x 5. 268 pp. Published for the University of London Press by Hodder and Stoughton. 3s. 6d. n. ‘THe Fire or Love anp THE MenpinG or Lire. By Ricuarp Rotie. Translated by Ricnarp MiIsyn. Edited and done into Modern English by Francis M. M. Comesr. With an Introduction by Evetyn UNDER- HILL. 7? x 5. Ixii. +278 pp. Methuen. 3s. 6d. n. SCIENCE. THe WoNpDERS oF Brirp-Lire. 128 pp. (Twentieth Century Science Series.) Manchester: Milner. ls. n. SOCIOLOGY. PREPARATIONS FOR Marriace. By W. Hears, F.R.S. 168 pp. Wuat ir Means To Marry: Or, YOUNG Women anp Marriage. By Dr. Mary ScHARLIEB. 140 pp. (‘Question of Sex” Series.) 73 x 43. Cassell. 2s. 6d. n. each. SPORT. AmatTeuR Samtinc. Reminiscences by C. F. ABpDY Wiuutams. 8} x 54. 110 pp. Potter. 4s. Necro Fork Sinerne-GAMES AND FoLtK GAMES OF THE Hasrrants. Traditional Melodies and Text tran- scribed by Grace CLEVELAND Porter. Accompani- ments by H. W. Loomis. 12 x 9. xix. +35 pp. Curwen. THEOLOGY. CatHouiciry; Concionrs ap Cuinrum. By T. A. Lacey. 73 x 5}. 149 pp. Mowbray. 2s. 6d. n. Tue Gotpen Censor. By Fiorence L. Barcnay. 64 x 41. 71 pp. Hodder and Stoughton. ls. 6d. n. Tue Orpinaky Man anp THE EXTRAORDINARY THING. By Harotp Brasie. (Popular Edition.) 74 x 5. 160 pp. Hodder and Stoughton. 1s. n. TRAVEL. How to Ses tue Vatican. By Dovaetas SLADEN. 8k x 54. 441 pp. Kegan Paul. 6s. n. ALBANIA. The Foundling State of Europe. By WapHAM Pracock. 9 x 53. 256 pp. Chapman and Hall. 7s, 6d. n. By W. P. WESTELL. 7k x 5. —___+——_+-__—_——_- LITERARY, DRAMATIC, AND MUSICAL NOTES. paceser nee one oneany R. EDWARD CLODD has rewritten his ‘“‘ Childhood of the World,” which was first published in 1872. The new edition, to which illustrations are added, is THE AUTHOR. 215 divided into three parts: Man the Worker, Man the Thinker, Man the Discoverer (Macmillan & Co.). Mr. Clement Edwards Pike, F.R.Hist.S., edits for the Royal Historical Society “ Selec- tions from the Correspondence of Arthur Capel, Ear! of Essex, 1675—1677.”’ This book makes the twenty-fourth volume of the Camden Third Series, and may be obtained from the offices of the Society, 6 & 7, South Square, Gray’s Inn. ‘ Albania: the Foundling State of Europe ” is the title of a new book by Mr. Wadham Peacock, formerly private secretary to H.B.M.’s Chargé d Affaires in Montenegro. The book, which has numerous illustrations, deals with history, customs, scenery, and politics (Chapman and Hall, 7s. 6d. net). In “ The Philosophy of Welsh History ” the Rev. J. Vyrnwy Morgan, D.D., author of ‘The Welsh Religious Revival, 1904-5,” ete., does not pretend, he says, to give a history of Wales or a consecutive narrative of the movements that have affected the principality. He calls, however, for a reconsideration of many of the conclusions formed by Welsh nationalist historians, whose deductions he contends to be without justification (John Lane, 12s. 6d. net). There has been just brought out by the firm of Elkin Mathews “ Florentine Vignettes, being some metrical letters of the late Vernon Arnold Slade, edited by Wilfrid Thoiley.” The author is of course the editor, and the letters are written in the guise of an art- student newly arrived in the Tuscan capital. There is a frontispiece adapted from the marble pediment of Cellini’s “ Perseus ”’ and a Finis taken from masks on a fountain in the Cascine. Mr. Wharndford Moffatt has a volume of ‘“‘ New Canadian Poems,” of which a copy has been accepted by H.E. the Governor-General. The book is being published by Simpkin, Marshall, & Co., price 2s. 6d. net. In “ Dodo the Second” Mr. E. F. Benson returns to an early mood and an heroine whose literary birth took place a score of years ago (Hodder and Stoughton). oe Mr. W. J. Locke’s new novel is “ The Fortunate Youth ” (John Lane). It is stated of Mrs. Elinor Glyn’s “ Letters to Caroline ” that it is not a story but a series of letters of wisdom and counsel from a god- mother to a goddaughter who is just entering Society (Duckworth, 2s. net). : Mr. Charles Garvice’s new novel is entitled “© A4 Woman’s Way,” and has just been published by Hodder and Stoughton. 216 Miss May Wynne has a romance of the Huguenot period on the point of publication, under the name of ‘“‘ The Silent Captain.” K. L. Montgomery’s forthcoming romance, which was announced in the last issue of The Author as “ Ears of Leather,” will be published by John Long in London and the Colonies under the title “‘ Maids of Salem.” Holden and Hardingham are publishing immediately Mr. Kineton Parkes’s novel * The Money Hunt : A Comedy of Country Houses.” Miss K. Everest’s new romance “ Beaufoy,” is published this month by Lynwood & Co. This is a tale for young people. A copy has been graciously accepted by H.R.H. Princess Mary. “The Good Shepherd,” by John Roland, is the romance of a young American doctor in a remote Tyrolese valley, who comes to play the part of saviour to the suffering peasants and, in doing so, himself regains a faith which he has lost and wins a wife (Blackwood). Miss Edith M. Keate’s “A Garden of the Gods ” is the love-story of a blind man in a beautiful garden, though introducing numerous other characters (Alston Rivers). Miss Meriel Buchanan, author of “ Tania: a Story of Russian Life’ (Jenkins), is the daughter of the British Ambassador at Con- stantinople. ‘“‘ Lovers’ Meetings” is the title of a new collection of short stories by Mrs. Katharine Tynan (Werner Laurie). A new edition has just been published of “Pink Purity,” by Mrs. Gertie de S. Went- worth James (Werner Laurie, 1s. net). Mrs. C. Romanné James has been appointed to the editorship of the quarterly Buddhist Review. “The Art of Dainty Decoration,” by Mrs. Emily J. Skeaping, is a little paper- covered book dealing with such subjects as how to paint on silk, satin, or velvet, how to decorate with stencils, how to make original cards, ete. (Winsor and Newton, 1s.). “‘ Jehane of the Forest,’ by L. A. Talbot (Mrs. Ferguson) is a lively romance of a period and place which has attracted no novelist of note since Scott wrote “‘ The Betrothed ” ; namely, the marches of Wales in the reign of Henry II. “Infatuation,”” by Marcu; Knox, is pub- lished by Robert Ashley. DraMatTIc. The long run of Mr. G. K. Chesterton’s “Magic” at the Little Theatre concluded on March 28. On April 11, at the same theatre, THE AUTHOR. [MAY, 1914 Mrs. Percy Dearmer’s ‘“‘ Brer Rabbit and Mr. Fox,” with music by Mr. Martin Shaw, commenced a matinée season. On April 11 was the first performance at His Majesty’s Theatre of Mr. G. Bernard Shaw’s ‘“ Pygmalion.” On the same night Mr. G. R. Sims’s “ The Lights 0’ London ” was revived at the Aldwych. Mr. Israel Zangwill’s ‘“‘ The Melting Pot” was transferred on April 18 from the Queen’s to the Comedy Theatre. ‘The Mob,” a four-act play by Mr. John Galsworthy, was seen at the Coronet Theatre on April 20 and succeeding days. On April 21 the first performance took place of ‘“‘My Lady’s Dress,” by Mr. Edward Knoblauch, the theatre being the Royalty. ““The Clever Ones,’”’ Mr. Alfred Sutro’s new comedy, opened at Wyndham’s Theatre on April 23. The play chosen for the matinée at His Majesty’s Theatre on May 22, in aid of King George’s Pension Fund for Actors and Actresses, is Mr. Henry Arthur Jones’s and the late Mr. Henry Herman’s “‘ The Silver King.” A new one-act play, ‘‘ Beastly Pride,” by Miss Elizabeth Baker, was produced at the Croydon Repertory Theatre on April 23. The West End Productions, Ltd., on April 22, gave their sixth special matinée at the London Pavilion, among the plays pro- duced being ‘“‘ The Girl from Australia,” by Mrs. E. H. Harris. Two of Mr. Charles Garvice’s plays are now on tour—‘‘ The Heritage of Hale,” a four-act piece in which Mr. Garvice had the assistance of Mr. Arthur Shirley and which was first seen on January 7; and ‘‘ Marygold,’’ by Messrs. Charles Garvice and Allen F. Abbott, first produced at the Royalty Repertory Theatre, Glasgow, on March 23. The Authors’ Producing Society is “an association of subscribers formed for the purpose of producing plays—particularly those of an educational and sociological character— hitherto unseen in England.” The society’s first season began with the performance at the Little Theatre on February 16 of John Pollock’s translation of M. Brieux’s ‘“‘ Les Avariés ” (‘Damaged Gocds’’). Other performances of the play took place at the Court Theatre on April 19 and 30, and a fourth is announced for May 10. The address of the secretary of the society is 4, Duke Street, Adelphi, W.C. Mr. Herbert Jenkins, author and publisher, has now become a playwright also. A one-act play of his, “‘ With Her Husband’s Permission,”’ is to be produced by Miss Muriel Pratt at the MAY, 1914.] Theatre Royal, Bristol, on May 18. Later on a West End production is contemplated. Musica. “Negro Folk Singing Games and Folk Games of the Habitants”’ is the title of a collection of traditional melodies and text transcribed by Grace Cleveland Porter, with accompaniments by Harvey Worthington Loomis. The work is published in this country by J. Curwen and Sons, Berners Street, W.., at 2s. 6d. ““The Music of Hindostan,” by A. H. Fox Strangways, is an attempt to deal, in one volume, with the music of the Indus and Ganges basins. Seventeen separate plates illustrate the book, which is published by the Clarendon Press at 21s.fnet. —— se PARIS NOTES. ——+ <> REAT preparations were made _ for the Royal visit to Paris. The Palais des Affaires Etrangeres was furnished for the occasion with historical furniture which had belonged to Louis XIV., Louis XV., Louis XVI., and to Napoleon I. The Avenue de l’Opéra and various other streets of Paris were decorated with garlands of roses. The magazines and reviews have been vying with each other in giving articles concerning the English King and Queen. : ‘“Croquis d’Outre-Manche ” is the title of the latest book on England by M. Jacques Bardoux. Most foreign writers content them- selves with visiting London for giving their opinion on England and its people. M. Bardoux has taken the trouble to go to the more remote parts of our island and to study the far back history of our nation, in order to explain the present by the past. He takes his readers to the old-world county of Somerset. He goes back to Hugues de Lincoln, and gives us an interesting account of Glastonbury, of Wells, and of Bath. : ““ Entre deux Mondes,” by Inés’ Bello, is a curious psychological study of a woman. The story opens with a journey from Florence to Rome and a chance meeting in the train. There is no plot and very little episode. The whole volume is taken up with the senti- ments of the two persons who meet in this way. Incidentally we have descriptions of Rome and of the very soul of Rome. The book is distinctly original as a psychological study. THE AUTHOR. 217 “ L'Homme de désir,”” by M. Robert Vallery- Radot, is a novel which might certainly take rank among the books belonging to the ~ Spiritualistic literature’ so much in vogue now in France. The President of the French Republic was represented at the funeral of Mistral, the celebrated meridional poet. The event of the month in the theatrical world has been Antoine’s resignation of his post as Director of the Odéon. It is not yet known who will be invited to succeed him at the second State Theatre. It is rumoured that M. Camille de Sainte Croix, who has for some years been running the French Shake- speare Theatre, stands a very good chance of being elected. M. Lugné Poe is also men- tioned as a candidate, and there are two or three other names on the list. The last play put on by Antoine was Psyché, a tragedy-ballet in five acts by Moliére, Pierre Corneille et Quinault, with music by Lulli, arranged by M. Julien Tiersot. This recon- stitution was extremely artistic and interesting, and was a fitting close to Antoine’s career at the Odéon. At the Gymnase, Henri Lavedan’s three- act play “‘ Pétard’”’ has been given. There is plenty of episode and there are good dramatic . situations, but the chief interest is the study of modern life. We see the old world giving way to the new and the old traditions being sacrificed for the sake of gold. Pétard is a nouveau riche, a parvenu, and we see him buying the ancestral home of an old family. M. Lavedan shows us the forces of the past waging war with the material force of our epoch. In honour of the Royal visit the Little English Theatre arranged to come over from London and give a special three-play bill during the week of the festivities. The pieces chosen were ‘“‘ The Critic ’’ by Sheridan, ‘* The Tents of the Arabs’ by Lord Dunsany, and “The Music Cure’? by George Bernard Shaw. The Cinema Commission appointed by the French Society of Authors for studying the question of cinematograph rights has now given in its report. There has been some difficulty in this matter, which is now happily settled, as the Society of Authors and Society of Dramatic Authors have come to an arrange- ment by which they will combine to protect the rights of their respective authors. The French law of 1793 protects authors, and last November the Society of Dramatic Authors changed its statutes, including the cinema 218 rights, in such a way that, according to the law of 1791, it would be impossible for the cinema rights of any dramatic author belonging to the Society to be appropriated by outsiders. The Cinema Commission has now arranged that the two societies shall work together in the interests of authors. In future, according to Article 34 bis, every member of the Society of Authors agrees to make no contract pri- vately with manufacturers, hirers, or exploiters of cinematographic films, concerning the adaptation of his or her present or future literary works or unpublished cinematographic scenarios. All contracts made previously to this new _rule are to be held binding. Every contract of this nature is to be made by the intermediary of the (Société des Gens de Lettres) French Society of Authors. The Society of Authors may pass any conven- tion or arrangement with any enterprise or society of authors for exercising, directly or indirectly, the rights belonging to its authors. The present arrangement is to apply to cinematographic’ adaptations by all present or future methods. The author shall give a written declaration to the committee, indicating the rights he had already disposed of before the date of the present arrangement. Such is the article decided upon by the Commission. During what is called the transi- tion period authors will fix the terms of their contracts themselves, but these contracts must pass through the hands of the managing agents of the Society of Authors. The Commission reports that quite recently the Society succeeded in obtaining, for one of its authors, an increase of nearly half the amount already offered. The definitive period will be when the Society of Authors will have concluded general treaties. ‘The Society will then have to agree to the rules that the Society of Dramatic Authors now has with the theatres. Authors will then have to accept the minimum of rights agreed upon, but it will be impossible to accept less than this minimum. Above this minimum, authors will be able to ask what terms they wish. As long as the transition period lasts, authors must pay the agents who draw up the contracts 6 per cent., but 1 per cent. of this will be returned to the general funds of the Society of Dramatic Authors and 2 per cent. to the general funds of the Society of Authors. The Society of Dramatic Authors will take upon itself the responsibility of any lawsuits THE AUTHOR. [MAY, 1914. which may arise in connection with cinema rights. Atys HALiarp. “ Croquis d’Outre-Manche’”’ (Hachette). ‘*Entre deux Mondes”’ (Grasset). “L’Homme de désir” (Plon). —_—_—_—__— +> 6 U.S.A. COPYRIGHT LAW AMENDMENT. st AS Act to amend section twelve of the Act entitled “An Act to amend and consolidate the Acts respecting copy- right,” approved March fourth, nineteen hundred and nine. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That section twelve of the Act entitled “‘ An Act to amend and consolidate the Acts respecting copy- right,” approved March fourth, nineteen hundred and nine, be, and the same is hereby, amended so as to read as follows : Work BY, FOREIGNER, PUBLISHED ABROAD, ONLY ONE COPY REQUIRED.—“ Sec. 12. That after copyright has been secured by publica- tion of the work with the notice of copyright as provided in section nine of this Act, there shall be promptly deposited in the copy- right office or in the mail addressed to the register of copyrights, Washington, District of Columbia, two complete copies of the best edition thereof then published, or if the work is by an author who is a citizen or subject of foreign state or nation and has been published in a foreign country, one complete copy of the best edition then published in such foreign country, which copies or copy, if the work be a - book or periodical, shall have been produced in accordance with the manufacturing pro- visions specified in section fifteen of this Act ; or if such work be a contribution to a periodical, for which contribution special registration is requested, one copy of the issue or issues con- taining such contribution ; or if the work is not reproduced in copies for sale there shall be deposited the copy, print, photograph, or other identifying reproduction provided by section eleven of this Act, such copies or copy, print, photograph, or other reproduction to be accompanied in each case by a claim of copy- right. No action or proceeding shall be main- tained for infringement of copyright in any: MAY, 1914.] work until the provisions of this Act with respect to the deposit of copies and registra- tion of such work shall have been complied with.” Sec. 2. That all Acts or parts of Acts in conflict with the provisions of this Act are hereby repealed. Approved, March 28, 1914. [Note.—Nevw legislation in italics.] The copyright law of the United States has been amended by the Act of Congress, approved March 28, 1914, providing, in the case of a work by an author who is a citizen or subject of a foreign state or nation and which has been published in a foreign country, that of the best edition published in such foreign country ONE complete copy shall be promptly deposited in the Copyright Office at Washington, after publication, in lieu of two copies as heretofore required. (See full text of the amendatory act above.) This provision of law applies to books, | dramas, music, maps, photographs, prints and all other works by foreign authors published in a foreign country, which are not required by the copyright laws to be printed or manu- factured in the United States in order to secure copyright protection in the United States. The new Act does not change any provisions of the Copyright Act of March 4, 1909, as regards the requirements of American manu- facture. The application for registration should state the place and foreign country where the work was first published. Only one copy should be deposited in the case of any such work published abroad. Attention is particularly directed to this amend- ment in order that no more than the one copy required may be sent, as the Copyright Office has no funds with which to defray the postage for the return of any extra copies received. Application forms to be used for filing claims to copyright in accordance with the new provision of law will be at once prepared and will be forwarded to all persons requesting them. Meantime it will be possible to use the old application forms for published works by changing with a pen “‘ two copies ”’ to “* one copy” wherever these words occur In the forms. : Copyright relations have been established between the United States and the following countries, and the citizens or subjects of such THE AUTHOR. 219 countries can secure copyright protection in the United States upon compliance with the requirements of the copyright acts of the United States : . Austria, Belgium, Chile, China, Costa Rica, Cuba, Denmark, Fiance, Germany, Great Britain and her _ possessions, Guatemala, Honduras, Hungary, Italy, Japan, Luxemburg, Mexico, Netherlands and__ possessions, Nicaragua, Norway, Portugal, Salvador, Spain, Sweden, Switzerland, and Tunis. THORVALD SOLBERG, Register of Copyrights. +> ¢ —_____— U.S.A. PLAY PIRACY. —1.—<—+ —_ (From the U.S.A. ‘“ Publishers’ Weekly.’’) A interesting dramatic copyright case is pending on both the civil and criminal sides in respect to the produc- tion of “A Pair of White Gloves” at the Princess Theatre in New York. The play is the work of two French play- wrights, André de Lorde and Pierre Chaine, for whom the French Society of Dramatic Authors is acting. The counsel for this society in this country is the firm of Coudert Brothers. The play, though copyrighted in this country in 1908, was produced without authorisation, and it is said that the manager of the theatre, F. Ray Comstock, had expressed a willingness, after his attention had been called to the fact that he was producing a copyrighted play without authority, to pay royalty. An option covering American rights had, however, been given to a dramatic agent, John Pollock, of London, who had not exercised the option, which was still open—so that neither the authors, the French society nor anyone had the right to accept royalties until the option had determined. : The play ran a month at the Princess Theatre, and the run was made the basis of two suits, one by Coudert Brothers from the civil side and one by the United States District Attorney on the criminal side under the criminal provisions of the copyright law. The Grand Jury found a true bill and the defendant is on bail. Both cases have yet to be brought to trial, Justice Coxe, in the civil case, having granted a preliminary injunction and the play having been withdrawn. 220 HOW TO USE THE SOCIETY. ot 1. VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Becretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinarysolicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements, (3) To enforce payments due according to agreements. Fuller particu- jars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members. 8. Some agents endeayour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ————-—>—2__—_—_ WARNINGS TO THE PRODUCERS OF BOOKS. — : ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling Outright. This is sometimes satisfactory, if a proper price can be THE AUTHOR. (MAY, 1914. obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” anless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. —_———_—>—_-—_______ WARNINGS TO DRAMATIC AUTHORS. —— to EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, ay MAY, 1914.] (>.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case, 4. Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceec- ingly valuable. They should never be included in English agreements without the author obtaining a stbstantial consideration, 9: Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —> + REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. ——> + CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with : a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR. 221 DRAMATIC AUTHORS AND AGENTS. —*———+—_ RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire au perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned,, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do- equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is- required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and: in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any, circumstances without an agreement approved of by the Society. a ag WARNINGS TO MUSICAL COMPOSERS. — ITTLE can be added to the warnings given for the tr assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic: property. The musical composer has very often the two: rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. —_——_—_¢—_____—__- STAMPING MUSIC. te The Society undertakes to stamp copies of music on. behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe, The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the. members, who are thus saved much unnecessary trouble. Se ee THE READING BRANCH. cs EMBERS will greatly assist the Svciety in this branch of its work by informing young writers- of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS. includes not only works of fiction, but pvetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works, The Readers are writers of competence and experience. The- fee is one guinea, --—<— 9 REMITTANCES. SSO as The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London ant Smithe Bank, Chancery Lane, or be sent by registered letter only. COLLECTION BUREAU. —+—>+—_ due to authors, composers and dramatists. [Ne Society undertakes to collect accounts and money 1. Under contracts for the publication of their works. ; 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amonnt passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland . : * A. REYDING. United Statesand Canada. WALTER C. JORDAN, Germany Mrs PoGSON. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. —_+-——+ Notice. Tur Committee of the Society of Authors deem it important, in case any question should arise affecting their separate interests, to have a complete separate list of the novelists, dramatists and composers of the Society. The committee would be obliged, therefore, if every member or associate of the Society who has not previously published a novel, or a musical composition, or had a dramatic piece per- formed in public, would give notice to the secretary of the Society as soon as publication takes place, in order that his or her name may be enrolled on the separate lists above referred to. INDIAN CopyricHt BI... WE are informed by the India Office that the approval of the Secretary of State for India has been given in Council to the Indian Copyright Act, 1914. A copy of the Act will be printed in The Author at the earliest possible opportunity. ‘We understand that in clause 4, dealing with translation rights, the period of limitation has been extended from five to ten years. THE AUTHOR. [MAY, 1914. An explanation of the term “ translation rights’ will be cleared up as soon as it is possible to place the Act before the members of the Society. Unitrep STATES COPYRIGHT. We are publishing in this month’s Author the new American Copyright Act, or rather the amendment to the old Act. It is not of any great benefit to English authors. Any amend- ment, however, of the United States Act which simplifies the technical proceedings must be valuable to the cause of the owners of copy- right property. We hold copies of the Act at the office in case any member would like to have a separate copy. Tue Lerezic CONGRESS. Tut thirty-seventh Congress of “‘ The Inter- national Literary and Artistic Association ” will be held in Leipzig on September 10—14 next, under the august patronage of His Majesty Frederick Augustus, King of Saxony. Among the more interesting questions which will be discussed are cinematographic rights, methods of assuring the rights of translation, and a review of the incidents affecting literary and artistic property during the last twelve months. A fuller programme of the Congress will be hereafter published. Person» desiring to visit Leipzig for the Congress should address themselves to M. M. A. Taillefer, 215 bis, Boulevard Saint-Germain, Paris. Tur AutHors’ LEAGUE OF AMERICA. WE have just received a letter from the Authors’ League of America. From it we are glad to hear that the authors are moving their headquarters to 122, East 17th Street. The League has taken the house which was formerly occupied by Washington Irving, and the library and reception room will be the room in which Irving did most of his work. “Tae DutcH AUTHOR.” We have much pleasure in welcoming the appearance of a new contemporary devoted to the rights of authors, the Dutch Auteursrecht- belangen, a monthly periodical published conjointly by the committees of Musical Copyright and of Literary Copyright of the “ Vereeniging van Letterkundigen,” of which the first three numbers have been courteously j i E i f MAY, 1914.] ‘sent tous. The pages of the opening numbers are necessarily occupied chiefly with registers of authors, pieces at the disposal of the ‘society, and classifications of the Dutch theatres ; but the essentially practical aim of the journal has our warmest sympathies, and we shall look forward to the fulfilment of the promise of articles on copyright subjects in subsequent numbers. The address of the journal is 22, Hooghstraat, Amsterdam. Tue AUSTRALIAN Book MARKET. In a recent issue of The Publishers’ Weekly of the United States, there is a picture showing the importation of American books in bulk at the Australian docks. The pride with which this is shown only confirms the statements which have so often appeared in The Author that the Americans are taking hold of the Australian book market very firmly, and unless English publishers are careful they will find the Australian market, as well as other colonial markets, entirely lost to them. We note in The Book-Fellow, an Australian paper, a statement that there are one or two English publishers who are energetic enough to secure good markets in Australia, and the paper states that the English author should therefore be careful, if he desires the Australian market, of the choice of his English publisher. The editor does not mention the names of these English publishers; but it is quite possible that the English publisher who has a good connection in Australia might have a bad connection on the English market, and in consequence it would be better for the author to stick to the better publisher in the English market and lose his Australian market than obtain a large Australian market and lose his English market. / There is another point dealing with the same subject which has been brought to our notice in a letter from the American Authors’ League. The secretary of the League 1s evidently experiencing a difficulty on_ behalf of his members in obtaining a market for American authors in England, because the English publisher demands the Australian market and the market in Canada and the other colonies. The American publisher, having proved that he can do better business than the English publisher, naturally demands these markets for himself. The question, therefore, will resolve itself into this: Is it better. for an American author to leave his American circulation and his colonial circulation 1n the hands of an American publisher and lose his THE AUTHOR. 223 English market entirely, or, obtaining his English market and his colonial market with an English publisher, run the chance of offending his American publisher, and in con- sequence perhaps lose some of his American profits. The answer to this question lies on the face of the statement. ————___+—_ ee —_____- THE ANNUAL MEETING. — HE Annual General Meeting of the Society took place on Friday, April 17, at No. 1; Central Buildings, Tothill Street, Westminster, the chair being taken at 4.30 by Mr. Hesketh Prichard, chairman of the Committee of Management. In laying the Report of the Committee before the members present, Mr. H. Hesketh Prichard asked that it might be taken as read, and proceeding to comment upon its salient features, congratulated the Society upon the continued growth of its membership. The elections, he pointed ovt, had been bigger than in any previous years of the Society’s existence, the figures for 1913 and 1912 being 349 and 345 respectively. It was satisfactory to note, also, that the loss of members arising from resignation and non-payment of subscrip- tions was proportionately less. On the other hand, he desired to emphasise the fact that the enormous increase of membership during the past few years had _ correspondingly increased the work which had to be done by the Society. As an instance he might mention that the summoning of members to the annual meeting now entailed the sending out of 2,600 circulars. New sub-committees had also come into existence during recent yeats, adding to the work accomplished by the Society. He referred to the loss sustained through the deaths of the members of its council—Lord Avebury, the late Poet Laureate, and Field Marshal Lord Wolseley—saying that he felt sure that the sincere sympathy of those present would be extended to the relatives of these famous men. Turning to the passages in the report relating to “* Library Censorship, the chairman said that he wished to explain the policy of the committee with regard to this subject. It desired to treat the matter broadly and from the point of view of the Society as a whole. It was im possible for the committee to take up individual cases or to champion the cause of individual books, as this might lead in effect to setting up a new and most invidious form of censorship. As to ee nee 224 what had in fact been done he referred members to the pages of the report. In the report also would be found what had been accomplished during the year by the various sub-committees. The recently instituted Collection Bureau had made satisfactory progress in its work, and its usefulness would increase as members realised the work which it was prepared to do. With regard to copyright legislation of an international character during the past year, Australia had passed a Copyright Act and so also had New Zealand. ‘The Council cf India had approved the Act of 1911, and the com- mittee was endeavouring to put things on a more satisfactory footing for British authors in India and in the United States. Here he might call attention to the world-wide area covered by the work of the Society. It had dealt with cases during the past year in the United States, in Canada, Switzerland, Ger- many, Austria, France, Australia and India, in addition to the large number which it had conducted in the United Kingdom. Details of the work referred to would, again, be found in the report. With regard to financial matters, the capital account had been increased by the investment of £150 and of £215 standing to the credit of the Society at its bankers ; and there had been a total increase of subscriptions during the year amounting to £130. The debit balance had, however, increased to the extent of £280, this increase being due to extra expense entailed by moving to new offices, to the pur- chase of furniture arising out of this, and to heavy legal expenses, legal fees paid in London aving alone increased by over £300. The chairman concluded by thanking the members of the committee and of the various sub- committees for their unflagging zeal in the performance of their functions, and _ the secretary for the single-minded way in which he had attended to the Society’s affairs. His hours of work had increased with the increase in the work done by the Society, until he was one of the most hard-worked men in London, and he might be assured that the members of the Society appreciated his efforts. The chairman, in resuming his seat, invited any member who might desire to do so to call attention to any point in the report as to which he might desire further explanations. Mr. W. L. George rose and expressed a wish that there should be further elucidation of the steps taken by the committee with regard to the question of “ Library Censorship.” Members might not be interested in knowing why the Society was not in the same camp as THE AUTHOR. [MAY, 1914, the booksellers and publishers, but authors. might and did want to know in respect of what, whether it might be plot or incident or words, a book was going to be banned. He did not mean to suggest that in the light of such knowledge an author would deviate from the course he had marked out for himself. An author was not likely to emasculate his. book or, indeed, to make any difference in it to meet the views of library censors. The whole matter was often before him in connec- tion with his own work as a reviewer. A book sometimes came before him conceived and written in bad taste, a book which might fairly be termed “indecent,” but which was: accepted and circulated by the libraries, whereas another crudely expressed, perhaps,. but neither indecently conceived nor written. with indecent intent, would be banned. The chairman in answer said that when the suggestion of a conference referred to in the report was made he had seen Mr. Acland of Messrs. W. H. Smith and Sons, and had made the suggestion that there should be an informal meeting of representatives of bodies interested —a round table meeting for discussion. The committee had assented to this course being taken, but when the matter was laid before the council, it was referred back by the council to the committee which, therefore, found it impossible to go forward. The chairman did not profess to understand the principles of library censorship. He had suggested a con- ference to discuss the whole subject. The committee wished for it. The council did not, and so the matter stood. Mr. George remarked that this did not. entirely settle his difficulty and that what he wanted to obtain from the conference was a settlement on the part of the libraries of exactly what it was that determined the banning of a book. He wished to know whether it was certain words or certain definable situations which procured exclusion. He had no means of knowing what it was governed the action of the libraries, but he assumed there must be some rule, and he thought it would be greatly to the advantage of the members to know in advance whether a certain course would or would not cause them to be banned. They could then decide, . according to their artistic conscience or to their commercial desires, whether they would elect to be banned or not. He accordingly suggested that he should move a resolution on the subject, if it would be in order to do so, and eventually it was moved by him and duly seconded that ‘‘ A conference composed of MAY, 1914.] two authors, two publishers, two members of the Libraries Association and two booksellers be invited to meet, the representatives of such conference to be appointed by the standing committees of their respective associations.” Mr. Charles Garvice, in support of the resolu- tion, said that the committee had given the matter the most earnest consideration, and he expressed the opinion that if the conference proposed in the autumn had been held it might well have led to some definite result. If the meeting would support unanimously the resolution moved by Mr. George, the hands of the committee would be greatly strengthened. It was not the fact that pressure could not be brought to bear upon the libraries ; it could be done through the public. Mr Garvice drew a humorous picture of the lady who goes to the lending library and asks for a banned book and is at once put off by the library assistant with a different book by a different author, accepted by the library as innocuous and at a lower rate than the usual trade one. He suggested, however, that to take without murmuring a book which was not the one asked for was not a necessary and certainly not a wise course for the library subscriber to adopt. Experience showed that the libraries were not inevitably masters of the situation. The motion, on being put to the vote, was carried nemine contradicente, and the pro- ceedings closed with an unanimous and hearty vote of thanks to the chairman, proposed by Mr. Armstrong and seconded by Mr. Anstey Guthrie. ———_1——____—_ THE U.S.A. AUTHORS’ LEAGUE ON THE AGENT QUESTION. ——+—~ + (REPRINTED FROM ‘THE AUTHORS’ BULLETIN.’’) EVERAL years ago a young and inexperi- enced author wrote a one-act play and, on the representations of a well-meaning but misguided friend, entrusted it to the hands of an inconspicuous agent. There was no written agreement between this author and his agent—merely such vague oral understand- ing as that on which author’s relations with agents are commonly based. Now the play happened to be a good play ; and the agent's efforts to place it were limited to handing it to a certain actor, who accepted it at once on the oral understanding that he was to pay the author a fee of $50 for each week in which he presented the piece. With this the author THE AUTHOR. 225 was well content, but his enquiries ‘after an agreement were always met by the agent’s assurance that it would be all right : he would draw up the agreement as soon as he could get round to it. And so the actor went ahead borrowed money enough (from the author) to make the production, and had nearly finished rehearsing the piece when, of a sudden, the agent announced that he would insist not only on a commission of 20 per cent. of the author’s fees but on a commission from the actor of 10 per cent. of the gross earnings of the play. That he had not a shadow of right to make any such demand did not affect his effrontery ; he persisted unblushingly, to the point of engaging a shyster lawyer to support his claim to the sole right to license the production of the play. About that time the author woke up and retained a lawyer on his own account, with the upshot that he was permitted to license the production of his own play for a fee of $50 per week, but had to cencede the agent’s claim to a 20 per cent. commission on that fee. The play ran for something like eighty weeks and the agent got $800 commission for a transaction that had not required more than half an hour of his time—exclusive of the time he wasted trying to bleed the actor; and the author was put to the further expense of the fees demanded, and earned, by a good lawyer. At about the same time the same author received an enquiry from the secretary of the (English) Society of Authors, asking him to investigate statements made to one of his clients by a certain literary agency. This concern had sold to a certain American magazine a series of stories by an English literary woman, informing her first that the magazine paid only on publication and later, when her stories began to appear, that it didn’t pay until several months after publication. The American author happened to know the editor and proprietors of the magazine in question, and had done a great deal of business with them, always receiving a cheque on the first Friday following a sale. So he asked the editor to explain this odd departure from his customary methods of business. The editor promptly produced a receipt signed by the agent for payment in full for all the stories and dated the Friday following their accept- nce. : The agent first mentioned is believed to be no longer in any way connected with the writing game, but the other is still doing business in New York and, indeed, represents several prominent members of the Authors’ League. He should have been put out of 226 business ; but there was no Authors’ League, in those days, and the English writer, having at length received her cheque, refused to move an action against him through the Society of Authors. So there is nothing to lead this agent to believe that he cannot repeat the offence in his discretion. In fact, he has repeated it. The present writer met in London last winter a prominent American author who spends most of his time abroad. The latter observed in the course of a discussion of agents : “ Well, I stick to — Of course I know he’s tricky, but he’s honest about his dis- honesty—the one time, that I found out he’d held up a cheque of mine for some months, he admitted it and made good.” . . . Not very long ago an agent now operating in New York approached a certain author for manuscript to market. The author gave him one story and, at the agent’s invitation, named $50 as the lowest price he would accept. The agent sold the story to The Popular Magazine for $150, paid the author $50, and pocketed the difference of $100. His explana- tion was that, although he styled himself an agent, he was in reality a middle-man, whose business it was to purchase from authors at their lowest cash prices (neglecting, however, to pay cash at the time of purchase—or at all in the event of no sale) and sell to the highest bidder, pouching the difference ! There exists in New York a dramatic agency which has been conspicuously prosperous for many years. So far as this writer is aware, its probity has never been questioned. And yet when he had occasion, a few weeks ago, to consult a copy of the printed form of contract employed by this agency in closing all agree- ments between manager and author, he dis- covered that the agency makes itself a third party to all such contracts—the manager cannot proceed against the author, and the author cannot proceed against the manager for any delinquency under the agreement, without the full consent and active assistance of the agent. In other words, the author surrenders absolutely, under such agreement, all his right to protect his own interests in his own work ; if the agent should prove venal and side with a dishonest manager the author is absolutely powerless to protect his own property. These anecdotes illustrate, doubtless, ex- treme instances of the dangers latent in the commonly lax understandings between authors and agents; but they are strictly true in every particular. And as long as authors tolerate such turpitude, so long will they suffer from it. The remedy is obvious—make an’ THE AUTHOR. [MAY, 1914, agreement with your agent providing that alt fees and royalties shall be paid to you im person, and that you shall personally pay the agent’s commissions. There is no earthly reason why an agent should not repose the same trust in his principal as he commonly insists the principal must repose in him, especially when he has an agreement enforee- able through the courts. No reputable agent can object to such a provision. And there is at least one who does not object to it. Some years ago he negotiated an agreement for me involving an advance of a large sum of money. My lawyer thoughtfully wrote into the agree- ment the provision that the payment should be made to me personally. The agent never uttered a word of protest, though it was the first transaction in which we had been asso- ciated. As a matter of fact, no author should employ an agent except under a written agreement as carefully formulated as his contract with his publishers, which agreement should contain, among other provisions, the following: (1) That it shall terminate automatically at the end of six months if the agent has not within that time secured an acceptable offer for the work ; (2) that he shall accept no offer without consulting, and that no agreement shall be valid unless signed by the author; (3) that the author shall have the right to sell his work at any tim2 without consulting the agent, but with written notice to the agent of his inten- tion; (5) that the agent’s commission shall in no case exceed 10 per cent.; (6) that the total commission shall not exceed an agreed sum, ceasing automatically when that sum has been reached ; (7) that all payments shall be made direct to the author; (8) that the agent shall keep a record of his efforts to dis- pose of the work and surrender it to the author on demand. The strict necessity for incorporating the last provision will perhaps be more readily understood by those to whom it comes as a novelty when they consider such circumstances as the following : A woman playwright, not a member of the Authors’ League, recently sought advice about securing readings for her plays. She stated that she had left several plays for over two years in the hands of a woman agent, who positively and at all times refused any informa- tion as to what she was doing or had done with the plays, treating all such enquiries as reflect- ing on her ability, good-will and probity. This playwright has no agreement with her agent, beyond an oral understanding as to the <— 2 Fo ge A iG MAY, 1914.] rate of commission ; she cannot get her manu- scripts back without a row, has no idea of their fortunes, and cannot well submit them to managers of her own choosing, because she does not know that they have not been so submitted before and because she fears such action may hinder the alleged activities of the bent... : Publishers should never sign agreements with agents who cannot produce written authority to represent the author in question. Many agents make a business of claiming to represent any and every author for whose work there is a demand. Of one of this class a certain Philadelphia editor said: ‘“‘ He will run down from New York and come boiling into my office with the claim that he is in a position to secure me an article, signed by the Creator ; he’ll name his price, collect a thou- sand in advance, run back to New York and— wire me with the last dollar of the advance that the Creator has refused to sign the said article, but he can get the devil to sign it for the same money.”’ Again, an English agent carries my name on his letter-head with the claim that he is my general European representative. He is nothing of the sort. He once secured per- mission to sell Swedish translation rights in some of my novels; that is the sole basis for his pretensions. But an English publisher who happened to want some of my work would, on seeing this claim on the agent’s letterhead, naturally open negotiations through the agent, instead of personally with me, thereby sub- jecting me toa loss of 10 per cent. of my terms. Mr. H. G. Wells finds it necessary to adver- tise regularly in The Author, the organ of the Society of Authors, to the effect that he does not employ a literary agent except for special work, in which case the agent will be able to produce written authority from Mr. Wells. The Society of Authors has drafted a model form of agent’s agreement, a copy of which is on file in the office of the Authors’ League. With certain modifications to cover differences between American and English conditions, it is an excellent formula; and it may be con- sulted by any member of the League, on application to the Managing Secretary. . - - There is still another phase of the agent i demanding more extended discussion than is possible in this limited space. It is the question of the value of an agent to the beginning author. Beginning authors are frequently most anxious to enlist the services of well-known agents, apparently considering such association in some way a cachet of dis- ial casa cm 227 tinction ; but it is gravely to be doubted whether their services are worth much to the beginner. {t is my experience that an author must make himself known by his own efforts before the agents will accord his work the attention it requires. It is obvious that an agent, no matter how much he may admire the work of Jonsmith, a new writer, is not going to give it as much attention as he will the work of, say Mr. Rudyard Kipling; it takes as much time—generally, much more—to sell Jonsmith’s manuscripts, and the commis- sions are not one-tenth as large, and the agent pursues his business with the notion of making the best living he can. Give an agent a manu- script of Jonsmith’s and a manuscript of Mr. Kipling’s, with an opening where Jonsmith’s would fit, and it is Mr. Kipling’s manuscript that gets sold. But the author of this article wishes to disclaim any animus toward agents qua agents. He has found them excellent servants, though he believes the best of them to be poor masters. And he is satisfied that there are many agents of immaculate probity. But he would earnestly advise his fellow-members to take counsel with the Managing Secretary—who has at his command the experience of the entire membership—before entering into relations with any agent whatsoever. The Authors’ League cannot, indeed, fulfil its first purpose until its members form the habit of consulting the Managing Secretary with the same freedom that they would con- sult their family lawyers, on all matters per- taining to their literary and dramatic ventures, and of reporting any irregularities that come to their notice, with the explicit understanding that ali such enquiries, complaints and reports will be respected as strictly confidential and divulged not even to the Executive Committee save with consent of the member. —____——an-9-4 4-0 UNITED STATES NOTES. HAT competition among authors —or, perhaps I should rather say, anon publishers—which takes the ne of struggling to get on to the list of best He ee has an interesting international side to it. . New York Publishers’ Weekly brings out a consensus for the year, based on. the ae of best-selling books during 1913, and in t i the result of the race between American an foreign, that 1s, practically, English writers can In fiction the three first places are be seen. 228 taken by native authors ; Churchill (“The Inside of the Cup’’) easily first, Harrison (‘“ V. V.’s Eyes ”) second, and Stratton-Porter (‘* Laddie ”’) third. The last-named only just beat the first English author, Parker (“* The Judgment House ”’). Another American comes fifth, Fox (‘‘ The Heart of the Hills’); and then two more English writers, Farnol (** The Amateur Gentleman ’’), and Hall Caine (“* The Woman Thou Gavest Me”). Consequently, Englishmen may be said to hold their own very successfully in the first seven, though lower down the list becomes preponderatingly American. In non-fiction the first four places go to Americans—Lee (“ Crowds ’’), Collier (“Germany and the Germans”’), Frank (‘* Zone Policeman 88 ”’), and President Wilson (“The New Freedom’’). Viscount Bryce (‘South America”), and Arnold Bennett (‘‘ Your United States ”) secure the next two places for England. A larger number of foreign authors, including French and Belgian, figure below the leaders than in the fiction class. So much for 1918. In coming to the present year, the first point that strikes one is that the early months do not seem to have been very brisk. I say ‘“‘do not seem,” because, as a matter of fact, I have not seen any figures, and so do not know whether the appearance is supported by reality. I shall attempt the usual classification of the books, among which, some at least, may be expected to survive the test of time. The biographies are not as numerous or as important as when last I wrote. To the com- plete edition of the works of James Whitcomb Riley there is prefixed an authorised sketch of Riley’s life by E. H. Hitel, the editor. Oswald Garrison Villard has produced a life of ‘‘ John Brown,’ C. S. Alden one of ‘‘ Commodore Perkins, U.S.N.” “A Sunny Life,’”’ by Isabel Barrows, is a record of the career of Samuel Jane Barrows. Brand Whitlock writes his own life, or part of it, under the title of ‘‘ Forty Years of It’?; and Mr. S. S. McClure is the author of ‘“‘ My Autobiography.” The edition of the “ Journals of Ralph Waldo Emerson,”’ by E. W. Emerson and W. E. Forbes, may perhaps be included also under biography. Another work on an inexhaustible subject is ““The Everyday Life of Abraham Lincoln,”’ by Francis I’. Browne. Later biographical publications are: ‘‘ My First Years as a Frenchwoman,” by Mary King Waddington ; “ Our Friend John Burroughs,” by Clara Barrus; ‘Thomas Wentworth Higginson,” by his widow; ‘‘ Landmarks of a Lawyer’s Lifetime,’ by Theron Strong ; THE AUTHOR. [MAY, 1914. and ‘Confederate Portraits,’ by Gamaliel Bradford. The history section may commence with Admiral Mahon’s ‘“‘ Major Operations of the Navies in the War of American Independence.” George L. Rivés writes on “* The United States and Mexico’”’?; M. M. Quaife on ‘‘ Chicago and. the Old North-West, 16783—1835”; E. D. Adams on ‘‘ The Power of Ideals in American History’; G. W. James on ‘“‘ The Old Fran- ciscan Missions of California.” ‘‘ Readings in American History ”’ is by Professor J. J. Alton. Two other professors write on historico-legal subjects, C. G. Haines on ‘‘ The American Doc- trine of Judicial Supremacy,” and E.S8. Corwin on ‘“‘ National Supremacy : Treaty Power versus State Power.’ ‘“‘ The Tariff History of the . United States ” is by Professor Taussig. Professor Dean C. Worcester has out his expected book on ‘‘ The Philippines.”” Another work about the same part of the world is ‘“‘ The Philippine Problem,” by Frederick Chamberlin. J. K. Goodrich tells of ‘* The Coming Hawaii ” ; J. Saxon Mills writes about ‘‘ The Panama Canal,’ which is also the title of a book by Frederick Haskin, and Albert Edwards about “The Barbary Coast.” ‘Across Siberia Alone” is by a lady, Mrs. J. C. Lee; while adventure of another kind is the subject of “Alone in the Wilderness,” by Joseph Knowles, the Boston artist who plunged into the woods naked, foodless, and weaponless —and emerged alive. ‘‘ The Ascent of Denali (Mount McKinley)” is by the Archdeacon of the Yukon, Dr. Hudson Stuck, who also has produced “‘ Ten Thousand Miles with a Dog- Sled.” General Rafael Reyes, ex-President of Colombia, deals with ‘‘ The Two Americas,” and Sidney Gulick with ‘‘ The American- Japanese Problem.” Two sociological works are “‘ Heredity and Sex,” T. Hunt Morgan’s Columbia University lectures, and ‘‘ The Family and Society,” by Professor J. M. Gillette. President J. H Baker, of Colorado University, is the author of ‘‘ Educational Aims and Civic Needs.” Edwin Brown writes “‘ Broke,”’ a tramp’s record, and. Adelaide Popp, ‘‘The Autobiography of a Working Woman.” In “‘ Love and the Soul- Maker’ Mary Austin deals with relations. between men and women. ‘“‘ Nietzsche and Other Exponents of Indi-. vidualism ” is the name of the latest work by Dr. Paul Carus, editor of the Open Court. H. E. Krehbiel, whom Lafeadio Hearn’s. admirers will remember as his American musical friend, has a book on “‘ Afro-American Folk-Songs.” 5 B 4 j i oe a MAY, 1914.] A remarkable feature in the novel list is the great number of feminine names among the authors this time—over 50 per cent. among those which I have picked out for mention. The order, I may note, has no significance. Mary Roberts Rinehart has written ‘* The After House’’?; Kate L. Bosher, ‘‘ The House of Happiness”; Jane Stone, ‘“‘The New Man’; H. K. Webster, “ The. Butterfly ”’ ; David Lisle, ‘“‘The Soul of Life’’; Anne Warner, ‘Sunshine Jane’’; Eleanor H. Porter, ‘‘ Miss Billy—-Married ’’; Zane Gray, “The Light of Western Stars”; Harold MacGrath, ‘‘ Pidgin Island’’; Beulah Marie Dix, ‘‘ Mother’s Son’’; Samuel Merwin, ** Anthony the Absolute’’; and Gouverneur Morris, ‘‘The Incandescent Lily.” With ** Diane of the Green Van,’’ Leona Dalrymple won a ten thousand dollar competition. ““Westways’”’ is by the late Weir Mitchell. ““The Red Emerald,” by John Reed Scott, and ‘‘ The White Sapphire,” by L. F. Hartman, make up a curious coincidence in nomen- elature. ‘“‘A Wise Son” is by Charles Sherman; ‘“ Victory Law,’ by Anne War- wick; ‘‘The Desert and Mrs. Ajax,” by E. S. Moffat; ‘‘ The Congresswoman,” by Isabel Curtis; ‘“‘ Van Cleve,” by Mrs. Watts ; “Dark Hollow,” by Anna Katherine Green ; ** Penrod,” by Booth Tarkington; ‘‘ The Substance of his House,’ by Ruth Holt Boucicault ; ‘‘ The Peacock’s Feather,” by Leslie Moore; ‘‘ The Precipice,’ by Elia Peattie; ‘‘ Kazan,” by J. O. Curwood ; “* The First Step,’’ by Eliza Orne White; ‘‘ World’s End,” by Amélie Rives; and ‘‘ Shea of the Irish Brigade,’’ by Randall Parrish. Three anonymous novels are “‘ Home,’ which ran serially in the Century Magazine before appear- ing in- book form; “ Overland Red’’; and ‘“* My Wife’s Hidden Life.’’ It seems that the practice of suppressing the author’s name, in order to provoke curiosity, is spreading on both sides of the Atlantic. Having had to reopen this letter I may add the names of the following later novels: L. J. Vance’s “The Lone Wolf’; C. T. Brady’s ‘“‘ The Sword Hand of Napoleon ” ; H. B. Wright’s “The Eyes of the World” Carolyn Wells’s ‘Anybody but Anne” G. B. McCutcheon’s ‘‘ Black is White” ; Grace Lutz’s ‘‘The Best Man”; Rupert Hughes’s ‘“‘ What will the People Say?” ; Doris Egerton Jones’s “‘ Peter Piper”; Vir- ginia Brooks’s “ Lost Little Sister”; B. W. Sinclair’s ‘‘ North of Fifty-Three”; and Caroline Lockhart’s ‘‘ The Full of the Moon.” The ‘‘ Authors’ League of America” on we vee THE AUTHOR. 229 February 14 held their first annual dinner, at the Hotel Biltmore, New York. Professor W. Milligan Sloane, of Colombia University, presided, Mr. W. J. Bryan, Secretary of State, was the guest of the evening, and the company has been described as the most distinguished body of literary persons ever assembled in America. Including members and_ guests, thére were 442 present in all. The League has now moved to new headquarters at 122, East 17th Street, New York, which was the home of Washington Irving late in life. Since I last wrote, the most notable death has been that of Dr. S. Weir Mitchell, who succumbed to influenza at his home in Phila- delphia on the fourth day of the present year. His literary work is so well known in England, I imagine, that it is unnecessary to refer to it here ; but it may be mentioned that he was a prolific medical writer as well as novelist, poet, ete. He was 84 years of age. Captain F. H. Brownson, who died near the end of the Old Year, combined the professions of soldier, lawyer, and author. He trans- lated from the Italian and Spanish several works, and also wrote on masonry, religion, and_ politics. Another soldier-author was James Grant Wilson, who wrote a life of his old general, Ulysses Grant, and other military works. He was editing ‘The Lives of the Presidents of the United States ”’ when he was carried off. Charles Edmund Dana, who died in February, wrote a book called ‘‘ Glimpses of English History,’’ but was better known as an art critic. February also proved fatal to Mrs. Marie Robinson Wright, a great traveller in Central and Southern America, about the various countries of which she produced a number of books. George William Sheldon, who died in New Jersey, will be remembered in London as the literary adviser in London to the firm of Appleton between 1890 and 1900. His own writings were chiefly concerned with art and artists. Major-General Joshua Chamberlain (a third soldier author, by the way), who died on February 24, dealt with historical and political subjects in a number of books. He was one of the heroes of Gettysburg. Deaths in March include Frederick Townsend Martin (in London); J. B. Dunbar, an authority upon the Pawnee Indians ; Professor R. B. Richardson, whose writings were classical and archeological ; and Mrs. Frances Squire Potter, Professor at Minnesota Univer- sity, suffragist, and author. Putue Wa.sit. 230 THE AUTHOR. [MAY, 1914: SALE OF COPYRIGHT IN A BOOK. — N an article in The Author of April 1 it I was stated that ‘‘in the early days of the Society it was by no means an uncommon practice for publishers to purchase authors’ works outright for a lump sum.” This rather suggests that in the year 1913 it would be surprising to find a publisher or editor who would desire to purchase an author’s copyright for a lump sum rather than to pay him a royalty. Probably, how- ever, it was intended rather to convey that the publisher who has had to do with the Society, and who is aware that he is dealing with one of its members, would hesitate to suggest such a transaction, or at any rate would not be likely to press it. There are, it is submitted, plenty of offers made to authors to deal on the terms that they shall have money down in exchange for their rights, and a good many authors who are not unwilling to accept such terms. They may very likely not be members of the Society, and so may not have read its warnings not to sell literary property outright, or only to do so under the advice of the secretary, or of a competent agent. If, however, writers insist upon waiting until they get into trouble before joining the Society, there are naturally many who only learn the pitfalls of authorship by falling into them. An author once bit is probably shy on the next occasion. If he has discovered from the large sale of a book of which he has sold the copyright, that he has lost and that the publisher has been the gainer by the method of business adopted, he will stand out for royalties on the second occasion. It may be observed however that he will not have any account of its sales supplied to him by his publisher and so will have no definite figures to rely upon when he wishes to cite the success of his first work in endeavouring to secure good terms from the publisher of his second. There must be a good many occasions where a man writes one or perhaps two or three books, not because he wants to write or has any need to do so from a pecuniary point of view, but because a certain book is wanted and he is the particular man to do it. A great man may die, a statesman or a soldier, for example, and leave behind him material for a work which his relatives may well desire to see published, and there may be a son or nephew perfectly qualified to write his biography oe ee his letters, who in ordinary circum- : would probably never have produced a book. Public interest may be temporarily riveted upon some scientific discovery, in investigations relating to a disease, or ina social or religious question of absorbing interest and of some obscurity. Naturally when an enter- prising publisher is looking for material it may strike him that a book on a special topic such as these, written by as eminent an authority as his estimate of cost will stand (or at any rate by a sure hand who will do what is wanted correctly), will be a safe investment. It can easily be understood that in any of the circum- stances suggested a sum down for all rights. is likely to be offered and accepted. The vendor is not accustomed to such transactions and is glad to have a chance of concluding the business part of his undertaking at once, without any need to trouble himself further about it. The purchaser is not so unaccus- tomed, and if he has made up his mind that a speculation is likely to be profitable, he is naturally anxious that it should be as profitable: (to himself) as possible ; besides which he can act with independence if he has the whole matter in his own hands without need to consult anyone over any particular point that may arise. He probably can make himself safe in any case, but if he buys outright the profits (if there is success) will be larger than if he has to go on sharing them for ever with someone else. Besides which he may, as has been suggested above, be the person who has. started the idea of the book, and it is only natural that if he makes an offer he should make the one which will suit him best. It is. equally natural, however, that the Society should advise the author, if he comes to it for advice, not to accept such terms. They are the terms which the trade most readily offers. to the amateur, and which are more likely to be accepted by him if he is an amateur and the less experience he has, than by one who has qualified himself by previous dealings to dictate terms on his side, and gained the knowledge that he ought to do so. Very much the same thing takes place in picture dealing. The owner of an old master not perhaps of sufficient merit to command its value at auction approaches a dealer. He expects, perhaps, that the latter will offer to sell the picture for him taking a specified commission for which he will undertake to obtain the best price that professional skill can bargain for. The would-be seller is, however, much more likely to be told by the dealer that if he will name a price himself, he (the dealer) will be content to take anything realised above that ptice as his share in the profits. There again MAY, 1914.3 the professional treating with the amateur endeavours to make the best bargain possible for himself, and he very often succeeds. That, however, is no reason why the amateur should not be advised to resist, even though to do so may imperil his chance of making any bargain at al]. Whether he runs a serious risk of losing his deal altogether depends upon circumstances, which vary according to parti- cular cases. The author is spoken of above as an amateur because his business is to write ; to sell what he writes may be incidental to authorship, but is not the author’s busi- ness. Buying and selling literary matter is the business of the publisher. Now, the reasons for the author refusing to part with his copyright for a sum down, or, indeed, to part with it at all, are not entirely connected with the question of relative pecuniary profit. It is a matter of importance to authors, or to most authors, that they should get as much for their books as possible, and it is to most authors, whether money is of importance to them or not, extremely galling to see large profits obviously accruing to others and lost to themselves because in a moment of weakness, possibly of financial weakness, they made a bad bargain. The matter, however, is not ended when this is said. The man or woman who sells a copyright for a sum down, with no provision for royalties, or for any future profits, if editions are multi- plied as the result of success, presumably retains no control whatever over future editions, or over the conditions under which they will be published. There may be no obligation upon him to make any revision, and none upon the publisher to ask him for any such correction, or to permit him to make any. This may seem to be matter of little moment (to take an example from what has been suggested above) to the young scientist or theologian who has gladly accepted a fairly liberal offer for an exposition of his views, probably perfectly correct and _ generally interesting at the time, upon a topic of science or theology. It may be a very different affair twenty-five years later for a medical baronet or for a bishop, who has perhaps almost forgotten a pamphlet which others have quite forgotten or never realised as his, to find that an enterprising publisher has just grasped the fact that one of his former authors (whom he has long paid in full) is now a very eminent person, and that he has republished his book. The scientific or theological treatise may have correctly represented the accepted views of the best scientists and the most orthodox THE AUTHOR. 231 theologians some years before, or may have been to some extent coloured by the personal views of an author whom no one then troubled himself to criticise or correct. Appearing as. an exposition of the views of a leading authority in his profession, with a full statement of the dignities which his learning has won for him, and with no suggestion that the work is early, immature, and perhaps entirely out of date, such a book is likely to cause acute distress. to an author who by his own imprudent act has lost all power to prevent its publication. There is again to be considered the pos sibility that the author who, when young, has written a book on a special topic may wish to remodel it and to republish it in a more important form when he has thoroughly established himself as an authority on that topic. It will be par- ticularly galling for him to find that he cannot use his previous title again or perhaps any of his previously used material because to do so- would be to infringe upon rights which he has assigned to another. Wherefore it is not altogether a question of whether the offer made is the most profitable one which can be obtained. It is for the author to ask himself also: Is this a book of which it is important that I should keep control, at any rate to some extent ? There are other circumstances in which the manner of publication selected may be objec- tionable to the author besides those indicated, and, of course, what has been said as to books applies also to articles and contributions to periodical literature and encyclopedias. It is a question of entrusting that in which its author’s interest is rather more than merely commercial to those whose interest in it will be commercial only. It is a question of losing control over that of which the law has given its author control for his own good and as a valuable right, and not only for his profit. He has some control, even in these days of snapshots and cinematograph films over repro- ductions of his own features. If he chooses to part with the copyright in a portrait of himself by letting a photographer take it on the terms that the latter shall supply him with a few free copies and own the copyright, he can only complain afterwards effectively if some use made of it should come within the law of libel. Before this occurs he may be made ridiculous. on many occasions in a lesser degree without having any power to prevent it. The original purchaser of the copyright may not be to blame in the case of a book or of a photograph. He may become impecunious or bankrupt, and. the right to reproduce may pass on sale, and 230 SALE OF COPYRIGHT IN A BOOK. —1—>— + — N an article in The Author of April 1 it I was stated that ‘in the early days of the Society it was by no means an uncommon practice for publishers to purchase authors’? works outright for a lump sum. This rather suggests that in the year. 1913 it would be surprising to find a publisher or editor who would desire _ to purchase an author’s copyright for a lump sum rather than to pay him a royalty. Probably, how- ever, it was intended rather to convey that the publisher who has had to do with the Society, and who is aware that he is dealing with one of its members, would hesitate to suggest such a transaction, or at any rate would not be likely to press it. There are, it is submitted, plenty of offers made to authors to deal on the terms that they shall have money down in exchange for their rights, and a good many authors who are not unwilling to accept such terms. They may very likely not be members of the Society, and so may not have read its warnings not to sell literary property outright, or only to do so under the advice of the secretary, or of a competent agent. If, however, writers insist upon waiting until they get into trouble before joining the Society, there are naturally many who only learn the pitfalls of authorship by falling into them. An author once bit is probably shy on the next occasion. If he has discovered from the large sale of a book of which he has sold the copyright, that he has lost and that the publisher has been the gainer by the method of business adopted, he will stand out for royalties on the second occasion, It may be observed however that he will not have any account of its sales supplied to him by his publisher and so will have no definite figures to rely upon when he wishes to cite the success of his first work in endeavouring to secure good terms from the publisher of his second. There must be a good many occasions where a man writes one or perhaps two or three books, not because he wants to write or has any need to do so from a pecuniary point of view, but because a certain book is wanted and he is the particular man to do it. A great man may dic, a statesman or a soldier, for example, and leave behind him material for a work which his relatives may well desire to see published, and there may be a son or nephew perfectly qualified to write his biography and to edit his letters, who in ordinary circum- stances would probably never have produced THE AUTHOR. [MAY, 1914, a book. Public interest may be temporarily riveted upon some scientific discovery, in investigations relating to a disease, or in a social’ or religious question of absorbing interest and of some obscurity. Naturally when an enter- prising publisher is looking for material it may strike him that a book on a special topic such. as these, written by as eminent an authority as his estimate of cost will stand (or at any rate by a sure hand who will do what is wanted correctly), will be a safe investment. It can easily be understood that in any of the cireum- stances suggested a sum down for all rights. is likely to be offered and accepted. The vendor is not accustomed to such transactions and is glad to have a chance of concluding the business part of his undertaking at once, without any need to trouble himself further about it. The purchaser is not so unaccus~ tomed, and if he has made up his mind that a speculation is likely to be profitable, he is naturally anxious that it should be as profitable: (to himself) as possible ; besides which he can act with independence if he has the whole matter in his own hands without need to consult anyone over any particular point that may arise. He probably can make himself safe in any case, but if he buys outright the profits (if there is success) will be larger than if he has to go on sharing them for ever with someone else. Besides which he may, as has been suggested above, be the person who has. started the idea of the book, and it is only natural that if he makes an offer he should make the one which will suit him best. It is equally natural, however, that the Society should advise the author, if he comes to it for advice, not to accept such terms. They are the terms which the trade most readily offers to the amateur, and which are more likely to be accepted by him if he is an amateur and the less experience he has, than by one who has qualified himself by previous dealings to dictate terms on his side, and gained the knowledge that he ought todo so. Very much the same thing takes place in picture dealing. The owner of an old master not perhaps of sufficient merit to command its value at auction approaches a dealer. He expects, perhaps, that the latter will offer to sell the picture for him taking a specified commission for which he will undertake to obtain the best price that professional skill can bargain for. The would-be seller is, however, much more likely to be told by the dealer that if he will name a price himself, he (the dealer) will be content to take anything realised above that ptice as his share in the profits. There again 2 MAY, 1914.) the professional treating with the amateur endeavours to make the best bargain possible for himself, and he very often succeeds. That, however, is no reason why the amateur should not be advised to resist, even though to do so may imperil his chance of making any bargain at all. Whether he runs a serious risk of losing his deal altogether depends upon circumstances, which vary according to parti- cular cases. The author is spoken of above as an amateur because his business is to write ; to sell what he writes may be incidental to authorship, but is not the author’s busi- ness. Buying and selling literary matter is the business of the publisher. Now, the reasons for the author refusing to part with his copyright for a sum down, or, indeed, to part with it at all, are not entirely connected with the question of relative pecuniary profit. It is a matter of importance to authors, or to most authors, that they should get as much for their books as possible, and it is to most authors, whether money is of importance to them or not, extremely galling to see large profits obviously accruing to others and lost to themselves because in a moment of weakness, possibly of financial weakness, they made a bad bargain. The matter, however, is not ended when this is said. The man or woman who sells a copyright for a sum down, with no provision for royalties, or for any future profits, if editions are multi- plied as the result of success, presumably retains no control whatever over future editions, or over the conditions under which they will be published. There may be no obligation upon him to make any revision, and none upon the publisher to ask him for any such correction, or to permit him to make any. This may seem to be matter of little moment (to take an example from what has been suggested above) to the young scientist or theologian who has gladly accepted a fairly liberal offer for an exposition of his views, probably perfectly correct and generally interesting at the time, upon a topic of science or theology. It may be a very different affair twenty-five years later for a medical baronet or for a bishop, who has perhaps almost forgotten a pamphlet which others have quite forgotten or never realised as his, to find that an enterprising publisher has just grasped the fact that one of his former authors (whom he has long paid in full) is now a very eminent person, and that he has republished his book. The scientific or theological treatise may have correctly represented the accepted views of the best scientists and the most orthodox THE AUTHOR. ae theologians some years before, or may have been to some extent coloured by the personal views of an author whom no one then troubled himself to criticise or correct. Appearing as. an exposition of the views of a leading authority in his profession, with a full statement of the dignities which his learning has won for him, and with no suggestion that the work is early, immature, and perhaps entirely out of date, such a book is likely to cause acute distress to an author who by his own imprudent act has lost all power to prevent its publication. There is again to be considered the possibility that the author who, when young, has written a book on a special topic may wish to remodel it and to republish it in a more important form when he has thoroughly established himself as an authority on that topic. It will be par- ticularly galling for him to find that he cannot use his previous title again or perhaps any of his previously used material because to do so: would be to infringe upon rights which he has. assigned to another. Wherefore it is not altogether a question of whether the offer made is the most profitable one which can be obtained. It is for the author to ask himself also: Is this a book of which it is important that I should keep control, at any rate to some extent ? There are other circumstances in which the manner of publication selected may be objec- tionable to the author besides those indicated, and, of course, what has been said as to books applies also to articles and contributions to periodical literature and encyclopedias. It is a question of entrusting that in which its author’s interest is rather more than merely commercial to those whose interest in it will be commercial only. It is a question of losing control over that of which the Jaw has given its author control for his own good and as a valuable right, and not only for his profit. He has some control, even in these days of snapshots and cinematograph films over repro- ductions of his own features. If he chooses to part with the copyright in a portrait of himself by letting a photographer take it on the terms that the latter shall supply him with a few free copies and own the copyright, he can only complain afterwards effectively if some use made of it should come within the law of libel. Before this occurs he may be made ridiculous. on many occasions in a lesser degree without having any power to prevent it. The original purchaser of the copyright may not be to blame in the case of a book or of a photograph. bankrupt, ~~ an He may become impecunious or the right to reproduce may pass on sale, 932 may be a valuable property to one who, it cannot be repeated too often, will have no interest in it but a purely commercial one. As the Encyclopedia Britannica patronisingly in its article upon publishing says of the Society of Authors: “It offered useful assistance to authors ignorant of business in the way of examining contracts.” It docs so still, and included in that advice is the recommendation as a general rule to refuse to part with all control over a copyright and to refuse to take a sum down as consideration for the right to publish, unless special circumstances of the case render this desirable or inevitable. CORRESPONDENCE. —_-—<>— + AGENTS versus BRAINS. Dear Sir,—I have received an offer of ideas from a literary bureau which is a reve- lation to me, and, I think, a glimpse at the terms at which brains are supplied by agents ought to serve as a warning to would-be ‘writers who may not be aware of the condition of the literary market. The prospectus I ‘received offered me :— (1) Plots of love, humorous and sensational short stories, 2s. each. (2) Ideas for humorous, interesting, instruc- tive and personal articles, 2s. each. (3) Jokes suitable for illustration or other- wise, 2s. each. (4) Ideas for new competitions, 2s. each. (5) Notes for speeches, sermons, addresses ‘on any subject, 2s. per 100 words. (6) Topical and other facts and information ‘written up in fiction and article form, 2s. per 100 words. (7) Research and compilation, 2s. per hour. (8) Scenarios and synopses for plays, serials, ‘and novels, 2s. per 100 words, etc., ete., etc. -All on the bargain counter, 2s. a piece ! ! This is not a solitary case. Daily “ ghost ‘work ” is supplied at prices that makes one ‘Shudder at the traffic in brains going on in our midst. Is there no hope of organised literary labour and a minimum wage for writers ? A FREELANCE. ——— — “Tam LITERARY YEAR-Book.”’ Sir,—My attention has been drawn to an advertisement appearing on the front page of Lhe Atheneum of 11th inst., under the heading THE AUTHOR. [MAY, 1914. ** Miscellaneous,”” wherein the advertiser seeks capital to finance the production of a “ Literary Year-Book.” T'o avoid misapprehension in the minds of those who may have seen. this advertisement, I write to say that it has nothing to do with ‘“‘ The Literary Year-Book,” of which I have been editor and proprietor since 1909, and which has been published annually since 1897, and is now published by Heath, Cranton and Ouseley, Ltd. I should be much obliged if you would kindly give publicity in your next issue to this disclaimer. Basin STEWART. —1——+—. MaGAZINE PAYMENTS. Dear Srr,—Can you enlighten me as to whether there is any principle governing the rate of payment for short stories in our monthly magazines ? In a writers’ Year-Book I find such payments as “ a guinea per 1,000 words,” “10s. 6d. a column,” “a guinea per page,” and even a “ guinea and a half.” Also, I observe, “‘ payment by arrangement with the editors,” ‘‘ payments according to value.” Let me relate my experiences. Some time ago, a friend and I belonged to an amateur magazine, and were inspired by our critic’s praises to fly higher. She sent a short story toa ls. magazine ; I, less bold, sent mine (11,345 words in length) to a 6d. one. Both were accepted and printed. Hers occupied sixteen pages; mine, eighteen much larger ones. On publication, she received seven guineas. Mine appeared with a greater flourish ; its title and my name were placed, with one other, as “‘ Special Contents,” at the top of the magazine cover. Four months after publication, after repeated applications, I received the magnificent sum of one guinea, and I shall never believe there had ever been an intention to pay me even that amount. Thus my friend was paid 9s. 2}d. per page ; I, for larger pages, 1s. 2d.—that amounts to 1s. 2d. per 680 words. Later, I tried her 1s. magazine. For four and a_ half pages (2,083 words) I received 81. i.e., 188. 4d. per page. I ‘“‘ got into” another 1s. magazine with a twelve-page story, and was paid three uineas, 5s. 8d. per page. In each case the S. was promptly accepted. There was no ‘arrangement with editor” suggested, no discussion as to ‘“ value.” And what deter- mines value in the case of an approved MS. ? Pray enlighten my PuzzLEDOM, - 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. 24 Issue 08 (May 1914) Subject The topic of the resource The Author, Vol. 24 Issue 08 (May 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-05-01-The-Author-24-8 publications The Author https://historysoa.com/files/original/5/539/1914-04-01-The-Author-24-7.pdf d15705ee91c520a0e8951760cb945e81 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-04-01 Volume 24 Issue 7 Pages Page range in volume 181–206 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140401 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMutbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly. ) WALTER BESANT. Vor. XXIV.—No. 7. APRIL 1, 1914. _ [PRICE SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. a ee NOTICES. i 4 OR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tur Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. o> THE SOCIETY’S FUNDS. a 4 ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other / 182 THE AUTHOR. matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. —____—_+—>—+___—_. THE PENSION FUND. —+——+ — N January, 1914, the secretary of the I Society laid before the trustees of the Pension Fund the accounts for the year 1913, as settled by the accountants. After giving the matter full consideration, the trustees instructed the secretary to invest a sum of £350 in the purchase of Great Eastern Railway Ordinary Stock. The amount pur- chased has been added to the investments set out below. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. They have given notice to the Pension Fund Com- mittee that there is sufficient money at their disposal to enable them to give another pension. The nominal value of the investments held on behalf of the Pension Fund now amounts to £5,419 6s., details of which are fully set out in the following schedule :— Nominal Value. £ 4s. @. RGCAl Loans 6c 0is occ sc hecccs sconces 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ............ 291 19 11 London and North Western 3% Debenture Stock .................. 250 0 O Egyptian Government Irrigation Trust 4% Certificates............. 200 0 0 Cape of Good Hope 34% Inscribed Block 6. ak - 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock ...... 228 0 0 New Zealand 34% Stock .......... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 1927-57 ...............:-. . 4388 2 4 Jamaica 34% Stock, 1919—49 ... 1382 18 6 Mauritius 4% 1987 Stock ......... - 120 12 1 Dominion of Canada, C.P.R. 84% Land Grant Stock, 1988 ......... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock ............... 237 0 O Central Argentine Railway Or- dinary Stock 21.00.65. 0igsecsss0ccses 232 0 0 Nominal Value. SS, a. $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........+.++++-. 400 0 O 250 Edward Lloyd, Ltd., £1 5% Preference Shares ...............- 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ................. 550 0 0 3 Central Argentine Railway £10 Preference Shares, New Issue... 30 0 0O Great Eastern Railway Ordinary Stock cess cecpesuesd esse 655 0 0 Total 2 £5,419 6 O —_——_———__+—>—_+—____—_- PENSION FUND. —.—~ + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 19138. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearee, J. . : Z Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry : Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, EK. A. . : Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John j Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert Dec. 4, Lunn, Arnold . < Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana . Dec. 4, Vallois, Miss Grace . ‘ Dec. 17, Beresford, J. D. Dec. 29, Inge, Charles . Dec. 29, Cross, Miss May Dec. 29, Hardy, Thomas, O.M. _ ~ NASCSCAAANMooaaaaanwe ao Toe i concoconeoooooocoOoOoOOOoSoO OF wpooocooooormooocooooroocooooh i j i | THE AUTHOR. 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. : Jan. 16, Cooke, Arthur O. Jan. 28, Exley, Miss M. : Jan. 26, Sarawak, The Ranee of Mar. 11, Dowson, Osear F. 19138. Donations. Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold . 2 Oct. 30, Rosman, Miss Alice Grant Nov. 3, Holland, Theodore Nov. 3, Steane, Bruce . Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elrington, Miss Helen Nov. 10, Waterbury, Mrs. . Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dec. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. . Dec. 21, Keating, J. Lloyd 1914. Jan. 8, Church, Sir Arthur Jan. 5, Anon : Jan. 5, Joseph, L. Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. : Jan. 6, De Crespigny, Mrs. Champion Jan. 6, Rankin, Miss F. M. . . Jan. 7, Sneyd-Kynnesley, E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. . Jan. 10, Daniell, Mrs. E. H. . Jan. 12, Avery, Harold : Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullein, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane Jan. 19, P. H. and M. K. Jan. 19, Greenstreet, W. J. . Jan. 19, Gibbs, F. Leonard A. Jan. 23, Campbell, Mrs. L. A. R. . Jan. 23, Cameron, Mrs. Charlotte, F.R.GS. . : Jan. 23, Blunt, Reginald Jan. 24, Raphael, Mrs. Mary. Jan. 25, Plouman, Miss Mary Jan. 80, Gibson, Miss L. S. . Feb. 5, Brooker, Lt.-Col. E. P. Feb. 6, Buchrose, J. E. : — S coomoooocooooooooooeooscr- Seeeoecoon, _ ecoooceormroscoocooooro tu HH OOOH et K Or or or or or or? i — Ooo © OH eH Orbs Or Orr OO OO — peal _ —_ ooanrgnocounooeawmanoduncocmn oc = _ ee ON Oe et ccooocoeoe SCMmooooooanaaoacecooances ececoocoocoonanaoooooao ecoeoanooce 1838 Feb. 7, Smith, Herbert W. Feb. 20, Eden Guy : : Feb. 21, Mayne, Miss Ethel bourn : Feb. 21, K. ; : : Feb. 25, Aspinall, Algernon E. Mar. 2, Dalziell, J. ‘ Mar. 2,8. F.G. . ; Mar. 5, Saies, Mrs. F. H. Mar. 5, Thorne, Mrs. Isabel . : Mar. 5, Haviland, Miss M. D. : Mar. 5, Todd, Miss Margaret, M.D. Mar. 13, Cabourn, John 5 : Mar. 20, French, Mrs. G. F. . oon — oro 2 co Col- et Oo & CSCOrFOCCorFNOSS Soe Or or Oc coocoocooocoecocs — ee COMMITTEE OF MANAGEMENT. —-—— + —_ HE Committee held their March meeting on the second of that month at three o’clock, at the offices of the Society. After the minutes of the previous meeting had been signed the committee dealt with the elec- tions and resignations. The number of elections —twenty-six—is chronicled in another column of this issue. This brings the total number for the current year up to ninety-five, slightly in excess of the number for the corresponding period of last year. The committee accepted, with regret, eighteen resignations. The large number of resignations during the month may b> accounted for by the fact that at this period of the year the first application is issued for unpaid subscriptions. A certain number of resignations is bound to follow. The next question before the committee was the legal cases and the disputes of members. The solicitor attended and made his report. In the first claim against the proprietor of a magazine—the debt and costs had been paid. In a ease for the collection of dramatic fees, the solicitor reported that he had, at length, succeeded in obtaining the debt and costs. The costs had been increased as it had proved necessary, not only to issue a summons for an examination of the debtor, but also to proceed against him for an attachment. The solicitor then reported on the case of infringement of title by a cinematograph company which had been taken up at the last meeting. The judge considered it a case for a: speedy trial and the trial was fixed for the 10th of the month. In a case where money was claimed on a disputed account, the com- mittee decided to take action with the approval 184 of the member concerned. The secretary then reported that in a case where an award had been given, one of the members, party to the award, desired certain letters to be read to the committee. These were read in due course, and the secretary was instructed to write a letter in reply, placing before the member that the award must be adhered to, and that the committee were unable to discuss the matter further. ‘The letter was to be submitted to the chairman of the committee for his approval. Difficult issues had arisen owing to the fact that a publisher had shown unreasonable delay in publishing the book which he had agreed by contract to produce. The committee decided to issue a writ for damages for delay or for immediate publication. In a case of infringement of dramatic rights of amember in Australia, the secretary reported that he had, in order to catch the Australian mail, obtained the chairman’s sanction to place the matter in the hands of the Society's lawyers in Sydney. The committee confirmed the chairman’s action. In a dispute between a member and an agent which the committee, for various reasons, at the last meeting had refused to take up. the secretary read_ to the committee a further communication he had received from the member, and, after again reviewing the case, the committee regretted they were unable to depart from their previous decision, and instructed the secretary so to inform the member. A question concerning the conduct of a case in the United States on behalf of a member was considered by the committee in the light of fresh facts which had just come to hand from the Society’s American lawyer. It was decided to take up an action against a paper in Vancouver, and the secretary was instructed to communicate with the Society’s lawyers on the subject. : The judgment in the highest court in Switzerland, on a question taken up by the Society some years ago, was laid before the committee. The committee regretted it was against the claim put forward on behalf of the member. As no further appeal was possible, the secretary. was instructed to inform the member of the result. In a dispute between a member of the Society and the editor of an illustrated paper the correspondence was read, and the chairman undertook to write to the editor. The next matter referred to a case of infringement of dramatic rights. The com- mittee, after consideration, regretted they THE AUTHOR. were unable to take up the case. In a dispute arising from the publication of a book, the committee gave instructions to the secretary as to the settlement. There was a question, also, of infringement of the rights in a title by a cinematograph production. The committee decided to take no action in this case, but to await the'result of the case already pending. The next matter was a dispute, stretching over a period of years, under a publisher’s account. The committee decided to take up the case on behalf of the member. The secretary then reported the position of an important case in Toronto of infringement of copyright, taken up by the Society, and read a letter received from the member con- cerned dealing with the proposed terms of settlement as received from Canada. The committee approved the terms of settlement put forward by the member, and decided to instruct the lawyers in Toronto accordingly. As the chairman of the committee was going abroad for a short time, a vice-chairman was appointed in his absence. Authority was given for the payment of the cost of a cable sent to the Authors’ League of America, congratulating the League on its first annual dinner and on the success of the League. The question of the Society’s advertise- ments was next considered, and it was decided to settle the account of the previous agents in accordance with an arrangement made between them and the Society’s accountants. It was also decided to have an exchange advertisement with the Music Student. The list of non-payers for two years was laid before the committee, and the secretary was instructed to send a special letter to the members in arrears. Correspondence with a member on the subject of the libraries censorship was read, and the secretary was instructed to write to the member giving him the committee’s opinion and asking for possible suggestions. The seeretary then laid before the committee a short article dealing with a dispute between a member and a publisher which, on the suggestion of the Composers’ Sub-Committee, it was proposed to publish in The Author. He was instructed to lay the matter before the Society’s solicitors and, with their approval, to publish the article in the April issue. The matter of the change of the name of the Society from the Incorporated Society of Authors, to the Incorporated Society of Authors, Playwrights and Composers, was THE AUTHOR. next considered. The secretary reported that the solicitors of the Society had obtained the approval of the Board of Trade, and it was decided to have a special meeting of the council and the shareholders of the Society on April 17 to approve the change, and a confirmatory meeting later, according to the provisions of the Companies Acts. The committee authorised the investment of £260 from the Life Membership account in the purchase of Buenos Aires Great Southern Railway 4% Extension Shares, and authority was given to affix the seal of the Society if necessary. A difficult question, arising under a certain section in the Copyright Act, 1911, was referred to the Committee of Managment by the Composers’ Sub-Committee. It dealt with mechanical rights. 'The Committee of Manage- ment decided to take counsel’s opinion on the matter. It was decided to purchase a new type- writer for the Society’s office. A proposal was submitted to the committee by the Independent Music Club, and the secretary was instructed to state that the com- mittee regretted they were unable to accept it. Letters were read from the Foreign Office on the question of copyright in India, and from the Society’s lawyer in New York on the ques- tion of copyright in the United States. Votes of thanks were passed to the following members for donations to the Capital Fund of the Society: Mr. Arnold Bennett, £10; Edward Carpenter, £3; Philip Hubbard, 10s. 6d. 4 Dramatic SuBp-CoMMITTEE. Tuer Dramatic Sub-Committee met at the Society’s offices on Friday, March 20. After reading the minutes the secretary reported that he had heard from Mr. Fladgate, the solicitor of the Society of West End Managers, in regard to the settlement of the Managerial Treaty, and that the question had been referred to Mr. Gatti and himself for dis- cussion. The secretary further reported that he had seen Mr. Gatti, and it was probable that the report would be laid before the next meeting of the sub-committee. The question of the conference to be held at the Society’s offices to discuss matters con- nected with the use of titles by film manu- facturers was mentioned to the sub-committee. Various bodies interested had consented to send delegates to the conference, and it was 185 decided to invite the Society of West End Managers to attend, as well as a representative of the Committee of Management of the Society. The secretary was instructed also to communicate further with the Film Renters’ Association. The agenda for the conference was settled in the following terms :— 1. To consider what joint action could be taken to safeguard (a) Titles. (b) Subject matter. 2. The appointment of a joint board to pro- tect the common interests of authors, manu- facturers, and the film trade generally. The secretary was instructed to send the agenda round to all the bodies which had signified their intention to be present. A cable from the Society’s American agent dealing with film rights was read to the sub- committee, and Mr. Cecil Raleigh reported on transactions which the agent had already carried through on his behalf. It was decided, as soon as Mr. Jordan arrived in England, to call a special meeting of the Dramatic Sub- Committee with a view to a discussion on the sale of cinema rights, as Mr. Jordan had stated that he had some important information to lay before the sub-committee. Mr. Raleigh then reported the action of the Society in regard to ‘Sealed Orders,’”’ and stated that the Society had obtained an injunction on his behalf, and, at the same time, a payment from the defendants towards the costs. Mr. Raleigh expressed his thanks to the Society for its assistance. A proposal to raise a fighting fund for sup- port of dramatic cases was carefully considered. It seemed clear that there were so many issues to be considered that it would be necessary to appoint a sub-committee for the purpose. Mr. Shaw, Mr. Raleigh and Mr. Chambers consented to serve. It was decided to have a meeting as early in May as possible. As the matters before the sub-committee had taken a considerable time to discuss it was decided to adjourn the general discussion on agents to another meeting. The Society’s representative who was to attend the Cinematograph Conference in Paris regretted he had been unable to do so. Two cases were then considered. The first was in relation to a contract carried through by the Society’s agent in Holland. The sub-committee instructed the secretary to write to the member concerned to the effect that it was important that action should betaken, andtothechairmanofthe Com- mittee of Management to get their sanction, 186 subject to the member’s consent to action being taken. o Another question arising out of a dispute on accounts was discussed. On_ the facts before them, the sub-committee did not con- sider that, at the present time, it was necessary to appoint an accountant to investigate the accounts. — Composers’ SuB-COMMITTEE. Tur Composers’ Sub-Committee met at the offices of the Society on Saturday, March 14, at eleven o’clock. After the minutes of the previous mecting had been signed, the secre- tary read counsel’s opinion that had been obtained, with the sanction of the Committee of Management, on a question arising under section 19 (7) (c) of the Copyright Act, 1911. The question related to rights assigned to publishers before the passing of the Act of 1911. The opinion, which was obtained from Mr. E. J. MacGillivray, was a very interesting one. The next question dealt with the matter of publishers’ contracts. The secretary reported that he had received no answer to two letters he had written to the Music Publishers’ Association. He was instructed to write again and to press for a reply. The secretary then drew the attention of the sub-committee to the fact that Messrs. Chappell & Co. were now manufacturing mechanical instrument contrivances, and put forward the suggestion that, as they were making a profit as manufacturers of these contrivances, they might not now think it necessary to share in the composers’ fees. The sub-committee then discussed the question of publishers’ accounts. The secre- tary explained the difficulties, both financial and other, of putting in a chartered accountant to check the accounts regularly. The sub- committee were agreed that if any concrete case came before them where the accounts appeared to be inaccurate, they would advise the Committee of Management to place in an accountant. The matter was adjourned to the next meeting for further consideration. —_+—— Tue Pension FunNpD COMMITTEE. The Pension Fund Committee met at the offices of the Society on Tuesday, March 3. After reading the minutes of the last meeting the secretary made a full report of THE AUTHOR. the position of the fund. He stated that the trustees had invested the sum of £350 in the purchase of Great Eastern Railway Ordinary Shares, and that, after consideration of the income of the fund, had declared to the committee that a further sum of £40 could be used for pensions. The committee formally approved the in- vestments of the trustees for 1913 and 1914. The secretary then reported that Mrs. Francis Marshall, who is at present receiving a pension from the Society, had applied for an increase. After due consideration, and subject to certain conditions, the committee decided to increase the pension by an amount of £15 per annum, bringing the total pension up to £40 per annum. — a Cases. DurineG the last month the secretary has been very busy with cases coming into the office and, in addition to matters which it has been necessary to place in the hands of the solicitors of the Society when immediate legal action was imperative, has dealt with twenty- two cases. They may be catalogued as follows :— 8 claims for the return of MSS. ; 6 claims for money ; 3 claims for accounts and money ; 2 disputes on agreements ; 1 claim for infringement of copyright ; 1 claim for literary libel ; 1 claim for account. Of the six claims for money, one has been placed into the hands of the Canadian lawyers and one has been placed in the hands of the London lawyers. One will be placed in the hands of the London lawyers in the course of a few days, as no response whatever has been made to the secretary’s letters. One case has been completed and the money has been paid. Of the two remaining cases, one has only recently come to the office, and one lies in the United States. The claims for MSS. have been heavy. They are always difficult to deal with. In only one case has the MS. been collected. In one no answer has been given to the secretary’s letter, and it will most probably have to be placed in the hands of the Society’s solicitors. In two other cases the persons communicated with have promised to make a diligent search and write again. In two of the remaining no answer has been given, and it is very probable THE AUTHOR. from the facts before the secretary that the address of the delinquents being incorrect, it will be impossible to obtain any satisfactory reply. The last two have only recently come to the office. There have been three claims for accounts and money. Two of these are against one publisher. The cases against the firm are adding up so rapidly that it may be necessary to place them into the hands of the Society’s solicitors after conferring with the committee. A letter in reply is still wanting in the third case, but the letter of demand has only just been written. In two eases of disputes on agreements, one has been settled and one is still in the course of negotiation. One claim on infringement of copyright has been settled. One case of literary libel has been placed in the hands of the Society’s solicitors. In a demand for an account, the publisher has written and promised to render it as soon as he can get it out. The settlement of these cases has so far not been very satisfactory, but it is hoped that in the May number it will be possible to report that they have been terminated. The disputes still outstanding from former months have practically all been settled, except those that are in foreign countries, or those which necessarily need lengthy negotiations. March Elections. Comtesse Irma Adel- Villa Riviera, Wies- mann. baden. Miss E. M. Evors Harold J. Flowers Hugo William Koch, (“ Hugo W.’’). F. Beverley Lanyon, (of. B.L.”’). George Morrow . Miss Emily Newling Eille Norwood Ivor Novello Mary O’Conor-Eccles Miss Muriel O’Conor Miss Nancy Margaret Paul. Marshall O. Roberts F. J. St. Aubyn . Hugh Stokes Isabel Thorne . - 187 Lyceum Club, Piccadilly, W. Seagrave Rectory, Loughborough. 44, Doughty Street. London, W.C. Evelyns, Hillingdon, Uxbridge. 15, Penrith Road, Keswick. Little Marlow. Hotel Russell, Dub- lin. 30, Chester Street, Grosvenor Place, S.W. Hazel Rough, Hart- field, Sussex. Easton, Grantham. Lamb Building, Middle Temple, E.C. 77, Welbeck Street, Cavendish Square, W. Burleigh, Tudor Road, Upper Nor- wood, S.E. ee ee BOOKS PUBLISHED BY MEMBERS. A F, Britten Austin 1, Northgate End, i Basil Dean Bishops Stortford, Herts. c/o. Cox & Co., 16, Charing Cross, S.W. 19, Albany Ealing. Penrith New School, Long Lane, Finch- ley, N. Lt. ©. low. A. L. Brown- The Rev. chanan. Miss Frances N. Creaton E. S. Bu- Road, “* Custos” . 10, Abbey Court, Abbey Road, N.W. The Cobbles, Wal- ton - on - the - Hill, Surrey. 6, Portsdown Road, W. 5, Fetter Lane, E.C. Oscar F. Dowson Jack Edwards . David Delta Evans, (‘‘ Dewi Hiraddug ’’). While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members, In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCHAOLOGY. DESCRIPTION OF THE TEST SPECIMEN OF THE RostRo- Cartnate INDUSTRY FOUND BrneatH THE NorwicH Crac. By Sir Ray Lanxester, K.C.B. (Occasional Papers, No. 4.) 11 x 74. 18 pp. Three Plates. The Royal Anthropological Institute of Great Britain and Treland. ARCHITECTURE. A Snort Account of GREAT MALVERNE PRioRY CHURCH. A History of the Monastery and Description of the Fabric. By the Rev. AnTrHony CHARLES Drannz, Vicar of Hampstead, sometime Vicar of Malvern. 74 x 5. 100 pp. (Bell’s Cathedral Series.) Bell. 1s. 6d. n. 188 GREEK SCULPTURE AN delivered to the Stu London. By Sir CHARLES 5}. Press. Our Lapy 208 pp. Arrowsmith. 1s. n. BIOGRAPHY. REMARKABLE WoMEN oF F ~.-CoL. ANDREW 353 pp. Stanley Paul. Lir—E AND WRITINGS. Constable, Is. n. A Personal Study of James By Liev 9 x 5}. ToLsToy, GaRNETT. On THE LEFT oF A THRONE. Duke of Monmouth. By Mrs. Evan NEPEAN. Tilustrations. CHILDREN oF THE DEap Enp. By Patrick MAcGILL. Tue SECRET OF CHARLOTTE BRONTE. Reminiscences of the Real Monsieur and Madame Heger. By Frepertka Macpona.p, D.Litt. 73 x 5}. 263 pp. Jack. Lives AND LeGEenps or EneuisH Sarsts. By L. M. Methuen. 6s. n. 5 By Henry James. 9} 7k x 5. 404 pp. Putnam. 6s. Navvy. SHORTT. Nores or A SON AND BROTHER. x 53%. 479 pp. Macmillan. A Gure to HistoricaL FICTION. D.Litt. Five Puays. Grant Richards. p MoprERN ABT. ; poole gory 4 aoe ay 304 pp. Ward, Lock. 6s. Conbud e University REBECCA OF THE Fetts. By Heten H. Warson. i 8 8 x 5}. 388 pp. Religious Tract Society. RANCE FROM 1431 To 1749. Haaa@arp, D.§.0. 16s. ‘n. By Lorp Dunsany. THE AUTHOR. A Girt rrom Mexico. By R. B. TownsHenp. 7} x 5. ; 314 pp. Methuen. 6s. Two lectures tyre Cason HONEYMOON. By Heapon Hitt. 7} x 5. THe Motor Maip. By C. N. and A. M. Witxramson. 4 r Forniss. 7 X 43. : : By Haray Fuenis 2 309 pp. Tur Man rrom Curpin’s River, on WHERE MEN aRE Mapr. By D. Mactan. (Cheap Reprints.) 7i x 4}. 280 pp. Hodderand Stoughton. 1s. n. each. Tur Para to Honour. By Sypney C. 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Pua@se Maroon. By Mary F. Rapuarr. 7} X 5. 7% x 5. 111 pp. 317 pp. Heath, Cranton, and Ouseley. 6s. SunsHine. The Story of a Pure Heart. By Mary OprensHaw. 7} X 5. 318 pp. Heath, Cranton and EDUCATIONAL. : : Tur Scnootmaster. A Commentary upon the Aimsand ,, Ouseley. 6s. . g Methods of an Assistant-Master in a Public School, GtBERT Ray. By Mrs. E, Hucues-Gins. 7} x 95. By A. ©. Benson. Third Edition. 7} x 5. 173 pp. 331 pp. Heath, Cranton and Ouseley. 65. _ Murray. Gorxe Some. A Romance of Strenuous Affection. By , Rex Beacu. 256 pp. THe Aurar Stairs. By G. B. Tae Brasts, Brrps AND BreEs or Vinci: A NATURALIST’S HANDBOOK TO THE GEORGICS. Royps, M.A., B.D. Fowuer, Oxford. JEHHANE OF THE ForEST. 315 pp. Melrose. Ir Witt se Att Rieu. 336 pp. Hutchinson. Tue Sea Caprain. Methuen. SHREWSBURY. Tar Granp Basyton Horst. Running WATER. 320 pp. THe WHEELS OF CHANCE. Brug Lagoon. 287 pp. 297 PoTTEeR AND CLAY. Biackiaw. By Sr Georce MAxKGILy. ‘THE BRIDGE. Fisher Unwin. By Tuomas FLETCHER With a Preface by W. WarDE 3s. 6d. n. By H. C. Batvey. By Stantey WEYMAN. By Arnotp Brennerr. THe Cuckoo Lams. By H. W. C. Newre. 7} x 5. By A. E. W. Mason. 402 pp. Chatto and Windus. 6s. By H. B. Marriorr WATSON. By Marx Somers. Lancaster. 324 pp. THE Man on THE Box. By H. MaceratH. 231 pp. (Shilling Library.) 74 x 44. Hodder and Stoughton. Is. n. each. Tur Grass Wipow. By DorotHEa GERARD. 318 pp. Toe Grau In Grey. By Curtis York. 318 pp. By L. A. Taupor. 7} x 5. Sevenpenny Editions. J. Long. Tur TRAIL OF THE Sworp. By Sir Gitpert Parker. By Tom Gatton. 7} X 5. 256 pp. Monrezuma’s Davucuter. By H. RipEr Haccarp. 320 pp. (Cheap Reprints.) 6} x 44. 7% x 5. 341 pp. Hodder and Stoughton. 7d. n. each. Tue Enp or Her Honeymoon. By Mrs. BELLoo 356 pp. Lownpes. 7} xX 5. 309 pp. Methuen. 6s. By H. G. Wetts. An Assent HeERo. By Mrs. Frep ReyNorps. Tk x 44. By H. pre VERE Mills and Boon. 6s. 260 pp. THE Proressor’s Legacy. By Ir Was THE Time or Rosrs. By Dorr WYLLARDE. Mrs. ALFRED SIDGWICK. Library.) Tue Fork or Furry Farm. 315 pp. Once Upon A Timez. (The Wayfarer’s 7h x 43. 274 pp. Holden and Hardingham. 6s. ls. n. each. Tue Epucation or Otiver Hypr. By R. E. SaLwey. By K. F. Purpon. 7} x 5. 73 x 5. 288 pp... Digby Long. 6s. Frivote. By Kate Horn. 7} x 4}. 296 pp. Stanley Paul. 6s. Farner O’Fiynn. By H.pe Vern Sracroore. 7} x 4}. 7h x By Mrs. StanLey WRENCH. 7} X 5. 245 pp. Hutchinson. Is. n. ; Tur AMAZING PARTNERSHIP. By E. Puiiiips OPPENHEIM. 74x 5. 483 pp. 72 x 5. 312 pp. Cassell. 3s. 6d. Tun Essex Papers. By C. E. Pru. 7kx 5. 352 pp. A Free Hanp. By Heren C. Ropurts. 74 X 43. 322 pp. Duckworth. 6s. ' i i THE AUTHOR. 189 LITERARY. An ENGLISHMAN Looks aT THE WoRLD. By H. G. WELLS. 8} x 54. 357 pp. Cassell. 6s. n. THs Derenpant. By G. K. Caesrerron. (The Way- farer’s Library.) 7 x 43. 172 pp. Dent. 1s. n. THE TRUTH ABOUT AN AuTHOR. By ARNOLD BENNETT. 62 x 44. 158 pp. Methuen. 2s. 6d. n. MILITARY. With tHe Turk in Wartime. By Marmaduke PIcK- THALL. § x 54. 216 pp. Dent. 5s. n. MUSIC. BuLuEBEARD. A Musical Fantasy. By Kate Dovcias Wiccin. 7 xX 4}. 58 pp. Harper. 2s. n. ORIENTAL. Tue Earty DEVELOPMENT oF MoHAMMEDANISM. Lec- tures delivered in the University of London, May and June, 1913. By D. Marcorrouts, D.Litt., Laudian Professor of Arabic in the University of Oxford. (The Hibbert Lectures, Second Series.) 83 x 5}. 265 pp. Williams and Norgate. 6s. n. PAMPHLETS. Immunity oF Sra-BorNE CoMMERCE FROM CapTuRE. By M. Pures Price. National Peace Council. 1d. POETRY. Darts oF Derrance. Sonnets and other Poems. By B.A. Mtecn. 7} 5. 110 pp. Lynwood. 2s. 6d. n. POLITICS. Home Rute anp Crviz War. An Appeal to the British People. By Esmé WINGFIELD-StRaTFoRD. 7} x 4}. 120 pp. Bell. 1s. n. REPRINTS. A Cuancep Man. Tue Waitinc Supper, &c. By Tuomas Harpy. Wessex Edition, Vol. XVIII. 9 x 53. 399 pp. Macmillan. 7s. 6d. n. Views AND Reviews. Essays in Appreciation. By W. E. Henvey. Literature. 7 x 44. 235 pp. Third Edition. Nutt. 5s. n. SCIENCE. Wrretess TeLtecrapHy. A Handbook for the Use of Operatorsand Students. By W.H.Marcuant. 74 x 5. 241 pp. Whittaker. 5s. n. SOCIOLOGY. Lup Makers AND CLUB Members. By T. H.S. Escort. 9 x 53. 352 pp. Fisher Unwin. 12s. n. Waite Suaves or Tom. By W. N. Wiis. 7} x 5. 208 pp. Pearson. Is. n. Lire-THEORY AND SocraLism. Essays by O. C. Ironsipe. 7 x 43. 96 pp. Milner. 6d. THEOLOGY. Some Counssts or S. Vincent De Pau, to which is appended the Thoughts of Mademoiselle le Gras (First Superior of the Sisters of Charity). Translated and selected by E. K. Sanpers. 7 x 4}. 144 pp. Heath, Cranton, and Ouseley. 1s. n. JUDAISM AND St. Paut. Two Essays. By C. G. Monre- FIORE. 74 x 5. 240 pp. Max Goschen. 2s. 6d. n. THe Cuurcu RevivaL. Thoughts Thereon and Reminis- cences. By.S. Barina Govunp. 9 x 5}. 407 pp. Methuen. 12s. 6d. n. Tue Winps or Dawn AnD OTHER PARABLES FROM NATURE. By T. Rarcrirre Barnerr. 7} x 5. 87 pp. Nisbet. 2s. n. TRAVEL. Catro or To-Day. A Practical Guide to Cairo and the Nile. By E. Reynoups-Batu. Seventh Edition. 6} x 44. 268 pp. Black. 2s. 6d. n. Tue Istes or Scrtty: Terr Story, THEIR FotK, AND THEIR FLowers. With 24 coloured illustrations by Jessie MorHersoue. Published by R.T.S. at 2s. 6d. n. Se ee LITERARY, DRAMATIC, AND MUSICAL NOTES. + = ‘OTES of a Son and Brother” is the title of Mr. Henry James’s sequel to ““A Small Boy and Others”; a continuation of his early reminiscences, with special reference to his father and to William James, but containing many portraits of other members of the family and the circle. The book is published by Macmillan & Co. at 12s. Volumes XIII. and XIV. of the Bombay edition of Mr. Rudyard Kipling’s works are to be published this month by Macmillan. They will contain “ The Day’s Work ”’ and “ Stalky & Co.” From the same firm of publishers there is to be expected, in May, Mr. H. G. Wells’s work, which is running scrially in the English Review —‘‘ The World Set Free, a Story of Mankind.” The title of Mr. Frankfort Moore’s new book —‘* The Ulsterman ’’—indicates its relation to the question of the hour. Though in the guise of fiction, it presents a serious portrait of the men who have now the eyes of the world upon them (Hutchinson & Co.). Mr. Douglas Sladen’s ‘“‘ Twenty Years of My Life ’’ is announced by Constable & Co. The subject of Mrs. Evan Nepean’s ‘* On the Left of the Throne”’ is the unhappy James, Duke of Monmouth, whom the author tries to see “through the eyes of the two people who knew and loved him better than anyone else in the world, Charles II. and Henrietta Lady Wentworth,” though without idealising him. A feature of the book is the very large number of Monmouth portraits which illustrate it, Mrs. Nepean frankly confessing her pleasure in his good looks (John Lane, 10s. 6d. net). “Children of the Dead End, the Auto- biography of a Navvy” is by Mr. Patrick MacGill, who in a foreword says that most of his story is autobiographical, but asks a little allowance for the pen of the novelist. Ireland 190 and Scotland provide the scene of the greater part of the book, there is a short interlude in Fleet Street, and the story ends tragically in Glasgow (Herbert Jenkins). : ( “Ravenna” is a geographical, historical, and critical study of the great Italian city which the author, Mr. Edward Hutton, calls the only remaining monument of the Dark Age—the period between Antiquity and the Middle Age (Dent, 10s. 6d. net). : Mr. Ernest A. Baker’s ‘‘ Guide to Historical Fiction” (Routledge, 21s. net) follows the lines of his ‘‘ Guide to the Best Fiction in English,” and is much more than an enlargement of his earlier ‘‘ History in Fiction,” we are told. The second section of Dr. Edwin A. Abbott’s work, ‘‘ The Fourfold Gospel,”’ has been issued by the Cambridge University Press at 12s. 6d. net. It is part of the close and voluminous examination of the text of the Christian Gospels and its interpretation, on which Dr. Abbott has long been engaged. Dr. Charles Sarolea is the editor of the Collection Gallia” (Dent & Sons), the object of which is to spread the best French literature at a low price throughout the world. The first volumes include works by Balzac, Flaubert, Pascal, de Musset, etc. To the volume ‘‘ With Hunter, Trapper and Scout in Camp and Field”’ a story entitled “War Scouts at Tripoli” is contributed by Miss Ena Fitzgerald (Holden and Hardingham, 5s. net). ‘Simplified Spelling,” described as an appeal to common sense, is the third edition of a paper-covered booklet issued by the Simplified Spelling Society—as it spells itself on cover and title-page. Professor Gilbert Murray is the President—or Prezident—of the reformers. Four reprints of Miss Belham-Edwards’ works have appeared within the last few months, notably that of her first novel, ‘‘ The White House by the Sea” (1857), lately republished by Baron Tauchnitz and Collins, Glasgow, and ‘“‘ The Lord of the Harvest ” (1889), added to the Oxford Press ‘‘ World’s Classics,” 1918, with a preface by Mr. Frederic Harrison. The same writer’s ‘ Pearla ’’—published simultaneously in London, Leipzig and New York (Harper) in 1881—was lately re-issued in Arrowsmith’s tasteful 1s. novel series, and the seventh and popular edition of her “* Home Life in France’ has just appeared from the house of Methuen. A new edition (among others forthcoming) of a very early novel will also be published shortly THE AUTHOR. This is ‘‘ Doctor Jacob,” the proofs of which were corrected by the author on the wedding day of Edward VII. and Queen Alexandra, March 10, 1868, and which was published the following year. The book went out of print with the “ yellow- backs ’’ in 1894 or thereabouts, but has since by a famous house. been often reprinted by Baron Tauchnitz. It will be seen, therefore, that this early Victorian has no reason to complain of neglect by Georgian publishers and readers. “* Acute General Miliary Tuberculosis ”’ is the name of a work by Professor G. Cornet, of Berlin and Reichenhall, translated by Mr. F. S. Tinker, late Senior Resident and Oph- thalmic Assistant to the Royal Infirmary, Liverpool (Bale, Sons, and Danielsson, 6s. net). A sevenpenny edition of Mr. Charles. Garvice’s ‘‘ Better than Life ’’ was published last month by Hodder and Stoughton. K. L. Montgomery’s forthcoming romance, ‘“* Kars of Leather,’ will be published by John. Long, Ltd. ‘‘ Ears of Leather” deals with the witch persecutions of Massachusetts in 1692, which the historian Lecky has styled “one of the tragedies of humanity.” K. L.. Montgomery has been recently engaged on a series of articles on North Italian cities, for: The Car Illustrated. Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe Maroon,”’ a story dealing with the life of an artist’s model, was published last month by Heath, Cranton, and Ouseley. Mrs: F. R. M. Fursdon’s novel, ‘‘ The Story of Amanda,’ will be published in May by Simpkin, Marshall, Hamilton, Kent & Co. The prologue gives Amanda’s peculiar parent-- age; and the book, her transitions from childhood in the slums of a provincial city to life in a big country house during a General Election. Mr. G. B. Lancaster’s earlier stories of the South Seas, ‘‘ Sons 0’ Men” and ‘“‘ The Altar Stairs,” have been published in a shilling edition by Hodder and Stoughton, who are bringing out a third, “‘ The Spur,” later in the year. The new number of Poeiry and Drama,. edited by Mr. Harold Monro, includes poems by Messrs. Maurice Hewlett, Ezra Pound, etc. The Poetry Bookshop, which publishes this quarterly, has issued a shilling anthology of the Italian Futurist poets, compiled by Mr.. Monro. The spring announcements of Constable &. Co. include “‘ Cuddy Yarborough’s Daughter,” by Miss Ura L. Silberrad; ‘‘ Dust from the- THE AUTHOR. Loom,” by Mr. James Noble; and a second impression of ‘‘ The Making of an Englishman,”’ by Mr. W. L. George. Miss Beatrice Chase’s Devonshire novel, **The Heart of the Moor,” has appeared with a prefatory note by the publisher, Mr. Herbert Jenkins, who explains how not only his four expert readers, but he himself, were compelled to defer their opinions to the author’s with regard to the book. Miss Jean Middlemass’s new serial, ‘‘ His Lordship’s Will,” is to appear in the news- papers connected with the National Press Agency next year. K. M. Edge (Mrs. Caulfield) has published her novel “Through the Cloudy Porch” through John Murray. Mrs. Helen H. Watson’s ‘‘ Rebecca of the Fells,’’ published by the Religious Tract Society, opens on the Lancashire Fells, whence the reader is taken to British Columbia. The same author’s “* When the King Came South,”’ is being added to the Leisure Hour Monthly Library (6d.). Mr. Edward Wilmore, author of ‘“ East London Visions,’’ has a new book, ‘‘ Scril, a Story of the Stone Age ” (Longmans, Green & Co., 1s.). ‘** Miss Rossiter’s Reputation,”’ being an ex- posure of the narrowness and bigotry of English provincial life, by Mr. E. Newton Bungay, is to be published next month by Lynwood & Co. Mr. John Haslette, who has a serial running in the Daily News, has written a novel, which will be published this spring by Messrs. Smith, Elder & Co. The title is ‘‘ Johnnie Maddison,”’ and the story deals with a man’s struggle against the convention which holds that a man should not “ tell on ”’ a friend. Mrs. R. E. Salwey’s new novel is the story of a youngster, well placed in life, and en- dowed with great physical strength, who puts his instructors to flight by intimidation. Eventually the right man takes him the right way. The education lasts one day; after that it is self-education, and the real goodness of the hero’s nature comes out (Digby, Long & Co., 6s.). A new novel, entitled ‘“‘ Megan of the Dark Isle,” by Mrs. J. O. Arnold, author of ‘‘ The Fiddler,” ete., will shortly be published by Alston Rivers. The scene is laid in the Island of Anglesey. Early this month is to be published a monthly magazine, The Photo-Play Writer, aiming to give practical information to both beginners and experts in the rapidly increasing 191 body of British authors writing plays for the picture theatres. The editor is Mr. Ernest A. Dench, and the magazine may be obtained from 17, Frederick Crescent, Brixton, by subscription only. A new (acting) version of I. Hearne’s play “Queen Herzeleid,’’ is being published this month under the title of “The Mother of Parsifal ”’ (David Nutt). There will be a long Elizabethan poem by Dorothy Margaret Stuart in the May Pall Mall Magazine, entitled “Spring in the South Seas, 1572.” Messrs. Methuen are publishing early in April a sezies of letters written by Miss Grace Ellison, and entitled ‘‘Life in a Turkish Harem.” DRAMATIC. ** The Quod Wrangle,”’ a farcical comedy by Mr. Oliphant Down, was presented at the Apollo Theatre on March 38. Mr. Seymour Hicks’s one-act musical play, ‘*The Model and the Man” was put on as curtain-raiser at the Prince of Wales’s Theatre on March 4. The first performance of Mr. Alfred Sutro’s new comedy, “‘ The Two Virtues,” took place at the St. James’s Theatre on March 5. On March 10 Mr. Edward Knoblauch’s ** ¥ismet ”’ was revived at the Globe Theatre. ‘* After Twenty Years,’’ a short sketch by Miss Cicely Hamilton, was seen at the Coronet Theatre on March 12, the author herself taking the part of the mother. Two afternoon performances took place at the Court Theatre on March 27 and 80 of a play founded by Mr. H. J. Twyford on Mrs. Charlotte Mansfield’s ‘“* The Girl ana the Gods.” ‘* Helen with the High Hand,” Mr. Richard Price’s adaptation of Mr. Arnold Bennett’s novel, was visited last month by the celebrated ‘* deportes ’’ from South Africa. Mr. Bernard Shaw’s ‘‘ Pygmalion” is in rehearsal at His Majesty’s Theatre, and the first night is fixed for the 11th instant. Mrs. Percy Dearmer’s “‘ Brer Rabbit: a Musical Frolic ”’ is to be seen at five matinées at the Little Theatre, commencing on Easter Monday. Sir Edward Elgar will this summer lay the foundation stone of the Glastonbury Festival Playhouse, which is to be built primarily for British music-drama, including the Arthurian eycle, composed and written by Messrs. Reginald R. Buckley and Rutland Boughton. ‘** Caprice ’’ by Mrs. V. C. Greenaway is the title of a one-act play which was produced by 190 and Scotland provide the scene of the greater part of the book, there is a short interlude in Fleet Street, and the story ends tragically in Glasgow (Herbert Jenkins). : “Ravenna” is a geographical, historical, and critical study of the great Italian city which the author, Mr. Edward Hutton, calls the only remaining monument of the Dark Age—the period between Antiquity and the Middle Age (Dent, 10s. 6d. net). Mr. Ernest A. Baker’s ‘‘ Guide to Historical Fiction ” (Routledge, 21s. net) follows the lines of his ‘‘ Guide to the Best Fiction in English,” and is much more than an enlargement of his earlier ‘‘ History in Fiction,”’ we are told. The second section of Dr. Edwin A. Abbott’s work, ‘‘ The Fourfold Gospel,” has been issued by the Cambridge University Press at 12s. 6d. net. It is part of the close and voluminous examination of the text of the Christian Gospels and its interpretation, on which Dr. Abbott has long been engaged. Dr. Charles Sarolea is the editor of the «Collection Gallia’? (Dent & Sons), the object of which is to spread the best French literature at a low price throughout the world. The first volumes include works by Balzac, Flaubert, Pascal, de Musset, etc. To the volume ‘‘ With Hunter, Trapper and Scout in Camp and Field”’ a story entitled ‘‘War Scouts at Tripoli” is contributed by Miss Ena Fitzgerald (Holden and Hardingham, 5s. net). ‘Simplified Spelling,” described as an appeal to common sense, is the third edition of a paper-covered booklet issued by the Simplified Spelling Society—as it spells itself on cover and title-page. Professor Gilbert Murray is the President—or Prezident—of the reformers. Four reprints of Miss Belham-Edwards’ works have appeared within the last few months, notably that of her first novel, “* The White House by the Sea” (1857), lately republished by Baron Tauchnitz and Collins, Glasgow, and ‘‘ The Lord of the Harvest ”’ (1889), added to the Oxford Press ‘* World’s Classics,” 1918, with a preface by Mr. Frederic Harrison. The same writer’s ‘* Pearla ’—published simultaneously in London, Leipzig and New York (Harper) in 1881—was lately re-issued in Arrowsmith’s tasteful 1s. novel series, and the seventh and popular edition of her “‘ Home Life in France”’ has just appeared from the house of Methuen. A new edition (among others forthcoming) of a very early novel will also be published shortly THE AUTHOR. by a famous house. This is “‘ Doctor Jacob,” the proofs of which were corrected by the author on the wedding day of Edward VII. and Queen Alexandra, March 10, 1863, and which was published the following year. The book went out of print with the “ yellow- backs ”’ in 1894 or thereabouts, but has since been often reprinted by Baron Tauchnitz. It will be seen, therefore, that this early Victorian has no reason to complain of neglect by Georgian publishers and readers. ** Acute General Miliary Tuberculosis ”’ is the name of a work by Professor G. Cornet, of Berlin and Reichenhall, translated by Mr. F. S. Tinker, late Senior Resident and Oph- thalmic Assistant to the Royal Infirmary, Liverpool (Bale, Sons, and Danielsson, 6s. net). A sevenpenny edition of Mr. Charles. Garvice’s ‘‘ Better than Life’ was published. last month by Hodder and Stoughton. K. L. Montgomery’s forthcoming romance, ‘‘ Ears of Leather,” will be published by John. Long, Ltd. ‘‘ Ears of Leather” deals with. the witch persecutions of Massachusetts in 1692, which the historian Lecky has styled ‘‘one of the tragedies of humanity.” K. L.. Montgomery has been recently engaged on a series of articles on North Italian cities, for The Car Illustrated. Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe Maroon,”’ a story dealing with the life of an artist’s model, was published last month by Heath, Cranton, and Ouseley. Mrs: F. R. M. Fursdon’s novel, “* The Story" of Amanda,” will be published in May by Simpkin, Marshall, Hamilton, Kent & Co. The prologue gives Amanda’s peculiar parent-- age; and the book, her transitions from childhood in the slums of a provincial city to life in a big country house during a General Election. Mr. G. B. Lancaster’s earlier stories of the South Seas, ‘‘Sons 0’ Men” and “ The Altar Stairs,” have been published in a shilling: edition by Hodder and Stoughton, who are bringing out a third, “‘ The Spur,”’ later in the year. The new number of Poetry and Drama,. edited by Mr. Harold Monro, includes poems by Messrs. Maurice Hewlett, Ezra Pound, etc. The Poetry Bookshop, which publishes this quarterly, has issued a shilling anthology of” the Italian Futurist poets, compiled by Mr.. Monro. The spring announcements of Constable &: Co. include *“* Cuddy Yarborough’s Daughter,” by Miss Ura L. Silberrad; ‘‘ Dust from the- THE AUTHOR. Loom,”’ by Mr. James Noble; and a second impression of ‘‘ The Making of an Englishman,”’ by Mr. W. L. George. Miss Beatrice Chase’s Devonshire novel, “The Heart of the Moor,” has appeared with a prefatory note by the publisher, Mr. Herbert Jenkins, who explains how not only his four expert readers, but he himself, were compelled to defer their opinions to the author’s with regard to the book. Miss Jean Middlemass’s new serial, ‘‘ His Lordship’s Will,” is to appear in the news- papers connected with the National Press Agency next year. K. M. Edge (Mrs. Caulfield) has published her novel “Through the Cloudy Porch” through John Murray. Mrs. Helen H. Watson’s ‘‘ Rebecca of the Fells,’ published by the Religious Tract Society, opens on the Lancashire Fells, whence the reader is taken to British Columbia. The same author’s ‘‘ When the King Came South,” is being added to the Leisure Hour Monthly Library (6d.). Mr. Edward Wilmore, author of ‘* Kast London Visions,’’ has a new book, “ Scril, a Story of the Stone Age ’’ (Longmans, Green & Co., ls.). ‘* Miss Rossiter’s Reputation,”’ being an ex- posure of the narrowness and bigotry of English provincial life, by Mr. E. Newton Bungay, is to be published next month by Lynwood & Co. Mr. John Haslette, who has a serial running in the Daily News, has written a novel, which will be published this spring by Messrs. Smith, Elder & Co. The title is ‘‘ Johnnie Maddison,”’ and the story deals with a man’s struggle against the convention which holds that a man should not “ tell on ”’ a friend. Mrs. R. E. Salwey’s new novel is the story of a youngster, well placed in life, and en- dowed with great physical strength, who puts his instructors to flight by intimidation. Eventually the right man takes him the right way. The education lasts one day; after that it is self-education, and the real goodness of the hero’s nature comes out (Digby, Long & Co., 6s.). A new novel, entitled ‘“‘ Megan of the Dark Isle,” by Mrs. J. O. Arnold, author of ‘‘ The Fiddler,’ etc., will shortly be published by Alston Rivers. The scene is laid in the Island of Anglesey. Early this month is to be published a monthly magazine, The Photo-Play Writer, aiming to give practical information to both beginners and experts in the rapidly increasing 191 body of British authors writing plays for the picture theatres. The editor is Mr. Ernest A. Dench, and the magazine may be obtained from 17, Frederick Crescent, Brixton, by subscription only. A new (acting) version of I. Hearne’s play *“ Queen Herzeleid,”’ is being published this month under the title of ‘‘ The Mother of Parsifal ’’ (David Nutt). There will be a long Elizabethan poem by Dorothy Margaret Stuart in the May Pail Mall Magazine, entitled “Spring in the South Seas, 1572.” Messrs. Methuen are publishing early in April a sezies of letters written by Miss Grace Ellison, and entitled ‘‘Life in a Turkish Harem.” DraMatTIc. ‘** The Quod Wrangle,”’ a farcical comedy by Mr. Oliphant Down, was presented at the Apollo Theatre on March 3. Mr. Seymour Hicks’s one-act musical play, ‘The Model and the Man” was put on as curtain-raiser at the Prince of Wales’s Theatre on March 4. The first performance of Mr. Alfred Sutro’s new comedy, “ The Two Virtues,” took place at the St. James’s Theatre on March 5. On March 10 Mr. Edward Knoblauch’s ‘** }fismet ”’ was revived at the Globe Theatre. ** After Twenty Years,’’ a short sketch by Miss Cicely Hamilton, was seen at the Coronet Theatre on March 12, the author herself taking the part of the mother. Two afternoon performances took place at the Court Theatre on March 27 and 30 of a play founded by Mr. H. J. Twyford on Mrs. Charlotte Mansfield’s ‘“* The Girl ana the Gods.”’ ‘** Helen with the High Hand,” Mr. Richard Price’s adaptation of Mr. Arnold Bennett’s novel, was visited last month by the celebrated ‘* deportes ’’ from South Africa. Mr. Bernard Shaw’s ‘“ Pygmalion” is in rehearsal at His Majesty’s Theatre, and the first night is fixed for the 11th instant. Mrs. Percy Dearmer’s ‘‘ Brer Rabbit: a Musical Frolic ’’ is to be seen at five matinées at the Little Theatre, commencing on Easter Monday. Sir Edward Elgar will this summer lay the foundation stone of the Glastonbury Festival Playhouse, which is to be built primarily for British music-drama, including the Arthurian cycle, composed and written by Messrs. Reginald R. Buckley and Rutland Boughton. ‘** Caprice” by Mrs. V. C. Greenaway is the title of a one-act play which was produced by 192 West End Productions, Limited, on March 11, at the London Pavilion. The play deals with the action of a young wife who leaves her cold- hearted husband for a warm-hearted lover, ‘only to discover that she loves her husband better than she had imagined, and eventually returns to him. Musica. Messrs. Curwen & Sons have published “A Federal Song ” for unaccompanied chorus, written by Mr. Reginald R. Buckley and composed by Mr. Edgar L. Bainton. ‘Men of Ulster ” is the name of a new song, of which both the words and the music are by Mr. Rowland R. Gibson. —————01— > o__—_ PARIS NOTES. ras a A REVOLTE des Anges ”’ is the title of the book just published by Anatole France. its thirty-third edition. “‘Chyistianisme et Culture Féminine,” by Lucie Félix-Faure Goyau, is a volume pub- lished since the death of this author. It contains a series of chapters on various subjects and, as we are told in the preface by her husband, had Madame Goyau been spared, we should probably have had another chapter forming a general study of the subjects treated in this volume. The first five chapters are devoted to the history of Radegonde, the romantic story of the young girl who was married against her wish to Clotaire, and who, after the murder of her brother by her husband, took refuge in a convent. Madame Goyau shows us, in these chapters, the culture of convent women in the sixth century, and we see in Radegonde the earliest of the women poets of France. ‘The next ten chapters treat of the culture of women of the Middle Ages. The first French authoress was Dhuoda, Duchess of Aquitaine, who wrote a book for her sons, inspired as she was by great grief, after having her second son taken away from her by her husband and not being allowed to know by what name the child was to be called. Dhuoda died in 1843. Madame Goyau gives us many examples, showing the remarkable culture of women in the Middle Ages and during the Renaissance. The second part of this volume is devoted to the mysticism of women and, in the last chapters, we have a remarkable study of Juliane of Norwich, an English recluse of the It is already in THE AUTHOR. fourteenth century. The whole volume is written with that scholarly precision and conscientiousness which were always such marked features of this author’s works. Thanks to her knowledge of foreign languages, Madame Goyau was able to draw her examples from many sources. She was a great optimist and a gifted psychologist. On closing the book, one can only regret the ‘“ unwritten chapter,” which was to have united all these separate studies. a After ‘‘ Napoléonette,”’ Gyp gives us another of her historical novels: ‘‘ La Dame de Saint- Leu.” Her documentation is as fictitious as her fiction, but Gyp’s dialogue is always amusing. English readers will recognise in the Baronne de Feuchéres, the famous Sophie Dawes, that English adventuress about whom so much has been written. Napoléonette reappears in this novel, but she is now the mother of four boys. Gyp’s story begins in 1824, and her chief personage is the last of the Condés, the Duc Louis-Henri-Joseph de Bourbon, who is found dead in his room at Saint-Leu a few weeks after the July revolu- tion of 1830. It will be as well for foreign readers to remember that the book is fiction and not history. ‘““ Nous, les méres,”’ the new novel by Paul Margueritte, is a story very true to life. It is the eternal history of a devoted mother who sacrifices her whole existence to her husband and children. When, as a widow, she might expect some return from her children for her devotion to them, her daughter is with her husband in Russia, and her son and daughter - in-law expect from her the last sacrifice possible. ‘To save their honour, she sells her home and retires to a little house in the country to live out the rest of her lonely life. With all the delicacy of a clever psychologist, Paul Margueritte tells this story simply and shows us all the pathos and reality of it. “Le Monde des Aveugles,” par Pierre Villey, is a valuable addition to the Bibliotheque de Philosophie Scientifique. It is written by a man who is blind and who, in spite of this terrible affliction, pursues his studies, is extremely intellectual, and has given to the world the result of his valuable historical researches. M. Villey writes on the subject of the intelligence and the psychology of the blind man. He shows us how the other senses should be educated and rendered capable to compensate, in a certain measure, for the lack of the visual sense. The author shows us how it is possible for blind men to be interested in travel, in nature, and in all the arts except : THE AUTHOR. painting, so that it is quite possible for them to earn their living and to take their place in “the world. The book is extremely interesting and should be widely read. “‘Le Bourgeois aux champs,” by M. Bricux, is being played at the Odéon. A retired barrister, who is a Socialist, buys an estate and endeavours to introduce new ideas in the country. The villagers have very little faith in his innovations. Disappointed on every side, the would-be Socialist decides to enter Parliament. M. Brieux expresses, by his various personages, his opinions on the political and social problems of our times. The ‘‘ Little English Theatre ’’ is mecting with great appreciation here, and Mr. Philip Carr may be congratulated on his venture. Two of Synge’s plays and one_ of Bernard Shaw’s drew a large public. M. Poincaré requested that a box might be reserved for him, the American Ambassador and his family occupied another one, and the Dowager Duchess d’Uzés a third. Among those present were Monsicur and Madame Boutroux, the Marquise de Ségur and many notabilities of the French literary world. Axrys HAaiarp. “La Révolte des Anges”? (Calmann-Levy). “ Christianisme et Culture Féminine” (Perrin). “ Napoléonette” (Calmann-Levy). “ Nous, les méres” (Plon). “Le Monde des Aveugles” (Flammarion). —__—_+—_>_+____—__- PUBLISHERS’ METHODS. DEFERRED ROYALTIES. N the early days of the Society it was by no means an uncommon practice for publishers to purchase authors’ works outright for a lump sum. Indeed, the practice, though less prevalent than it once was, still obtains, especially in con- nection with a certain class of book—notably children’s. It is not a method of publication to which any author should assent, first, because it is almost impossible for him to estimate the value of his work beforehand; and, secondly, because under it he loses practically all control over his work, which the purchaser may hold up or publish according to his own convenience, and in many cases to the great: inconvenience of the author. Old books, with the copyright of which their authors have parted, have, before now, been known to re-appear on the market in time to damage the sale of the writer’s more mature work. But it is rather with financial considerations 193 that we would deal in this article. Given a° royalty agreement, the author is able, if he seeks the advice of the Society, to insure getting a share in the success of his work, if such success, in the form of large sales, awaits it. Unfortunately there are both good and bad royalty agreements, and those latter royalty agreements are often deferred royalty agreements. Under a deferred royalty | agreement the author may—in practice, very often does—get nothing. ‘This method of pub- lishing is not uncommon. ‘Though a suit- able arrangement can be come to on the deferred royalty basis, still,,in nine cases out of ten, the contract is to the disadvantage of the author. The publisher, eloquent on the subject cf the risk incidental to the publication, persuades the author to let him have the first 500, 750, or even 1,000 copies of his book “free of royalty.” To make the agreement fair, after these sales the author ought to have a proportionately higher royalty and the publisher less profit, because he has recovered his outlay, and there is no further risk to be run. After that number has been sold, the author receives 10 per cent., 124 per cent., or even 15 per cent. Somehow or other the book seldom sells beyond the number on which no royalty is payable, and the larger the number free of royalty the less likelihood is there of an increasing sale; indeed, one publisher who had the free sale of 1,000 copies, printed that number and then broke up the type. But even if he had printed more than the number free of royalty, it does not then follow that the author will receive anything. For example, assuming 750 is the number on whicn the publisher pays no royalty, he will print an edition of 1,000 copies. After the 750 copies have been sold, he will discover that the sale is beginning to drop. Deducting the review copies (say 100) the publisher is left with 150 copies on hand. If he is to sell these at the full published price, he may have to incur additional advertisement expendi- ture from his point of view quite incommensurate with the returns from the sales. Rather than do this, he sells the book as a “ remainder,” interpreting the term ‘ remainder sale” to cover any sale at less than what he calls “the usual trade terms,” and by a clause he has been careful to insert in the agreement, pays the author 5 per cent. on the nett proceeds. It may often pay the publisher to sell the book thus cheaply, rather than to sell it at “the usual trade terms,” with the obligation to pay the author the royalty mentioned in the agree- ment. But if the publisher has put the author's royalty after the free sales as high as 20 per cent. or 25 per cent., the temptation to remainder the book is obvious. In short, what the publisher loses by selling the book as a “remainder” he 194 may easily recover at the expense of the author's royalty. This does not necessarily happen; much must depend upon the publisher, and the aphorism <* business is business,’ undergoes different inter- pretation at different hands. However, an agreement has been brought to the Society providing for a royalty even more deferred than has been indicated by the figures above. The clause runs :— ‘All copies sold of the said work within twelve months of the date of publication shall carry no royalty to the author, but on all copies sold after the expiration of the first twelve months after publication the publisher agrees to pay to the author and the author agrees to accept a royalty of . . . of the nominal published price on sales of the 6s. edition. and a royalty of 7% per cent. of the nominal published price on the sales of any cheaper edition or editions.” Now all publishers assert that the largest sales of a novel occur either on subscription before publication, or within the first four months after publication. Most publishers will inform an author that a book is dead at the end of six months, and all publishers will inform an author that the ordinary novel is dead at the end of twelve months, unless for some special reason the vitality of a book carries it forward for two or three years, or, perhaps, even longer. Therefore, when a publisher puts a clause of this kind into an author’s agreement, he must know that to all intents and purposes he is asking the author to give him the book for nothing, and most publishers, if they were asked to answer on oath in the witness-box, would corroborate this statement. It is quite true that if the author desires to give the publisher his work for nothing, there is nothing to prevent him from doing so, but it is a question as to how far, when a pub- lisher inserts such a clause in his agreement, he is bound to explain the effect of it to the author —to the author who is most probably ignorant of the fact that the ordinary novel is dead in six months. But there is this further difficulty, that the authors’ and the publishers’ interests are not in common ; that there is no stimulus whatever for the publisher to push the book beyond the first twelve months if it has had anything like an ordinary sale. In fact there is every reason why he should not do so. A publisher’s object is naturally to turn over his capital, and to make a percentage on it; when this object has been obtained, it may often be good tactics to take the book off the market, to make way for new books that are constantly coming forward. It is often more remunerative for the publisher to act thus than to expend labour in pushing the author's work into another edition of 1,000 or 2,000 copies. THE AUTHOR. THE U.S.A. AND CUSTOM DUTIES. Boarp oF APPRAISERS HOLDS THAT THE Royatty ON Booxs ImportTeD IN SHEETS 1s Not Part oF THE ForEIGN MARKET VALUE. Tr an important test case standing in the name of E. B. Dutton & Co., the Board of United States General Appraisers rendered a decision favourable to the Dutton Company. The precise question before the Board was whether a royalty of 10 per cent. of the retail price of a bound book was to be included as a part of the foreign market value of the printed unbound sheets of such book. It appeared from the testimony that Dutton & Co. ordered the unbound sheets with the intention of binding the books in the States. The firm also agreed to pay Methuen & Co., the owners of the English copyright, a royalty of 10 per cent. on each book sold, the American selling price of which was fixed at $1.35 per volume. The appraising officers at New York included the 10 per cent. royalty in the foreign market price, and exacted duty accordingly. Dutton & Co. appealed to the reappraisement division of the Board of General Appraisers, where arguments in sup~ port of the importers were made by James F. Curtis, until recently Assistant Secretary of the Treasury Department, in charge of cus- toms, William L. Wemple, Assistant Attorney- General of the Department of Justice appearing for the Government. It was contended by the importers that the royalty being fixed upon the retail price of the finished book, which is more than eight times the price paid for the unbound sheets, is not a part of the foreign market value. Three reasons were adduced in support of the con- tention. The first was that the royalty was not properly payable on the value of the sheets, but upon the value of the retail price of the finished book. The second point was that the royalty did not attach to the sheets and would never become due and payable if the sheets remained unbound after importa- tion; and, thirdly, that the royalty attached only to the finished book, and even then became due and payable only upon the actual sale of the volume by the importers. The decision continues : Appellants further contend, and it is not here disputed, that such sheets are not sold in wholesale quantities in the British Empire, and that therefore there is no wholesale foreign market value in the country from whence Bey THE AUTHOR. imported. They also contend, and neither is this disputed, that such sheets are not sold in wholesale quantities in the United States, and that therefore there is no basis for determining their foreign market value under the last pro- vision in sub-section 11 of section 28 of the Tariff Act of 1909. It is unquestioned that both of these con- tentions are well-founded, and such being the case, there remains only as the basis upon which foreign market value may be deter- mined, the cost of production as provided in the first part of sub-section 11, supra, but then the query presents itself whether there must be added to the cost of production thus ascer- tained the royalty to be paid as hereinbefore set forth. In thus determining the cost of production there is to be included the cost of material, cost of fabrication, all general ex- penses, and expense of preparing and putting up the merchandise ready for shipment, and an addition of not less than eight nor more than fifty per centum of the total cost as thus ascertained. Assuming the cost of the completed sheets to be correctly stated at 34d., it is at once apparent that the entered value was more than sufficient to include all the elements of cost of production as contemplated by the first pro- vision of sub-section 11, swpra, and more than ample to make foreign market value as thus ascertained, unless the royalty to be paid upon the actual sale by the publisher of the bound book is to be included as a part thereof. Our attention is brought to certain cases wherein it has been held by the Board and the Courts that royalties paid by purchasers were properly included in the dutiable value of the merchandise for the reason that the amounts paid as such royalties were parts of the cost. In the case at bar it may hardly be said, we think, that royalty agreed to be paid upon the sale in the United States of the bound book was a part of the purchase price of the unbound sheets; but even though it were we think it does not exactly follow in determining the foreign market value of the sheets that the full amount or even part of such royalty must be included. It is not at all unusual for appraising officers to find the foreign market value of merchandise to be less than the invoice and entered value, and even less than the price actually paid for the merchandise. Such, in fact, may be necessary to a compliance with the law under certain circumstances. Sub-section 10 of the Act of 1909, swpra, imposes upon all appraisers of the United States, and every person who shall act 195 as such, the duty of appraising (any invoice or affidavit thereto or statement of cost, or of cost of production to the contrary notwithstanding) the actual market value and wholesale price of merchandise at the time of exportation to the United States. As has already been stated, unbound sheets similar to those here involved are not sold in wholesale quantities in the country of production and from whence imported, hence resort in determining foreign market value thereof must be had in the pro- cedure laid down in sub-section 10, supra. Although it does not appear in the stenographic report of the proceedings before the Board, it was announced on the hearing that the appraiser in fixing the foreign market value of these sheets was guided and controlled by the directions promulgated by Assistant Secretary of the Treasury Curtis, contained in a depart- ment Circular dated June 7, 1918, which, so far as applicable were as follows : ‘“©(2) That when such books, which are only sold at retail abroad, are imported in sheets, the actual price paid by the pur- chaser, not including the royalty charge, if any, should be taken as the market value for appraisal purposes, provided that in no. instance shall the appraised value be less than 124 per cent. of the foreign published price.” The rule of guidance thus promulgated, and followed, was an arbitrary one, and was of course wholly without warrant in law. It was repugnant to the very plain provisions of the statute, and a foreign value fixed there- under might only by the merest chance be a lawful one. We do not overlook the fact that in some instances the Board has heretofore held that royalties were properly included in the foreign market value, and it may be readily appre- ciated that conditions attending sales in whole- sale quantities of merchandise for consumption in the country of production might be such as to make the royalty part of the selling price, in which ease it should, of course, be included in the appraised value of like merchandise imported into the United States; and it is therefore not our purpose here to overrule any decision of the Board which may be in apparent conflict with the views here imposed. In the case at bar, however, we are satisfied from the detailed facts of the purchase that the royalty to be paid on the bound book after sale in the United States is no part of the foreign value of the sheets, and that the invoice values represent the full foreign value thereof; and for these reasons we sustain the entered value of each of the items. 196 HOW TO USE THE SOCIETY. — 9 1. 7\ VERY member has a right toask for and to receive HK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinarysolicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, sen the document to the Society for examination. ’ 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ee gg WARNINGS TO THE PRODUCERS OF BOOKS. —t——+ — ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, ¢f a proper price can be THER AUTHOR. obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. : (4.) Not to give up American, Colonial, or Continental tights. (5.) Not to give up serial or translation rights, (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides, It isnow possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement. The main points are :-— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the-advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— : C1.) That both sides shall know what an agreement means, (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. eg =e WARNINGS TO DRAMATIC AUTHORS. EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date . and for proper publication of his name on the play-bills, , id |. play are distinct from literary copyright. Bis « (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (‘.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is -| better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should sd be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7, Authors should remember that performing rights in a A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —— oe REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. 1+ CENARIOS, typewritten in duplicate on foolscap paper S forwarded to the offices of the Society, together with : a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR. 197 DRAMATIC AUTHORS AND AGENTS. —_-—<—+ —_ RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. —_——\!_+-—>—_-—__ WARNINGS TO MUSICAL COMPOSERS. ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ———__—~—_______ STAMPING MUSIC. —— + The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ——-— ____ THE READING BRANCH. —— + : EMBERS will greatly assist the Society in this M branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience, The fee is one guinea, —_-—>—_- REMITTANCES. ed The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, COLLECTION BUREAU. a HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland . . ; A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany . Mrs PoGson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ———_—_+- > ___—___ GENERAL NOTES. — Tur ANNUAL GENERAL MEETING. Tyr Annual General Meeting of the Incor- porated Society of Authors will be held on Friday, April 17, at 1, Central Buildings, at 4.30. Notice of the meeting will be sent to all the members in the course of a few days. Music PuBLISHERS AND PERFORMING RicHTs. WE are pleased to see from the Publishers’ Weekly of the U.S.A. that there has been a meeting of the American authors, composers and publishers in New York City, in order to start a society to control the performing rights in music. This is a very important advance and we think the composers of our Society ought to make every effort to meet the pub- lishers with a view to establishing the same control over the performing rights. The real question, however, is, will the publishers meet the composers? The last time the composers wrote to the Music Publishers’ Association the secretary had to write three times before he received the courtesy of a reply. The associa- tion then regretted they were unable to THE AUTHOR. discuss the matter the composers put before them. We do not wish to criticise the non-possumus attitude of the music publishers, but merely would remark that this kind of attitude has been adopted in years gone by both by pub- lishers and theatrical managers ; but these have after mature consideration thought better of the matter. We hope, therefore, that the Music Publishers’ Association will give the matter their mature consideration, and that such mature consideration will place them in a better frame of mind to consider, not only what are the composers’, but what are also their own interests. With regard to performing rights, un- fortunately the music publishers have so long thrown these away that it may be difficult to come to any satisfactory arrangement, but this is no reason why a matter of such vital importance should not be discussed between the parties interested. ——__—. <> —____ AUSTRALIAN COPYRIGHT REGISTRATION. N the January number of The Author there appeared a General Note emphasising the importance of registration by authors, especially dramatic authors, of their copyright under the new Australian Act. In accordance with that note, the secretary of the Society was instructed to write to the Registrar of Copyrights in Australia on the subject, in order that. the members of the Society might have the fullest information. As a supplement to this month’s Author, the regulations, together with the forms which should be filled up, are printed. A number of these forms are lying at the offices of the Society and can be handed to those members who, because they have plays running in Australia, or because they have plays likely to run in Australia, desire to avail themselves of this opportunity for regis- tration. It was pointed out in The Author that the great advantage of registration lies in the fact that if a book or play is registered, then, in case of infringement, the author can avail himself of the summary proceedings granted by the Act. The Registrar of Copy- rights, in his courteous and detailed letter, points out that although no actual case has yet been carried through the courts, most robably no author will be entitled to the enefits under the Summary Proceedings clauses against any infringer if the infringe- ‘ment occurred before registration. In other Wwords, that he will only be entitled to take advantage of the clauses referred to in the em case of those infringements which occur after registration. It will be safer, therefore, for fi those who are likely to have or have already dramatic or literary property in Australia to «@register at the earliest opportunity. He sug- -% gests in his letter the following :— 7 “I think it would be advisable for authors who contem- ,|ia plate registering under the Australian law to register the _,9@ copyright paper of their respective works so that they "* #@ would be in a position, at any time, to assign any of the rights comprised in the copyright. My reason for making om the suggestion is this: representatives of dramatic com- panies who have consulted me from time to time complain @ of the difficulty they experience in reaching and punishing pirates under the ordinary remedies provided by the Statute. The agreements entered into between these companies and authors abroad usually provide for the payment of a royalty covering a specified period, but do not vest ownership, or partial ownership, of the copyright or performing rights in the companies; the result being “that an unauthorised reproduction of a dramatic or musical work is given, and before the licensees of the copy- right or performing right have had time to obtain the # necessary authority to put the machinery of the law in motion, the pirate, like a will o’ the wisp, has vanished. If the course suggested by me were followed, agreements made between British authors and Australian citizens eould be swiftly enforced. In this connection it would also be advisable for the author or his representative to give the licensee, during the currency of the licence, authority to take proceedings as attorney for the owner of @ the copyright.” It is doubtful however, whether the members of the Society would care to adopt the course. Indeed, many dramatic authors have refused to grant such power of attorney. However, if it is possible to carry out the arrangement which the Society is at present organising for lacing powers of attorney in the hands of the Society’s lawyers in Australia, there will be no necessity for making the assignment referred to. If members, therefore, desire to register, they had better apply to the Society’s office for the forms, and, after having filled them up properly, return them with the fees referred toin the regulations. The Society will see that the matter is duly carried through in accord- ance with the members’ instructions. It is tated that there may be one or two little ifficulties with the first few registrations, but after a little time the matter will run perfectly “smoothly and members will gain great ad- #@ vantage from the Society’s organisation and from the Society’s knowledge of the details. It is necessary to point out that under the New Zealand law similar provisions to those under the Australian law have been provided. The secretary has also written to the Registrar of Copyrights in New Zealand for the forms THE AUTHOR. 199 and regulations. When these come to hand, the Society will be able to carry out for its members the necessary details and the author will be able to obtain the benefits under the New Zealand Act. A COMPOSER’S TROUBLES WITH MESSRS. BOOSEY & CO. —_—+——+ a December, 1911, a composer forwarded (through a well-known vocalist) a song to Messrs. Boosey & Co. for publication, and obtained in reply a letter offering to publish the song subject to the payment of a certain royalty. These terms were accepted by letter. In April, 1912, the same composer forwarded another song, specially composed for another artist, to the same publisher, and, after a friendly interview with Mr. Boosey and a request that the firm would make a formal offer, received a letter offering similar terms to the letter he had received in December, and he accepted the terms. Immediately after the acceptance, Messrs. Boosey & Co. forwarded him a document, which they sub- sequently stated was in use by all their com- posers, being an assignment of all the com- poser’s rights and interest, present, future and contingent, in consideration of the agreed royalty on copies sold and 50 per cent. of all mechanical instrument fees received by the publisher. Nothing had been said in_ his correspondence as to assignment of copyright or mechanical rights. The composer, in reply, pointed out that the letters which had been exchanged consti- tuted a binding contract and that, therefore, there seemed no necessity for his signature to such a document. Messrs. Boosey replied that this was the form of contract invariably used. The composer then pointed out that, if an agreement was actually necessary, he pre- ferred that it should be drawn up upon a business-like basis, and contain adequate pro- vision both for his own rights and those of the publishers. Messrs. Boosey & Co. there- upon refused to discuss the matter in any respect whatever, returned the various MSS. and declared the business was atanend. The dispute was then brought to the Society, and the committee decided to take the case up. Accordingly the matter was placed in the hands of the Society’s solicitors. Proceedings were instituted and the publishers, through 200 their solicitors, then agreed to publish the songs on the terms set out in their original letters and to pay the costs, these terms, for the satisfaction of both parties, to be embodied in a formal legal document. This document was signed in due course, but through all the nego- tiations, not only the Society, but the solicitors of the Society, had to complain of the offhand way in which the business was treated and the delay which took place. In the settlement ‘twas understood—the sclicitors of the Society making special mention of the fact to the solici- tors of Messrs. Boosey & Co.—that Messrs. Boosey & Co. would frankly accept the posi- tion and use their best endeavours to push the work to the same extent as they would have done if no question had arisen. The solicitors of the publishers at once gave their assurance to this effect; but what has been the result? In January, 1913, a year after one of the songs had been accepted under the original letter, the Society was asked to stamp, on the composer's behalf, 153 copies of one song and 155 of the other. The composer then wrote to inquire whether this was the extent of the editions which it was proposed to publish, and in reply received intimation that the number of copies mentioned represented the full print of the first edition. The publishers added: ““We shall, of course, reprint as required according to the demand for the songs,” and, on February 16, 1913, in answer to that letter, the composer wiote as follows :— February 16, 1913. Dear Strs,—!I thank you for your letter of February 14, with reference to the two songs of mine which you have recently published. I have not the time at present to go carefully into the matter, but, on the face of it, there is obviously something wrong in respect to the number of copies printed. Under the contract there are to be 200 copies of each song “free for novelty purposes.” In other words, no royalty is payable to me (at least so I read it) from any of the copies which you have already printed. Dealing more particularly with the Irish song, we may take fifty copies as the very lowest number you require for professional copies and for review purposes. This leaves no more than 100 copies as a preliminary supply to the trade throughout the country, eliminating the U.S.A. altogether, also the Colonies. Incidentally I may add that I know for a fact that inquiries have been made for the song in various parts of the country already, but that the music dealers have been unable to trace it. It appears to me a waste of time for me to seek the good offices of my musical and professional acquaintances in singing the song under such conditions. Apart from the business aspect of the case, I would venture to remind you of the very definite assurance given by your legal repre- sentative to my solicitors that “it was clearly under- stood that you frankly accepted the position and would use your best endeavours to push the work in just the same way as you would have done had no question arisen.’’ It is, indeed, most distasteful to me to have to reopen THE AUTHOR. the question, but there appears to me some little evidence that the work is not being pushed forward as it should be, If you can give me your assurance to the contrary, I shall be only too pleased to accept it. ge As regards professional copies, I infer from your letter under reply that you propose to forward copies only to those artists whom I may specify to you. I will forward — you a short list in a day or two, but, while I shall be happy to do anything I can within reason to help forward sales, I would point out that the real work of propagation must necessarily devolve upon you, and that I can hardly be expected to act as “ traveller in my own goods, even had I the time and inclination. Very faithfully yours, | He received a reply stating that the 200 (>; copies mentioned are not deducted until the °°" song has gone out as a novelty to the trade, that it would be useless to send either of the songs out at present as they were ** not suffi- ciently known”? (sie), but that they had sent out presentation copies to singers. It remains to add that although Messrs. Boosey issued a catalogue in March, 1913, these two songs were not included in it (they were stamped in the preceding January); and that inquiry has been made for the songs at six of the largest #1 FeO T jaw Hae We peg pe wt % retail houses in London, and at over a dozen — of the largest provincial centres, without sucecss; at none of these places had the songs been heard of, nor so far as could be ascer- tained offered by the travellers, nor could they be found in any lists. The whole case is very interesting from every AF point of view. It is impossible to think, after ti the assurance given by Messrs. Boosey’s solici- tors, and after consideration of the standing of Messrs. Boosey & Co. and the position they hold in the trade, that they would not do everything that could be done by way of putting the songs before the public ; indeed under the rather peculiar circumstances of the case, it might have been thought that a firm of Messrs. Boosey’s standing would have put themselves out of the way to do more with this composer’s songs than they do in the ordinary course of business, in order that they might show clearly that after the little dispute they meant to deal fairly with the composer. We assume they have done so. It would then appear that Messrs. Boosey & Co. consider they have done everything they. can and should do in the course of their business, to push two songs which they intend to put on the market by printing 158 copies of one song and 155 copies of another, and sending out presentation copies to singers. It would also seem to follow that this is the course adopted upon the publication of othcr similar songs published by the firm. It would be very THE AUTHOR. 201 woi/interesting to know the opinions of other com- seoposers on the present position and of other amusic publishers on the correspondence that has passed between the parties. —_———__+—_>—__e—____—__- FICTION. a T came about in this way. I had been busy in the garden cleaning up, hurrying to get some new trees in before the frost isceame. But the frost caught me and I had oto give up. SoI retired to my desk. ‘But the ideas I had felt materialising, -or nebulous and vague, in the back of my mind, ,oy would not develop. Yet I felt in the humour ‘0 for writing. - ‘** Then why not write ? ’’ something seemed _9 to inquire in my ear, with a faintly sarcastic ‘a inflection. ‘Surely it is not necessary to st have any concrete idea! An author can generally manage to turn out some drivel— 7 even about nothing in particular.” Z I admit I felt a little hurt, and I tried not 9 to listen. But the insidious voice went on: ‘7* “Tf you can’t think of anything else you might write about writing—anyway. You i authors can generally manage to find some- 4) thing nasty to say about one another, about “dj the public and its detestable taste, about the sweet reasonableness of editors, and, above all, about the incredible and unmentionable wickedness of—the publisher!” “© Yes,’ I thought. “I can do all that. I'll take you at your word.” It is quite true that one can generally be nasty if one gives one’s mind to it. “Let us start with fiction,’ I thought. “Yet, what is there to be said about 1t— beyond the barefaced abomination of its too evident existence ? ” It must seem, one would think, not only to the critic, but even to the indefectible and omnivorous gorger of fiction, in this day, that some great and not altogether whole- some change has gradually overtaken the work of the writer. The day of leisure is gone and the age of scurry is upon us; we have, it is true, nowa- days, no time for the languid perusal of long discursive prefaces, of long talky essays all about nothing of any earthly importance ; of pleasant, harmless, long-winded intro- ductions and descriptions. ' One is tempted to wonder what would happen to Scott and to Thackeray to-day ? Would “ Waverley ” finda publisher ? Would anyone be found with the necessary patience and time to wade through——but there! There are doubts as to whether that is a subject one should pursue ! None the less, it must be borne home to the most undiscerning reader that though we have gained much, we have lost not a little. This is not the age of literature, but of fiction (at so much per thousand words). The great mass of second and third rate stuff, the ‘* flimsy *’ of the bookstalls, that caters for the mob, has its own particular style and format in fiction, its mould through which every story must, apparently, be pressed in order that it may come out with every trace of originality, of style, of art it might contain ruthlessly eliminated. Every hero has to be cut to pattern; every incident, it would seem, must be laid in accordance with certain canons. One wonders if the readers who, according to an editor of these journals, ** will have that style,” ever get tired of wading through the same weary thing again and again, knowing, as they must know, exactly the course of every item, how it will all go and how it will end, beforehand. One of these magazines used to create some amusement in literary circles by giving in an editorial preface, every month, the most touching and fatherly advice to would-be contributors. There was, I remember, one delightful talk with hints on * style’ and its formation, with examples of the great classics one should study. ‘‘ or romance, study So-and-so;_ for action, study So-and- so’’-—along list. Yet it would seem that should anyone approach the greatness of any of these models, that very fact would surely be the first fatal step towards certain rejection in such a magazine, which appeared to disannex all those attributes that the student of litera- ture has learnt to venerate. ““The public will only have so-and-so,” wearetold. Yetitis a curious fact that when, once in a blue moon, a bold editor or publisher ventures out of the rut with a clever and original story, it is often hailed with joy and becomes a success. The fact is, the publisher can make anything go if he chooses; it 1s simply a matter of brain and boom, ability to spend his advertisement money to the right advantage. : : But what of the publisher’s reader ? One wonders what sort of a person he 1s—or Is ita she? The traditional publicational history would seem to stamp him as, of all men, the one who least knows his business, for if ever 202 a great and striking novel has come to the front there has, almost invariably, been the same history of everlasting weary rejection until some lucky accident has brought that work before the world. And yet— observe what is poured out of the publishing houses every week! Take any work, fiction or other, that has eventually made a commotion, and what has been its early history? We are told the publisher’s reader is often a distin- guished novelist. We can quite believe it. The fact is, it is not the question of what the ‘public will have,” but what the editor or publisher thinks they will or ought to have. And the result Well, one result is that a work that in any way pertains to literature has too often no earthly chance of publication. A man may write literature (some men do) as an amusement, to please himself, and, indeed, he may publish it, but that’s another subject that need not be pursued. And so authors go on making fortunes for publishers—whose groans over their heavy losses ought to dissolve a brutal and unfeeling world in tears. But of fiction. What is one to write? Must one never leave the hard-beaten, dusty track ? One must, according to the modern magazine, not write of this; one must not touch upon that; yet we want originality and some little freshness, even in our reading, now and then. One can’t subsist for ever on sugar-pap. Of course, when an author has made his name he can write pretty well whatsoever he likes, and it is eagerly published. Is that, perhaps, the reason why so many ‘“ made” authors continue to turn out such ghastly stuff—or, are they merely using up the pabulum of their prentice days ? : As for verisimilitude, realism, truth, there is little enough of it, in spite of report ; little enough that is at the same time artistic. The realism, indeed, is rather too apt to become sheer dirtiness. There is at the present time a fashion in the fiction magazines for the medical story. When this is written by the half-dozen medical writers of the day all well and good, but otherwise the results are invariably absurd to a scientific reader. For it is an unfortunate thing that people will scribble about things of which they have no earthly knowledge. Writers cannot all be expected to be scientists, but if they have no scientific knowledge they should leave science alone. In no less than four stories in the magazines THE AUTHOR. published in one month were there instances of glaring and ridiculous mistakes that are most fix irritating. In one instance a writer excels > i:i® himself in the marvellous description of a new f and utterly impossible orchid, and in the other} a zoological monstrosity is perpetrated out f» of all conformity with organic nature; and fii, these two examples are as nothing compared} with the others. One does not often come across such glaring blunders as the classie example of Boucicault in the old play “ The Octoroon’’; indeed, in these days of snapshot photography and kodaks it would be almost F .., impossible. Often it is mere thoughtlessness 3)... and even some of the greatest masters of literature have made incredible mistakes. Then one gets a little tired of that everlasting so-called ‘‘ love-story.”” Must fiction always be a variation upon the everlasting human triangle and its tireless equations ? Here we have it: x +y=2> &. We have (A* ++ AY : B*) which develops into }* (A*: AY + B*). - One gets so wearied of Mr. A.’s matrimonial 7" troubles and disputes with Mrs. A. and the i inevitable intriguing of the latter with her p>" tardily discovered soul affinity, Mr. B. Still, it is yet possible for an author of original turn to treat the subject in a moderately novel way. Authors, we are told, are a hardly-treated body, shamefully served by the publisher, Publishers, we are told, are a hardly-treated >?" body, abominably served by the public. The §# public are shamefully treated both by authors } and publishers (so they beg, borrow, or steal } books, but refrain from buying them). [ Certainly authors have much to suffer, 7% Is it any wonder that one becomes depressed > over the picture of the poor, struggling author } if labouring incessantly to pile up a huge fortune )% for the wicked publisher! (Oh, those motors » and yachts !) And, seriously, there are times when authors have other reasons for weeping. There are P editors who keep manuscripts for weeks and months knowing full well they never intend pt to use them, when there is not the least # excuse for keeping them more than a week or two. And there are editors who score marks and numbers upon the unfortunate manuscripts, so that they have to be retyped before they can, for very shame, go out on # their travels again. And there are editors who appear to use the unwanted manuscripts ® for the altogether improper purpose of cleaning the office floor. Indeed but that is also a subject we need not pursue any further. No doubt publishers and editors are a very THE AUTHOR. bag bad lot—who but a jackanapes could doubt it ? Yet who can feel angry with the kind and courteous gentlemen who send their regrets so nicely worded on such very superior paper (sometimes), and who thank one so effusively for allowing them to see the composition ? If I had my will I would sweep away all editors, publishers, and authors—and perhaps the public too—then one might have time to finish the garden; but for the life of me I ean’t get on because, forsooth! I have to turn out so many thousand words of explicit drivel every day in order that I may not put § extra work on the county court. Authors, we are told, are mean, liars and thieves, who will resort to any trick to get an extra 5 per cent. on their scrubby royalty. Publishers and editors are either hardened brutes or contemptible skunks—as yet I cannot quite decide which—who will do anything to trick the starving writer. And as for the public, that sucks the brains of the author— and often enough smacks his indelicate lips G over the process, in spite of his grumbles—well, 7) ‘twill always be much the same, I suppose, so why should one pursue that subject any further ? No doubt the editor is a good enough fellow, sometimes, even if his sense of humour is defective. But editors are not and cannot be angels, even if there were wings enough to go round, and you can no more make wings sprout than you can grow hair with any of the advertised ‘‘ restorers.” One editor of particularly angelic nature, in his monthly talk, used to give samples of the letters he received. The note of fulsome flattery was the main motif. ‘“‘T cannot say how grateful I am for your help. Since you took my last story and gave me advice I have sold nearly fifty stories to leading magazines at about twenty pounds (£20) each. I shall always remember you gave me a helping hand and you cannot think how I love you for it.” ‘ That,’’ was the editor’s beaming comment, “‘is the kind of letter that does a poor, hard-worked, worried editor’s heart good to read.” He did not say from which asylum his contributor wrote. “Probably you don’t just remember,” I thought ; “But, Sir, I can tell you something about the climate you will be enjoying one of these fine days, if you don’t try to live a good and truthful life, and find a more legitimate way of pushing your dolorous rag. All the inhabi- tants of this world (even such as read your magazine) are not stark and jibbering idiots ! There are some editors who use a reject form 203 carefully spaced out into reasons, and a mark is put against the division under which heading the rejection comes. A young friend of mine some time ago hit upon a startlingly original idea for a story and sent it to one of these magazines. The story was good, well written, terse and with style, and dealt with an idea that had never been used before. To our amazement it came back marked, if I remember rightly, *“ Not sufficiently novel!” which caused us no little amusement when we came to study the dead and dreary level of monotony that appeared to be the sine qua non of this particular magazine. I sometimes think the time is coming when, if literature is still to be written, some arrange- ment might surely be made whereby an author, who shows promise and produces a clever but not very marketable piece of literature, might have help in giving it to the world. And here the Society of Authors might see its way, one of these days, to do a valuable act of service both to authors and to the public, in setting up a special committee or commission to adjudicate upon real work of genius and arranging for its publication. Then I might devote myself to the creation of a work of incredible genius—and find time to finish the garden. FREDERICK GRAVES. ———————_-——_+—___——_ «THE PUBLISHER.’’* ee By AN AMERICAN CRITIC. YNAMITING butterflies is notoriously a futile sort of pastime; yet, con- ceivably, a butterfly may so_persis- tently obtrude its insignificant self as to become a bit of a pest, distracting the attention and obstructing clear comprehension of certain ponderable facts. In which event a charge of dynamite may be thought well wasted. Mr. Yard frankly holds a brief for the publisher and against the author and all his works ; and, like a loyal advocate, he doesn’t hesitate about ignoring facts that do not assort well with his argument or about modifying other facts to suit his requirements. By way of example (to select one of the multitude afforded by this little book), we may consider the figures he quotes in support of his conten- * “The Publisher,” by Robert Sterling Yard. Houghton Mifflin Co., 1913. $1 net. 204 tion that “best sellers” are hardly to be yearned after by long-headed publishers. On page 23 he endeavours to demonstrate that a book selling 100,000 copies in its first form would earn its publisher a net profit of only some $10,300. To arrive at this figure he estimates cost of manufacture at $0.221 per copy. This is a very reasonable figure to apply to an edition of 5,000 copies, including the cost of making plates and the purchase price of drawings for illustrations ; but for subsequent printings it is absurd. Mr. Yard further reckons the royalty at a flat rate of 20 per cent. ; this is not fair, although possible, for it may be questioned whether many books, especially an author’s first book to sell 100,000 copies, draws a flat royalty of 20 per cent. Again, Mr. Yard would have us believe that a pub- lisher allows ‘‘ 28 per cent. of income ”’ (what- ever that means) for the cost of doing business, and reckons this to indicate $0.224 as the cost of selling each copy of an edition of 100,000. We may take the liberty of doubting this figure, if we may not successfully dispute it without access to the publisher’s books. But leaving out the author’s royalty, and taking the other figures without question, we find that 100,000 copies cost to manufacture, at $0.221 per copy, $22,100, and to sell, at $0.224 per copy, $22,400; making the total of the investment $44,500, on which the publisher makes a net profit of $10,300, or something more than 23 per cent. Most men of business would consider this a handsome profit, but Mr. Yard would have us believe it beggarly. But in figuring the net profit, he allows for the profit of a cheap edition of only 50,000 copies ; whereas Mr. Yard knows, and every publisher knows, and every author who knows his business knows, that the cheap edition following a first publication of 100,000 copies or even fewer is far more apt to be double the first sale than half. Then, too, Mr. Yard has chosen to deduct from the gross profit on this alleged cheap edition of 50,000 copies ‘‘ 28 per cent. (again !) for cost of doing business— $1,800.”’ I fancy few publishers will have the effrontery to claim that it costs them anything at all, much less $1,800, to sit tight and permit the popular-price publishers to bid against one another for the privilege of the cheap-edition rights. Finally, Mr. Yard allows for a plate- rental of only 10 cents a copy to be paid by the popular-price man to the first publisher, and by this last divided with the author ; whereas 12 cents per copy is the ruling rate for plate- rental on books whose sales have totalled far fewer than 100,000 copies. THE AUTHOR. Mr. Yard’s figures may, therefore, be revised as follows, without bothering to dispute his estimate of profits on the first edition :— $ 8,500. * Net profit on 100,000 at average net profit of $0.085 per copy Cheap edition, 200,000 at 6 cents profits per copy, without deduc- tion for cost of doing business 12,000 °°": Total net profit (assuming that the publisher hasn’t grabbed by con- tracts and has no share in the author’s second serial, dramatic, moving-picture, English, and translation rights) 20,500 | ) Or, say, 46 per cent. on the original investment. No, not half-bad ; considering that Mr. Yard would have us believe publishing “‘ the worst | business in the world.”’’ But it is true that his efforts to prove this) — last contention are so unconvincing even to: himself that, as early in his argument as page 8,7 _ he is forced to the admission that ‘‘ the worst !-~. business in the world” becomes one of the ):* best in the world when (to paraphrase) it has ):” solid financial backing and is administered with a normal amount of common sense and a) ** little human luck. In other words, it is) amazingly like any other business you can’ ™~ name: good when it’s good, and bad when it’s) "| bad. But Mr. Yard is so alarmed at the}: ' possible effect of this admission that, through |<! the remaining twenty-seven pages of his? chapter on ‘‘ the worst business ” he fogs his #7: own and the reader’s understanding in a dense )-!" cloud of words, anecdotes, illustrations, figures, )>% and gossip, which in the end enables him to)! close to his own satisfaction with the assertion ot! that, as for a “‘ publisher who got right out of general book-publishing alone . . . “thar ain’t } ©) no sech critter.” i Nor is this all; but space lacks in which to) explode all of Mr. Yard’s fallacious arguments. ©" For all that, on page 29, Mr. Yard gravely ¥ informs us: ‘ Royalties exceeding 10 per cent. © are immoral,’’ Henry Holt is reported to have hh said. And sure we must concede that it was 3» worth while to make onesself known as the } author of an idle, if undoubtedly mischievous book in order that one might have the honour fi of embalming imperishably that deathless ”: epigram ! : cod FO Li J. Ve 8 -or--—de MR. ARNOLD BENNETT AND THE MOYEN DE PARVENIR.* Bo fourteen years ago Mr. Arnold Bennett, acting on the suggestion of Mr. Lewis Hind, then editor of the Academy, published in the columns of that paper his literary autobiography. He did not put his name to it, “‘ partly from discretion, and partly in the hope that the London world of letters would indulge in conjectures as to its authorship.”? In 1908 he secured—not with- out difficulty—a publisher for the work in volume form, still keeping up anonymity ; though it was an anonymity which only existed for the general public, literary London having soon penetrated the secret. Now in 1914 Mr. Bennett brings out a new edition, through a different publishing firm, and this time puts his name to the book. As a ‘“‘remaindered’’ work, Mr. Bennett tells us in his Preface, the first edition had quite a vogue; but only as a remainder, price 6d. Otherwise it sold ill. The reason is obvious. The general public cares remark- ably little, perhaps in most cases much less than 6d., for the truth about an author. Yet it was a good idea to republish the book in cheap form now. As a household word in vast districts of Britain and a best-seller in the United States, Mr. Bennett is scarcely any longer a mere author. A super-author may fairly ask a shilling for the truth about himself. For other authors, if they have not already read it, the book is decidedly one to be read. They will be able to appreciate, as the general reader probably will not, the ‘‘ ingenuous self- complacency ”’ (Mr. Bennett’s own words) of the record. And to them the experiences, the views, the advice will have a meaning which is not for the general reader. Quotation alone can show the value of Mr. Bennett’s instruc- tions to his fellow-writers. The space at our command is limited, but we must touch upon three points. First, with regard to ‘“ free- lancing,”’ a subject which has been discussed of late in the columns of The Author. Mr. Bennett is healthily vigorous in his denuncia- tion of this ‘‘ humiliating ’’ employment. “A false aureole of romance,”’ he says, “‘ encircles the head of that miserable opportunist, the free-lance. ... The free-lance is a tramp touting for odd jobs; a pedlar crying stuff which is bought usually in default of better ; * “The Truth about an Author,” by Arnold Bennett London: Methuen & Co. THE AUTHOR. “work. 205 a producer endeavouring to supply a market of whose conditions he is in ignorance, more or less complete; a commercial traveller liable constantly to the insolence of an elegant West End draper’s ‘buyer.’ His attitude is in essence a fawning attitude; it must be so; he is the poor relation, the doff-hat, the ready- for-anything. He picks up the crumbs that fall from the table of the ‘staff.’ ... He never goes to bed; he dares not; if he did a crumb would fall.” And now with regard to the reviewing of books: ‘‘ The sense of justice of the man in the street is revolted. ‘You do not read through all the books that you pretend to criticize ?’ he hints. I have never known a reviewer to answer this insinuation straight- forwardly in print, but I will answer it: No, I do not. And the man in the street says, shocked: * You are unjust.’ And I reply: “Not at all. 1 am merely an expert. ~ =. The title-page—that conjunction of the title, the name of the author, and the name of the publisher—speaks to me, telling me all sorts of things. The very chapter-headings deliver a message of style. . . . The whole book, open it where I will, is murmurous with indications forme. In the case of nine books [out] of ten, to read them through would not be a work of supererogation—-it would be a sinful waste of time on the part of a professional reviewer. .. . There remains the work of the true artist, the work that the reviewer himself admires and enjoys: say one book in fifty, or one in a hundred. The reviewer reads that through.” Working out the number of words which a reviewer would have to read to satisfy the man in the street before writing a column of reviews worth at the most three guineas, and reckoning the time taken over the whole job, Mr. Bennett asks: ‘‘Do you imagine that the reviewer 1s going to hire out his immortal soul, his ex- perience, his mere skill, at the rate of 31s. 6d. per day on irregular jobs ?__ Scarcely. He will earn his three guineas inside three hours, and it will be well and truly earned.” Mr. Bennett himself early established a rule —lucky man to be able to observe it !—never | to work for less than 10s, an hour upon. plece- “Tf an editor commissioned an article, he received from me as much fundamental brain-power and as much time as the article demanded—up to the limit of his pay in terms of hours at 10s. apiece. But each year I raise my price per hour.” This was written In 1900. We fancy the ordinary poor author would like a footnote to say what height has now been reached. i 206 Our last quotation is not made for the pur- ose of the moral edification of our readers. Mr. Bennett is speaking of the first serial story written by himself. ‘I had entered into a compact with myself,” he says, ‘that I would never ‘write down’ to the public in a long fiction. I was almost bound to pander to the vulgar taste, or at any rate, to a taste not refined, in my editing, in my articles, and in my short stories, but I had sworn solemnly that I would keep the novel-form unsullied for the pure exercise of the artist in me. What became of this high compact? I merely ignored it. I tore it up and it was forgotten. —_—__—_—<—_+—___ ——_ CORRESPONDENCE. _— “ Reat EDITIONS.” Dear Sir,—In view of the recent announce ment by a prominent publisher that his editions are “real editions ’—the inference being that too many such are nothing of the sort—it really seems high time for authors to make some attempt at asserting themselves on a subject that concerns them quite as nearly as it concerns the publishers, who are rapidly reducing the whole vexed question of “ edi- tions ” to a preposterous farce. Between “real editions ’—so-called—and bogus editions—not so-called !—we are fast approaching the American method of merely _ shouting a book into popularity. Over there it would seem that the book itself matters little, the author less. Success depends mainly on how much money the publisher is prepared to spend on shouting—there is no other word for the process ; and over here it is unhappily an open secret that, of late, certain question- able novels have, by means of inflated announce- ments and ‘‘ huge editions ”’ been practically forced down the throat of a public that would otherwise probably have let them alone. But, shouting apart, there remains the puzzle, “What is an edition?” To that plain, straightforward question—constantly asked by the Bewildered Uninitiated—it would take a clever man to give a plain, straight- forward answer. Roughly, he might hazard the comprehensive reply: “Oh, anything between a thousand and fifteen thousand copies.” But even so he would still have underrated the elasticity of that conveniently elastic word. I have it on good authority that a third “‘ edition”? of a book has been THE AUTHOR. announced when little more than a hundred copies have been sold. This sort of thing suggests a new version of the old riddle: ‘“‘ When is an edition not an edition?” It would take a really “ up-to- date ” publisher to supply the answer to that ! Whether or no some authors derive benefit from these tactics is a question well worth separate consideration. My present concern is simply to get at the rights of this obvious juggling with figures ; and the Shorter Catechism of the Uninitiated is not yet at an end. Why is it, for instance, that, if some of us are announced in thousands, this plain and simple method cannot be extended to all? The publisher addicted to shouting could still juggle with his thousands, of course. But those firms who respect themselves and their authors would lose nothing by more lucid statements; while both the public and_ the authors would know better, so to speak, ‘‘ where they are.” Another remedy—if there is any thing against plain thousands—would be to decide, once for all, on the “ unit ” of an edition; giving that “ unit ” some elasticity if need be. An edition might be fixed at any- thing from 3,000 to 5,000, or from 500 to 3,000 ; and thereby much confusion and mis- conception would at once be done away with. But of the two alternatives set forth there can be little doubt that a plain statement in thousands is the consummation most devoutly to be wished. The present arrangement is utterly mis- leading, not only as between novelist and novelist, but as between the earlier and later books of the same writer. Take my own case. Judged by the tale of mere editions my sale would appear to have been steadily decreasing for the last six years, for my first novel achieved nine editions in about the same time that it has taken my two later ones to achieve two. The reason is simple enough. With a new writer, orders were tentative and editions followed suit. Large advance orders produce a larger immediate output, with the natural result that while my earlier nine editions barely reached 12,000 copies, my last novel — started with a first edition of 15,000. This sort of thing must be the case with scores of novelists. It would be interesting to hear what they think about it and whether there is any hope, between us all, of inaugurating a reform on the lines I have suggested. I am, dear Sir, Yours truly, ° ** A NOVELIST.” ~ 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. 24 Issue 07 (April 1914) Subject The topic of the resource The Author, Vol. 24 Issue 07 (April 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-04-01-The-Author-24-7 publications The Author https://historysoa.com/files/original/4/538/1914-03-02-Supplement-24-2-New-Zealand-Copyright-Act.pdf d08e28aa20117cf9cfa5a32612de7513 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 Society of Authors Publications Identifier An unambiguous reference to the resource within a given context publications Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1914-03-02 Volume 24 Publisher(s) When used for publications, publisher of the periodical or book. When used for people, list of publishers they worked with during their lifetime Bradbury, Agnew & Co. Location The location of the event or organisation London Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140302 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 New Zealand Copyright Act, 1913 (1914) Subject The topic of the resource The New Zealand Copyright Act, 1913 (1914) Relation A related resource <a href="https://historysoa.com/The-Author-Issues/1914-03-02-The-Author-24-6">Supplement to The Author, Vol. 24 Issue 05</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-03-02-Supplement-24-2-New-Zealand-Copyright-Act Description An account of the resource A full summary of the New Zealand 1913 Copyright Act, which came into effect on 1 April 1914. copyright international publications The Author https://historysoa.com/files/original/5/537/1914-03-02-The-Author-24-6.pdf 6645ae1a77e788a3f5758be61474537c 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-03-02 Volume 24 Issue 6 Pages Page range in volume 153–180 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140302 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Muthbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XXIV.—No. 6. Marcu 2, 1914. [PrIcE SIXPENCE. TELEPHONE NUMBER: the standpoint of art or business, but on no other subjects whatever. Every effort will be e74 VICTORIA. made to return articles which cannot be TELEGRAPHIC ADDRESS: accepted. AUTORIDAD, LONDON. ADVERTISEMENTS. t, 1G Messrs. Matthews’ Advertising Service, NOTICES. Staple Inn Buildings, High aikorn: W.C., 1 will act as agents for advertisements for OR the opinions expressed in papers that “ The Author.” All communications respect- K are signed or initialled the authors alone 18 advertisements should be addressed to are responsible. None of the papers or them. paragraphs must be taken as expressing the As there seems to be an impression among opinion of the Committee unless such is readers of The Author that the Committee are especially stated to be the case. personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the Tue Editor begs to inform members of the CS¢- | Although care is exercised that no Authors’ Society and other readers of The undesirable advertisements be inserted, they Author that the cases which are quoted in The do not accept, and never have accepted, any Author are cases that have come before the liability. notice or to the knowledge of the Secretary of Members should apply to the Secretary for the Society, and that those members of the advice if special information is desired. Society who desire to have the names of the publishers concerned can obtain them on ee oe application. THE SOCIETY’S FUNDS. — ARTICLES AND CONTRIBUTIONS. ROM time to time members of the Society Tue Editor of The Author begs to remind desire to make donations to its funds in members of the Society that, although the recognition of work that has been done paper is sent to them free of cost, its production for them. The Committee, acting on the would be a very heavy charge on the resources suggestion of one of these members, have of the Society if a great many members did not decided to place this permanent paragraph in forward to the Secretary the modest 5s. 6d. he Author in order that members may be subscription for the year. cognisant of those funds to which these con- Communications for The Author should be tributions may be paid. ; addressed to the offices of the Society, 1, Cen- The funds suitable for this purpose are: tral Buildings, Tothill Street, Westminster, (1) The Capital Fund. This fund is kept in _ §.W., and should reach the Editor not later reserve in case it is necessary for the Society to than the 21st of each month. incur heavy expenditure, either in fighting a Communications and letters are invited by question of principle, or in assisting to obtain the Editor on all literary matters treated from copyright reform, or in dealing with any other Vou. XXIV, 154 matter closely connected with the work of the Society. : : (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. THE PENSION FUND. — N January, 1914, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1913, as settled by the accountants. After giving the matter full consideration, the trustees instructed the secretary to invest a sum of £350 in the purchase of Great Eastern Railway Ordinary Stock. The amount pur- chased has been added to the investments set out below. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. They have given notice to the Pension Fund Com- mittee that there is sufficient money at their disposal to enable them to give another pension. The nominal value of the investments held on behalf of the Pension Fund now amounts to £5,419 6s., details of which are fully set out in the following schedule :— Nominal Value. fos : d 500 Local Loans... .25-sen pecs esses 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ............ London and North Western 3% Debenture Stock .................. Egyptian Government Irrigation Trust 4% Certificates............. Cape of Good Hope 34% Inscribed Stock Glasgow and South-Western Rail- way 4% Preference Stock ...... ‘New Zealand 34% Stock ......... i Trish Land 22% Guaranteed Stock Corporation of London 23% Stock, 1927—57 ............eceees ; Jamaica 34% Stock, 1919-—49 ... Mauritius 4% 1937 Stock .......... Dominion of Canada, C.P.R. 33% Land Grant Stock, 19388 ......... Antofagasta and Bolivian Railway 5% Preferred Stock ............... Central Argentine Railway Or- dinary Stock 5 2..0....-sc).ieseicisse 291 19 11 250 0 0 200 0 200 228 247 258 438 1382 120 198 237 232 THE AUTHOR. Nominal Value. £ 8. a. $2.000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds 250 Edward Lloyd, Ltd., £1 5% Preference Shar es 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) .-......4..22.. 3 Central Argentine Railway £10 Preference Shares, New Issue... Great Eastern Railway Ordinary Stock 20.0 409 250 PENSION FUND. —+—~< —— Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 1913. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. : Subscriptions. 1913. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. ; : ; Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . : Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert . Dec. 4, Lunn, Arnold . : Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana : Dec. 4, Vallois, Miss Grace . Dec. 17, Beresford, J.D. . Dec. 29, Inge, Charles . ‘ Dec. 29, Cross, Miss May . Dec. 29, Hardy, Thomas, O.M. oe ns S Or or Or _ ee Nocounnranaod oo Or Or Or Ot OU Or weecococooomoocoosocoorsocsom Secoacocooo op eseoesoooOoSoSO So Om THE AUTHOR. 2 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. : Jan. 16, Cooke, Arthur O. Jan. 23, Exley, Miss M. ‘ Jan. 26, Sarawak, The Rance of Feb. 20, Eden Guy : : : Feb. 21, Mayne, Miss Ethel Col- boura . : : Feb. 21. K. ‘ e coooocow ee 9 1913. Donations. COMMITTEE NOTES. —— + BSc February meeting of the Committee of Management was held at the offices of the Society, No. 1, Central Buildings, Tothill Street, Westminster, S.W. After the minutes of the former meeting had been read and signed, twenty-five new members and associates were elected. The Committee are pleased to see that the elections are well maintained. This gives an election of over one a day for the first two months of the year. The total number at present elected being sixty- nine. Five resignations were laid before the committee and these were accepted with Dec. 20, Edwards, Percy J. . regret. The committee then considered the Dec. 21, Keating, J. Lloyd numerous cases before the Society, the solicitor, 1914. in the first instance, making his report. In Jan. 3, Church, Sir Arthur three small cases against papers he was able Jan.5, Anon. : to report that the money had been recovered. Jan. 5, Joseph, L. 5 In a ease of dispute on accounts, which has Jan. 5, Swan, Miss Myr been running on for some time, the solicitor Jan. 5, Vernede, R. E. ; ‘ reported that the matter had been settled as Jan. 6, De Crespigny, Mrs. Champion the member had decided to sell the balance Jan. 6, Rankin, Miss F. M. . . of his interest in the work fora sum down. In Jan. 7, Sneyd-Kynnesley, E. M. a small claim against a magazine, the solicitor Jan. 7, Lathbury, Miss Eva . reported that as no notice had been taken of Jan. 7, Toplis, Miss Grace his first application for money, a summons had Jan. 8, Palmer, G. Molyneaux been issued. There were two disputes with Jan. 9, Mackenzie, Miss J. . a certain publisher. In the first, proceedings Jan. 10, Daniell, Mrs. E. H. . had to be taken but the matter had been Jan. 12, Avery, Harold : satisfactorily closed. In the second, the Jan. 12, Douglas, Mrs. F. A. publisher had been to see the solicitor and Jan. 15, Pullein, Miss Catherine he hoped that the negotiations would result Jan. 15, Thomas, Mrs. Fanny in a settlement. Jan. 16, James, Mrs. Romane In a complicated dispute between agent and Jan. 19, P. H. and M. K. author it was decided not to take the matter Jan. 19, Greenstreet, W. J. . any further. The committee instructed the Jan. 19, Gibbs, F. Leonard A. solicitor to write to the complainant setting Jan. 23, Campbell, Mrs. L. A. R. . out the reasons why the committee had come Jan. 28, Cameron, Mrs. Charlotte, to this decision. ; F.RGS. . ; It was brought to the notice of the committee Jan. 28, Blunt, Reginald that authors and playwrights had been placed Jan. 24, Raphael, Mrs. Mary. in a very serious position owing to the use Jan. 25, Plouman, Miss Mary by various film manufacturers of titles which Jan. 80, Gibson, Miss L. S. . had been used by the authors in respect of their Feb. 5, Brooker, Lt.-Col. E. P. books or plays. From the evidence before Feb. 6, Buchrose, J. E. ‘ them the committee, fecling that the matter Feb. 7, Smith, Herbert W. . was of high importance, decided to take up a Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold . ; Oct. 30, Rosman, Miss Alice Grant Nov. 3, Holland, Theodore Nov. 3, Steane, Bruce ; ‘Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elrington, Miss Helen Nov. 10, Waterbury, Mrs. . : Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dec. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . pent ecooceorrw cece oocorwon oon owirteKEanaaw»soodcso eooeoooceooaoaceoecsooeoaso _ S _ aa ie — bt COMM OoWVWooUInnnouwuowmneucd- 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5 0 0 0 —_ COneK an one acocooaocoo Saceocoecoeooonooooooaoacos CHE COOHE _ 156 case asa testcase. If the result of such a case was to give no relief, then it was agreed to approach the Government with a view to the introduction of remedial legislation. In_ the meantime, the secretary was instructed to obtain all the support possible from managers of theatres who themselves held copyright plays, and also the cinematograph film manu- facturers who had suffered and were suffering equally with authors and playwrights from similar practices. The matter was adjourned for further consideration. A case of copyright infringement in Burmah was brought to the notice of the Society. It appeared very doubtful to the committee whether under the existing law it would be possible to take any action. As the claim was a very small one and it was probable that at no distant date, the India Council will have passed fresh copyright legislation, the committee instructed the secretary to inform the member that they could not take up the case. In a complicated dispute on an agreement which had been dealt with at former meetings, a further complaint from the member was laid before the committee, and the chairman was instructed to write to the member putting forward the work the Society had done and explaining that it was impossible for the com- mittee to go any further as the member had shown no legal ground for the interference of the Society. It was decided to take up a case of infringement of the dramatic rights of a member in Germany. One of the members, whose case had been settled by arbitration, wrote a letter to the committee suggesting the manner in which she desired the matter should be dealt with in The Author. The committee requested the secretary to inform her that she must be content with one of the two alternative courses : (1) that the full award with the full letter of apology settled by the arbitrator as part of the award should be published, or (2) that the whole statement should be withdrawn from publication. In a case of breach of agreement between dramatic author and manager, the committee decided that the secretary should write and explain the legal position to the member concerned, expressing their regret that they were unable to take the matter further, and setting out the reasons for this decision. : In a case of infringement of dramatic copy- right in Canada the secretary was instructed to obtain the solicitor’s opinion as to the exact position of the law, and if that opinion was THE AUTHOR. satisfactory, to write to the Canadian lawyers to carry the matter further if it was possible to do so. Sir Edward Elgar, O.M., was elected a mem- ber of the council and a share was allotted to him. It was agreed to change the name of the Incorporated Society of Authors to the Incor- porated Society of Authors, Playwrights and Composers, and the secretary was instructed to take the necessary legal steps to see that this matter was carried through. A letter from a member on the subject of the library censorship was read and considered, and the secretary was instructed to thank the member concerned on behalf of the committee for the interest he had shown in the matter. The report of the committee for 1913 was considered and passed. An article for inser- tion in The Author was also considered and passed, and instructions were given for the publication of the same. It was decided to invest a sum of £200 from the Capital Account of the Society. ° As it has been found that the present form of guarantee, signature to which the com- mittee require before action is taken on behalf of amember, was not quite satisfactory, either. to the member or to the Society, a revised form was drafted and placed before the com- mittee and accepted by them. On the recommendation of the Dramatic Sub-Committee, the Committee of Manage- ment agreed to send out a list of the names and addresses of the members of the Dramatic Section to Mr. Walter Jordan, the Society’s New York agent. ; The secretary reported that the Board of Trade had conferred with him on the subject of a book exhibition to be held at Leipzig. It had been suggested that such an exhibition might interfere with an author’s copyright. The secretary pointed out, that some diffi-. culties might arise on an author’s contract. when the sales of books by English publishers. were limited as to country. Notice will be given in due course in The Author on the matter. The secretary read letters he had received. in regard to Canadian and New Zealand copy-: right. It appears that an Act has been passed in New Zealand which will come into force in. April of the current year. The Act is printed in full as a Supplement this month. - Two letters from members of the Society. were laid before the committee. The. com- mittee regretted they were unable to support. the suggestions put forward. i Dramatic Sus-CoMMITTEE. I, A SPECIAL meeting of the Dramatic Sub- Committee was called on Friday, January 30, at No. 1, Central Buildings, Tothill Street, Westminster, S.W., at 3 o’clock, to consider the question of the infringement of rights in titles as shown in two or three special cases recently brought to the Society’s notice. It appeared in three cases that the titles of plays and books had been taken for films. The sub-committee considered the subject one of importance. There was _ consider- able discussion as to what action should be taken. Finally, it was decided'to urge the Committee of Management to take up one case as a test ease. If the Committee of Management con- sented to this course, and judgment went against the Society, it would then be necessary to decide what further action should be taken, in order to save dramatists and authors alike from the serious loss inflicted on their property. It was decided, also, to get into touch with the film manufacturers, as it was clear that this appropriation of titles would affect them in a similar manner. It was further decided to ask the Committee of Management, if it should prove impossible to obtain any redress under the law as it at present exists, to consider seriously the advis.- bility of asking the Government for legislation on the subject. II. TueE February mecting of the Dramatic Sub- Committee was held at the offices of the Society, 1, Central Buildings, Tothill Street, West- minster, S.W., on Friday, February 20, at three o'clock. After the reading of the minutes of the previous meeting the secretary laid before the sub-committee a report of a dramatic agent’s transactions with members of the Society. Two play-producing societies had submitted their agreements for the consideration of the sub-committee, with a view to obtaining, if possible, from the sub-committee approval of the forms they proposed to submit to authors whose plays they accepted. After careful consideration the sub-committee thought it inadvisable to give this approval, but instructed the secretary to write to the societies and inform _ them that their agreements were not such as THE AUTHOR. 157 the sub-committee could advise authors to accept. A suggestion was then made by a member that a fighting fund for dramatic cases should be established. The idea was approved by the sub-committee, but further discussion of the details was adjourned to the next meeting. A letter received from the Society of West End Managers in regard to the Managerial Treaty was laid before the sub-committee. The secretary was instructed to send, as requested in that letter, a copy of the treaty as at present settled to the solicitor of the Society of West End Managers. A letter from a member of the Society was read. It contained a suggestion that the sub- committee should deal with the plays of members and assist them in obtaining intro- ductions to managers and others. The sub- committee regretted they were unable to adopt the suggestion and instructed the secretary to write accordingly. A letter from the National Operatic and Dramatic Association of Worcester was laid before the sub-committee. It was decided to give this association the same facilities in regard to the borrowing of MSS. as are at present accorded to the Dramatic Clubs’ Association. Authority was given to the secretary to write to one of the agents of the Society who had failed to reply to letters addressed to him. The secretary was instructed to request the agent to give immediate attention to these letters. Mr. Cecil Raleigh was formally appointed to attend an international meeting of dramatists in Paris on March 2, when questions were to be discussed dealing with cinematograph repro- duction. Certain legal cases were next discussed. The first matter related to the infringement of authors’ rights in their titles by cinema pro- ducers. The secretary reported the steps that had been taken in the cases which the com- mittee had decided to take up. He also read letters he had received from certain associations in the cinematograph trade. It was decided to call a conference to which representatives of the film-producing industries, the Theatrical Managers’ Association, and the Touring Managers’ Association should be invited, for a discussion of the questions at issue. The secretary reported e of breach of contract in Australia which con placed in the hands of the Society’s s ors in Sydney. A dramatic author’s case which had been placed before the Committee of Management 158 (which body had regretted its inability to support the member) was referred to the Dramatic Sub-Committee for an expression of their opinion, as the case had not previously been before them. The sub-committee re- gretted they could not do anything further, and supported the view of the Committee of Management. In the last dispute discussed the sub-com- mittee regretted they could not recommend the Committee of Management to take any further action. This case will be referred to the Committee of Management in due course. —— Composers’ SuB-COMMITTEE. Tur Composers’ Sub-Committee met at the offices of the Society on Saturday, February 14, at eleven o'clock. Following the reading of the minutes of the previous meeting, a question referred back by the Committee of Manage- ment was discussed. It dealt with the practice of loaning composers’ music for performing purposes. The sub-committee decided to draw the attention of the Committee of Management to the fact that, as a rule, speaking broadly, although the performing rights ought to be held by the composers, they were, in fact, held by the publishers. The secretary then raised the question of agreements between publishers and com- posers. He pointed out that in all agreements which had any pretensions to being equitable as between party and party, there were a certain number of clauses which might be termed common form clauses; that in most music publishers’ agreements these clauses were not to be found. No doubt this was due to oversight on the part of the publishers. He suggested it would be as well to approach the Music Publishers’ Association with a view to agreeing to certain clauses which should appear in all contracts. He instanced the account clause, and pointed out that it was as much for the benefit of the publisher as for the composer to have some clause in the contract settling dates for delivery of accounts. In the absence of such a clause the publisher was liable to be called upon to deliver statements at reasonable times, although such times might be very inconvenient to him in his business. _ A question arose as to the legality of the importation of records, and the secretary was instructed to obtain an opinion on the matter and, if it was clear that the records so imported THE AUTHOR. infringed copyright, to write to some of the big collecting agencies to invite them to join with the Society in taking legal action. A composer who was a member of the Society wrote to the secretary a statement for sub- mission to the sub-committee in regard to one of his works, and suggested that an article should appear on the subject in The Author. The sub-committee passed an article and referred the matter to the Committee of Management. A question of the collection of mechanical instrument fees by publishers and companies was then discussed. The chairman laid before the sub-committee a letter he had received from one of the publishing houses, and the secretary read a letter to the sub-committee from a composer on the same subject. It was decided to invite the composer to discuss the question with the secretary, and, if he cared to do so, to attend the next meeting of the sub- committee. The last matter related to the interpretation of a section of the Copyright Act in regard to the mechanical reproduction of a composer’s works, and it was decided that, if a clear case came forward, to ask the Committee of Management to take the case into court, so that the point might be settled finally by case law. Cases. Durtnc the past month the secretary has dealt with nineteen cases. The largest number was for the return of MSS. In one case only, so far, has the Society been successful, though in another some of the MSS. have been forwarded. There are still five of these matters waiting settlement. There have been four demands for money, two have been satisfactorily terminated, the cheques have been received and forwarded to the authors. In two cases, however, although answers have been received, the money has not as yet been paid, one excuse or another being put forward. It is probable, however, that cheques will be received in the course of the next few days, in which event there will be no need to put the claims into the hands of the Society’s solicitors. There have been two disputes over the interpretation of agreements, one has been settled, but one in the United States of America is still outstanding. There have been four cases for accounts and money; one has _ been successful, in one accounts have been rendered and the money will be paid in due course, but the other two are still in the course of negotiation. It is well to draw the attention of composers, who are members of the Society, to the fact that great difficulty is experienced with music publishers owing to no proper account clause being inserted in their agreements. No doubt music publishers think this plan is satisfactory, but as a matter of fact, it is much more inconvenient to the publisher than it is to the author, forif there is no formal account clause in the agreement, a composer has a right to make demands at any reasonable time. In consequence, as the publisher never seems ready, considerable difficulty arises when ' demands for accounts, or for accounts and money are made. No doubt in time the music publisher will see that his agreements are properly drawn up. There have been two claims for accounts only. One has been settled and one is still open. From cases reported in former months, three are still lying open; one it has been impossible to carry through owing to the fact that the address of the defendant cannot be found. Another case of a demand for the return of a MS. will have to be placed into the hands of the Society’s solicitors. The last one is a complicated case of dispute which is still in course of negotiation. All the other cases have either been settled or have been placed in our solicitors’ hands. ——-—< + February Elections. Barker, John Goddard. Beeston, L. J. . Best, Florence “* Stratton Strawless.” Bowditch, Miss Lucy A. M. Bradley, R.N. . “ M. Gwelo, Rhodesia. 61, Temple Fortune THE AUTHOR. Coventry, R.G.T. . Ewing, Montague Floyer, Mrs. Frederick. Hill, Graham : : Hubert, John _ Jacks, L. P. Lorimer, Emilia Stuart Mahoney, Nellie O. Molesworth, Arthur W. Nicholson, Watson M.A., Ph.D. Nicholson, Mrs. Florence Emily, B.L. Petrie, Gerald Prendergast, Mrs. T. J. W. Rathbone, R. Le B. Small, Louisa Watson (‘* Mary Buckley.’’) Stroud, D. Aikenhead, LL.D. (Lond.). Vale, W. T., A.R.C.O. . Wignacourt, John 159 Sherridge Malvern. Upper Walmer, Kent. Holywood Cottage, Sway, Hants. 45, Stanhope Road, Streatham, S.W. 12, Victoria Cres- cent, Jersey. Strete, Shotover, Oxford. 45, Marston’ Street, Oxford. Lyceum Club, 128, Piccadilly, W. 43, Albemarle Street, W. 28, Bedford Place, W.C. 28, Bedford Place, W.C. 20, West End Man- sions, West End Lane, N.W. cjo Messrs. Cox & Co., Bankers, Charing Cross. 8, Ravenscourt Square, Hammer- smith, W. 2, Sicilian House, Southampton Row, W.C. Solicitors’ Depart- ment, General Post Office, London. Pittville, Upper Duke’s Drive, Eastbourne. Lodge, —_—____.——_e-_—__—_ BOOKS PUBLISHED BY MEMBERS. Brodzky, Miss Beatrice Brooker, Lt.-Col. E. P., R.E. Brown, Miss Julia . Byles, Charles Edward. Hill, Hendon, N.W. 22, Hawarden Grove, Herne Hill, S.E. Centinilla, Dene- wood Road, High- gate, N. 17, Narbonne Avenue, Clapham, S.W. While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. BIOGRAPHY. In THE Footsteps or THE Brontis. By Mrs. Exvis H. Cuapwick. 8} x 5}. 502 pp. Sir Isaac Pitman. 16s. n. 160 Tue Memorrs oF Maria Stevia (LADY NEWBOROUGH). By Hersey. Translated from the original French by M. Harrier M. Cares. 9 Xx 5}.- 299 pp. Nash. 10s. 6d. n. Paut VeRLaine. By Witrrip Tuortry. (Modern Biographies.) 63 x 43. 107 pp. Constable. 1s. n. REMINISCENCES oF MY Lire. By Henry Hovipay. 104 x 64. 475 pp. Heinemann. 16s. n. DRAMA. Tue Pray or THE Fururn. By SypNEY GRUNDY. 72 x 54. 41 pp. French. 6d. ParsIFAL AND Tristan unD Isotpu. The Stories of Richard Wagner’s Dramas told in English by R. Fynzs and Lovis N. Parker. 7} 5. 88 pp. Smith, Elder. Is. 6d. n. Tur Mextine Por. By Israry Zanewrtu. A Drama in Four Acts. 8} x 53. 216pp. Heinemann. 2s. n. Stories FROM THE OPERAS. By Guapys Davipson. 74 x 5}. 559 pp. Werner Laurie. 6s. n. ECONOMICS. Tue Nature anp Frrst PrrycrPLe oF TAXATION R. Jones. Witha Preface by SipNey WEBB. 8} 299 pp. P.S. King. 7s. n. MarriaGE oN SMALL MEANs. 7k x 5. 193 pp. Constable. By Mrs. C. 3s. 6d. FICTION. By Darrett Fieais. JacoB ELTHORNE. 7k x 5. 435 pp. Dent. 6s. THe WANDERER’S NeckLAace. By H. Rrper Haaaarp. 7% x 5. 328 pp. Cassell. 6s. THe Maxine or AN ENGLISHMAN. 74 x 5. 369 pp. Constable. 6s. Cuppy YarsorovucH’s Davucuter. By Una _ L. SmBERRAD. 74 X 5. 350 pp. Constable. 6s. Lonpon, 1913. By Maragaret DE VERE STACPOOLE. 74 x 5. 347 pp. Hutchinson. 6s. THE MarriaGEor Ceca. By Maupr Lesson. 400 pp. Fisher Unwin. 6s. Tue Puree Mists. By F. E. Mitus Youna. 360 pp. Lane. 6s. THe Wonprer YEAR. By MauprE GoLpRIne. 319 pp. Erskine Macdonald. 6s. Tue Cockney aT Home. Stories and Studies of London Life and Character. By Epwix Puan. 7} x 5. 296 pp. Chapman and Hall. 6s. BEHIND THE VEm. True Stories of London Life. By Gro. R. Sims. 73 x 5. 272 pp. Greening. 2s. n. THe Turee Trees. By Guy Rawuence. 7} x 5. 322 pp. Fisher Unwin. 6s. Tut Icr. By ANNE WEAVER. Long. 6s. Tue Lost Roap. By Ricuarp Harpine Davis. 7} x 5. 266 pp. Duckworth. 6s. TuroveH OTHER Eyes. By Amy McLaren. 322 pp. Murray. 6s. A Maponna oF THE Poor AND OTHER Stories. By Cuive Hottanp. 74 x 5. 320 pp. Lynwood. 6s. Man and Woman. By L. G. Mosuriy. 72 x 5. 307 pp. Methuen. 6s. Money or Wire. By Erriz ADELAIDE RowLanps. 7? x 5. 320 pp. Ward, Lock. 6s. Wun Guost MEETS Guost. By Witt1am Dr Mora@an. 7% x 5. 892 pp. Heinemann. 6s. Iyitration. By Rozsert Hugo Benson. 396 pp. Hutchinson. 6s. A Lapy- or Letsurz. By Erxen Srpewick. 420 pp. Sidgwick and Jackson. 6s. By W. L. Grorce. 7k X 5. 7} X 5. 7% x 5. 320 pp. John 72 x 5. 74 x 5. Tk Xx 5. THE AUTHOR. Smatt Sours. By Lovis Covuprrus. ALEXANDER TEIXEIRA DE Marros. Heinemann. 6s. Ten-Minute Stories. By AtaERNON BLAcKWoop. 7k x 5. 271 pp. Murray. 6s. THE Ransom ror Lonpon. ByJ.8. FLErcurEr. 7} & 5. 296 pp. J. Long. 6s. SEHABORNE OF THE BonneT SHop. By R. K. WerExzs. 7} x 5. 42 pp. Herbert Jenkins. 6s. Tue Spirit Peas. By Heapon Hi. 7} x 43. 288 pp. Stanley Paul. 6s. THe Paraway. By GerrrupE Pace. 320 pp. Ward, Lock. 6s. Tue Way or THESE WomEN. By E. Puiviips OPPEN- HEIM. 73x 5. 316 pp. Methuen. 6s. Una and THE Lions. By Constance SMEDLEY. 7} & 43. 305 pp. Chatto and Windus. 6s. TurovucH Fouiy’s Minx. By Avice and CLaupDE ASKEW, 7% x 5. 319 pp. Ward, Lock. 6s. Tue Fryine Inn. By G. K. Cuusrerron. 301 pp. Methuen. 6s. One Krinp anp Anotuer. By Barry Parn. 308 pp. Martin Secker. 6s. Gay Morninc. By J. E. BuckRose. Mills and Boon. 6s. Tue Waters or Letue. By DoroTHEA GERARD. 72 X 5. 320 pp. Stanley Paul. 6s. Tue Master or Merrivitr. By EprEn 72 x 5. 304pp. Ward, Lock. 6s. Dust From THE Loom. By Epwarp Nos Le. 842 pp. Constable. 6s. Buinp Eyres. By Marcarer Peterson. 7} x 5. 303 pp. Melrose. 6s. Tue Decoy. By the CounrEss oF CROMARTIE. 7} x 5. 7} x 43. Translated by 72 x 5. 315 pp. 7% x 5. 72 x 5. 1 Xx 5. id x 5. 316 pp. PHILLPOTTS. 72 X Be 176 pp. Erskine Macdonald. 3s. 6d. n. TerMsS oF SuRRENDER. By Louis Tracy. 346 pp. Cassell. 6s. THE QuestTine Brast. Martin Secker. 6s. THE GaRDEN oF Dreams. By H. GRAHAME RICHARDS. 72 x 5. 356 pp. Hutchinson. 6s. A Bespoxen Bripe. By Frep WuHiIsHAW. 320 pp. J. Long. 6s. Way Sue tert Him. By Frorence WARDEN. 320 pp. John Long. 6s. Otp Monz’s Nover. Revised and Expurgated by GILBERT CANNAN. 6} X 4}. 63 pp. Martin Secker. 6d. n. Miser Hoapiey’s Secret. By A. E. Marcumont. (Cheap Reprint.) 64 x 44. 247pp. Methuen. 7d.n. Tue Ducuess oF WrexE: Her DEcLINE anD DEATH. A Romantic Commentary. By HucH WaLPoLe. 7k x 5. 421 pp. Martin Secker. 6s. Havuntep HicgHways AnD Byways. By E. O’DoNNELL. 72 x 5}. 220 pp. Nash. 3s. 6d. n. Smpson. By Exryor Morpavnt. 332 pp. Methuen. 6s, 7% x 5. 7k x 43. By Ivy Low. 7} x 5. 301 pp. 72 x 5. 7% x 5. 7t X 5. One Man Returns. By Harotp SPENDER. 316 pp. Mills and Boon. 6s. Tur Tracy Tussses. By JESSIE Pops. 246 pp. Millsand Boon. 3s. 6d. DistuRBERS. By W. H. Witt1aMson and “‘ CANADIENNE” | 7% x 5. 316 pp. Tue Mayor’s NI&cE. ANNE OF THE BARRICADES. 64 x 44. (Sevenpenny Stoughton. Evrerypopy’s Secret. By Dron Crayton CaLTHROP. (Popular Edition.) 7$x 5. 344 pp. Alston Rivers. 1s. n, Tur ADVENTURES OF SHERLOCK Hommes. By A. ConaN Doyir. (Nelson’s Library.) 6} x 44. 379 pp. Nelson. 7d. n. By G. A. BirmincHam. 256 pp. By 8S. R. Crocxert. 323 pp. Library.) Hodder and THE AUTHOR. 161 HISTORY. CALENDAR OF STATE PaPerRs. Colonial Series —America and West Indies, December 1, 1702-1703. Preserved in the Public Record Office. Edited by Cec, Hreapiam. 10$ x 74. 998 pp. Wyman. 15s. HISTORY AND GEOGRAPHY. Tue Ancrent Roman EMPIRE AND THE BriTIsH EMPIRE in Inpia. Tue Dirrusion oF RoMAN AND ENGLISH _ Law THROUGHOUT THE WorRLD. Two Historical Studies. By James Bryce. 84 x 532. 138 pp. Milford. 6s. n. THe Tracutnc oF Inpian History. An Inaugural Lecture. (January 20, 1914.) By Witt1am HoLpEN Hutton, B.D., Reader in Indian History in the Univer- sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon Press. London: Milford. ls. n. LITERARY. Men and Martrers. By WitrreD WARD. 451 pp. Longmans. 12s. 6d. n. MEDICAL. Exrectant MotHserHoop: Its SUPERVISION AND Hyaerenr. By J. W. Batuantyne, M.D. 8} x 5}. 288 pp. Cassell. 6s. n. AMBIDEXTERITY AND MentTaL Cuitture. By H. MacnaucuTon-Jonges. 62 x 44. 102 pp. Heine- mann. 2s. 6d. n. MISCELLANEOUS. A Morauist’s Birtupay Boox. Quotations Selected and Edited by Marx Merepirn. 4} x 34. 256 pp. 67, Dale Street, Liverpool. ORIENTAL. Apu’. ALA, THe Syrran. By H. Banrvern. 99 pp. (Widsom of the East Series.) Murray. PAMPHLETS. Waar 1s ‘‘ Womanty’’?? By Laurence Housman. The Women’s Freedom League. 4d. POETRY. More Ruopestan Ruymes. By CuLLeEN GouLpsBurRyY. 74 x 5. 136 pp. Bulawayo: Philpott and Collins. 9 x 52. 62 x 5. 2s. n. Man, OruerR Poems, AND A Prerace. By Marie C. Storrs, D.Sc., Ph.D., F.L.S., Fellow of University College, London. 74 x 5. 76 pp. Heinemann. 3s. 6d. n. Wittow’s Force anp OTHER Poems. By SHEA Kayer-Smitu. 73? x 54. 52 pp. Erskine Macdonald. A Batitap oF Men anp OrHer Verses. By WiLiiamM BuaneE. 73 x 5. 78 pp. Constable. 3s. 6d. n. Distrkes. Some Modern Satires. By C. MASEFIELD. 7k x 54. 48 pp. Fifield. 1s. n. POLITICAL. Tue GOVERNANCE OF ENGLAND. By Sipney Low. New Edition, revised and reset, with Introductory Essay. 8 x 53. 320 pp. Fisher Unwin. 3s. 6d. n. SPORT. Tue TRAD OF THE SANDHILL Sta. Naturalist to the Government of Manitoba. 93 pp. Hodder and Stoughton. 3s. 6d. n. THEOLOGY. Pastor Fururvs. <A Dramatic Idyll. By Joun Huntiey Sxrine, D.D. 8 x 54. 295 pp. Longmans, 5s. n. By E. T. Szton, 72 x 6. Toe Tree or Knowieper. A Series of Lessons for Children on the First Half of the Book of Genesis. By Sys Smiru. 74 x 5. xiv + 250 pp. Milford. 3s. 6d. n THe Meanrne or Curistianity. By F. A. M. Spencer. (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher Unwin. 2s. 6d. n. TOPOGRAPHY. Iy Cunyne WALK anpD THEREABOUT. Containing Short Accounts of Some Ingenious People and Famous Places that were by the Riverside at Chelsea. By REGINALD Buunt. 9 xX 534. 322 pp. Mills and Boon. 10s. 6d. n. A CorNER OF THE CoTswoLps. Through the Nineteenth Century. By M. Strurar GREeTTon. 9 x 53. 289 pp. Methuen. 7s. 6d. n. TRAVEL. Royat Spain or To-pay. By :TrypHosa Bares BaTcHELLER. 10 Xx 6%. xxiii +614 pp. Longmans. 25s. n. —__+—~>— LITERARY, DRAMATIC, AND MUSICAL NOTES. N R. WILLIAM DE MORGAN’S new book is entitled ‘* When Ghost meets Ghost,”’ and is published by Heinemann at 6s., and, in two volumes (library edition), 10s. ‘“‘ Initiation’ is the name of Monsignor Benson’s novel published last month (Hutchin- son). Mr. Edwin Pugh’s volume of short stories, ‘“The Cockney at Home,” is published by Chapman and Hall. The same firm publishes Mr. Tighe Hopkins’s ** Romance of Fraud ”’ (7s. 6d. net); and “‘ The Trial of John Jasper for the Murder of Edwin Drood,” in which Mr. G. K. Chesterton was judge and Mr. Bernard Shaw foreman of the jury (2s. 6d. net). Mr. G. K. Chesterton’s novel “‘ The Flying Inn,” is published by Methuen & Co., while a 1s. net edition of his ‘“‘ Bernard Shaw’”’ is announced by John Lane. Mr. Francis Gribble’s ‘‘ Life of the Emperor Francis Joseph” appeared on February 19 (Nash, 16s. net). ““ The Way of These Women ” is a novel by Mr. E. Phillips Oppenheim (Methuen & Co.). Mr. Frederick Arthur in “The Great Attempt ” deals with the struggle that ended at Culloden (John Murray). “The Strength of a Chain,” by Hester White, is published by Heath, Cranton and Ousely. The same firm announces for April Mrs. Mary F. Raphael’s “ Phoebe Maroon.” J. E. Buckrose has just published, through Mills and Boon, a _ novel entitled ‘“ Gay Morning,” which is appearing simultaneously 160 Tue Memorrs or Marra STELLA (LADY NEwsBoRouGH). By Hersetr. Translated from the original French by M. Harrrer M. Capes. 9 x 53. 299 pp. Nash. 10s. 6d. n. Paut VERLAINE. By Witrrip THORLEY. (Modern Biographies.) 63 x 43. 107 pp. Constable. 1s. n. REMINISCENCES OF MY Lire. By Henry Hovipay. 10} x 6}. 475 pp. Heinemann. 16s. n. DRAMA. THe Pray or THE Foturr. By Sypney Grunpy. 7} x 54. 41 pp. French. 6d. ParsiraAL AND Tristan unD IsotpE. The Stories of Richard Wagner’s Dramas told in English by R. FynEs and Louis N. Parker. 7} xX 5. 88 pp. Smith, Elder. Is. 6d. n. Tue Murine Por. By Israrn Zanewityt. A Drama in Four Acts. 8} x 54. 216 pp. Heinemann. 2s. n. STORIES FROM THE OpprRAS. By Guiapys Davipson. 7s X 5}. 559 pp. Werner Laurie. 6s. n. ECONOMICS. Tue Nature AND First PrincipLe oF TaxaTION. By R. Jones. Witha Preface by SipNeY Wess. 8} X 5$. 299 pp. P.S. King. 7s. n. Marriage on Smatt Means. By Mrs. C. 8. PEEL. 7s x 5. 193 pp. Constable. 3s. 6d. FICTION. Jacop Exruorne. By Darren Ficais. 7} x 5. 435 pp. Dent. 6s. THE WANDERER’S NeckLAce. By H. Riper Haaaarp. 7% x 5. 328 pp. Cassell. 6s. Tue Maxine of AN Enciisuman. By W. L. Grorae. 74 x 5. 369 pp. Constable. 6s. Cuppy Yarporoucn’s Davucuter. By Una _ L. SmBERRAD. 7$ Xx 5. 350 pp. Constable. 6s. Lonpon, 1913. By Marcaret DE VERE STACPOOLE. 74 x 5. 347 pp. Hutchinson. 6s. THe MarriaGe or Crciuia. By Maupr LEEson. 400 pp. Fisher Unwin. _ 6s. THe PurpPLe Mists. By F. E. Mitts Youne. 7} x 5. 360 pp. Lane. 6s. THe Wonprer YEAR. By Mavupr Gouprine. 72 x 5. 319 pp. Erskine Macdonald. 6s. Tue Cockney at Home. Stories and Studies of London Life and Character. By Epwix Pucn. 72 x 5. 296 pp. Chapman and Hall. 6s. BeninD THE Vem. True Stories of London Life. By Guo. R. Sms. 7} x 5. 272 pp. Greening. 2s. n. ~ Tue Turee Trees. By Guy Rawuence. 7} x 5. 322 pp. Fisher Unwin. 6s. Tun Icr. By ANNE WEAVER. 72 X 5. 320pp. John Long. 6s. Tue Lost Roap. By Ricuarp Harpine Davis. 72 x 5. 266 pp. Duckworth. 6s. THrovcH OTHER Eyes. By Amy McLaren. 7? x 5. 322 pp. Murray. 6s. A Maponna oF THE Poor AND OrHerR Srortrs. By Crive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.” Man and Woman. By L. G. Moperiy. 7} x 5. 307 pp. Methuen. 6s. Monty orn Wire. By Errre AprLarpn Row anps. 7i < 5. 320 pp. Ward, Lock. 6s. Wuen Guost ments Guost. By Wimxiam Dr Moraan. 72 x 5. 892 pp. Heinemann. 6s. Initiation. By Rosert Hvucn Benson. 396 pp. Hutchinson. 6s. A Lapy-or Lutsurz. By Erne. Smewicx. 420 pp. Sidgwick and Jackson. 6s. 7} x 6. 7k X 5. THE AUTHOR. SmaLL Sov.s. By Lovis Covupsrrus. ALEXANDER TEIXEIRA DE Marros. Heinemann. 6s. Translated by 7% x 5. 315 pp. Ten-Minute Stories. By ALGERNON 74 x 5. 271 pp. Murray. 6s. Tue Ransom For Lonpon, By J. 8. Frercuer. 296 pp. J. Long. 6s. SEABORNE OF THE Bonnet SuHor. By R. K. Wrexzs. 7} x 5. 42 pp. Herbert Jenkins. 6s. Biackwoop. Tk x 6. Tue Spirit Peas. By Heapon Hint. 7} x 4}. 288 pp. Stanley Paul. 6s. Tue Patuway. By GerTruDE Pace. 7} x 5. 320 pp. Ward, Lock. 6s. Tur Way or THESE Women. By E. Puitiips Opren- HEM. 7} x 5. 316 pp. Methuen. 6s. Una AnD THE Lions. By Constance SMEDLEY. 7} x 43. 305 pp. Chatto and Windus. 6s. TurovuGH Foiiy’s Mint. By Axicr and CLaupE ASKEW, 72 x 5. 319 pp. Ward, Lock. 6s. Tue Frying Inn. By G. K. Cnuestertron. 7} x 5, 301 pp. Methuen. 6s. One Kinp anp ANOTHER. By Barry Parn. 7% x 5, 308 pp. Martin Secker. 6s. Gay Morninc. By J. E. Buckrosr. 7} x 5. Mills and Boon. 6s. Tue Waters oF LETHE. By DororHea GERARD. 73 X 5. 320 pp. Stanley Paul. 6s. THe Master or Merripir. By Epren Pxrmporrs. 72 x 5. 304pp. Ward, Lock. 6s. Dust rrom THE Loom. By Epwarp Nose. 7} x 5, 842 pp. Constable. 6s. Buryp Eyres. By Margaret PETERSON. 7? X 5. 303 pp. Melrose. 6s. Tue Decoy. By the CounrEss or CRomarTiE. 7} x 5}, 176 pp. Erskine Macdonald. 3s. 6d. n. TERMS OF SURRENDER. By Lovis Tracy. 72 x 4%. 346 pp. Cassell. 6s. Tur Questine Beast. By Ivy Low. 7}? x 5. 301 pp. Martin Secker. 6s. THE GARDEN OF Dreams. By H. GRAHAME RICHARDS. 7% x 5. 356 pp. Hutchinson. 6s. A Bespoken Bripe. By FrRep WuisHaw. 7? xX 5. 320 pp. J. Long. 6s. Wry Sue tert Him. By Firorence Warpren. 7} x 5. 320 pp. John Long. 6s. Otp Motn’s Nover. Revised and Expurgated by GILBERT CANNAN. 64 x 4}. 63 pp. Martin Secker. 6d. n. Secret. By A. E. Marcumont. 64 x 44. 247pp. Methuen. 7d.n. Her Dercrine anp DEatTH. By HucH WALPOLE. Miser Hoapiey’s (Cheap Reprint. ) Ture Ducuess or WREXE: A Romantic Commentary. 74 x 5. 421 pp. Martin Secker. 6s. Havuntep Hicuways anp Byways. By E. O’ DoNNELL. 72 x 54. 220 pp. Nash. 3s. 6d. n. Srmpson. By Exinor Morpaunt. 7} x 5. 332 pp. Methuen. 6s. Ont Man Returns. By Harotp SrenpDER. 7} X 5. 316 pp. Mills and Boon. 6s. THe Tracy Tussses. By JxEsste Popr. 7} X 43. 246 pp. Mills and Boon. 3s. 6d. DistuRBERS. By W. H. Wititamson and ‘‘ CANADIENNE” 7% x 5. 316 pp. Tue Mayor’s Niece. By G. A. BrrmincuaM. 256 pp. ANNE OF THE Barricapes. By 8S. R. Crockett. 323 pp. 64 x 44. (Sevenpenny Library.) Hodder and Stoughton. Everypopy’s Secret. By Dron Cuayron CALTHROP, (Popular Edition.) 7} 5. 344 pp. Alston Rivers. 1s. n. THe ADVENTURES OF SHERLOCK HotmEs. By A. Conan Doyur. (Nelson’s Library.) 6} x 4}. 379 pp. Nelson. 7d. n. 316 pp. . ALD THE AUTHOR. HISTORY. CALENDAR OF STATE PaPerRs. Colonial Series.—America and West Indies, December 1, 1702-1703. Preserved in the Public Record Office. Edited by Cec, Hrapiam. 103 x 74. 998 pp. Wyman. 15s. HISTORY AND GEOGRAPHY. Tue ANCIENT RoMAN EMPIRE AND THE BritisH EMPIRE mn Inpra. Tue Dirruston or Roman anv ENGLISH Law THROUGHOUT THE WorRLD. Two Historical . Studies. By Jamzs Bryce. 8} x 53. 138 pp. Milford. 6s. n. Tue Tracuinc oF Inpran History. An Inaugural Lecture. (January 20, 1914.) By Witi1am HoLpEN Hurron, B.D., Reader in Indian History in the Univer- sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon Press. London: Milford. ls. n. LITERARY. Men anp Matters. By WriirreD WARD. 451 pp. Longmans. 12s. 6d. n. MEDICAL. Expectant MornerHoop: ITs SUPERVISION AND Hyoeienr. By J. W. Batxantyne, M.D. 8} X 5}. 288 pp. Cassell. 6s, n. AMBIDEXTERITY AND Mentat Cutture. By UH. Macnavucuton-Jones. 62 X 4}. 102 pp. Heine- mann. 2s. 6d. n. MISCELLANEOUS. A Morauist’s Brrtapay Boox. Quotations Selected and Edited by Mark Merepiru. 4} x 3}. 256 pp. 67, Dale Street, Liverpool. ORIENTAL. Asu’t ALA, THe Syrian. By H. Barrer. 99 pp. (Widsom of the East Series.) Murray. PAMPHLETS. Wuat is “ Womanty”’ ? By LavrENcE HovusMAN. Women’s Freedom League. 4d. POETRY. More RuopesiaN Ruymes. By CuLLEN GOULDSBURY. 7k x 5. 136 pp. Bulawayo: Philpott and Collins. 5s. n. Man, OruerR Poems, AND A Prerace. By Marie C. Srorzs, D.Sc., Ph.D., F.L.S., Fellow of University College, London. 74 xX 5. 76 pp. Heinemann. 3s. 6d. n. Wiuow’s Force sanp OrTnEeR Poems. By SHEILA Kays-Smitu. 73 x 5}. 52 pp. Erskine Macdonald. A Battap or Men anp OTHER VersES. By WILLIAM Buang. 7} x 5. 78 pp. Constable. 3s. 6d. n. Distixes. Some Modern Satires. By C. MasFIELp. 7k x 5}. 48 pp. Fifield. 1s. n. POLITICAL. Tur Governancn oF ENGLAND. By Sipney Low. New Edition, revised and reset, with Introductory Essay. 8 x 5}. 320 pp. Fisher Unwin. 3s. 6d. n. SPORT. The TRAIL oF THE SANDHILL STAG. Naturalist to the Government of Manitoba. 93 pp. Hodder and Stoughton. 3s. 6d. n. THEOLOGY. . A Dramatic Idyll. 9 x 5B 63% x 5. 2a Ti The By E. T. Seton, 7 x 6. Pastor Futurvs. By Joun Hunriey Sxrivz, D.D. 8 x 5}. 295 pp. Longmans, 53. ne 161 Tue TREE or Knowiepcr. A Series of Lessons for Children on the First Half of the Book of Genesis. By Sypit Smirn. 74x 5. xiv + 250 pp. Milford. 3s. 6d.n THE MEANING OF CHRISTIANITY. By F. A. M. SPENCER. (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher Unwin. 2s. 6d. n. TOPOGRAPHY. In Curyne WALK AND THEREABOUT. Containing Short Accounts of Some Ingenious People and Famous Places that were by the Riverside at Chelsea. By REcrnaLp Buunt. 9 xX 54. 322 pp. Mills and Boon. 10s. 6d. n. A CoRNER oF THE CotswoLps. Through the Nineteenth Century. By M. Sturcr Grerron. 9 x 5}. 289 pp. Methuen. 7s. 6d. n. TRAVEL. Roya Sparn or To-pay. By :TrypHosa BatTEs BatcHELLER. 10 X 6}. xxiii+ 614 pp. Longmans. 25s. n. — LITERARY, DRAMATIC, AND MUSICAL NOTES. R. WILLIAM DE MORGAN’S new book is entitled ‘‘ When Ghost meets Ghost,”’ and is published by Heinemann at 6s., and, in two volumes (library edition), 10s. “Tnitiation’’ is the name of Monsignor Benson’s novel published last month (Hutchin- son). Mr. Edwin Pugh’s volume of short stories, ‘*The Cockney at Home,” is published by Chapman and Hall. The same firm publishes Mr. Tighe Hopkins’s “ Romance of Fraud ” (7s. 6d. net); and “ The Trial of John Jasper for the Murder of Edwin Drood,” in which Mr. G. K. Chesterton was judge and Mr. Bernard Shaw foreman of the jury (2s. 6d. net). Mr. G. K. Chesterton’s novel ‘‘ The Flying Inn,” is published by Methuen & Co., while a 1s. net edition of his ‘“‘ Bernard Shaw’”’ is announced by John Lane. Mr. Francis Gribble’s ‘‘ Life of the Emperor Francis Joseph” appeared on February 19 (Nash, 16s. net). “The Way of These Women ” is a novel by Mr. E. Phillips Oppenheim (Methuen & Co.). Mr. Frederick Arthur in “The Great Attempt ” deals with the struggle that ended at Culloden (John Murray). ““The Strength of a Chain,” by Hester White, is published by Heath, Cranton and Ousely. The same firm announces for April Mrs. Mary F. Raphael’s “ Phoebe Maroon.” J. E. Buckrose has just published, through Mills and Boon, a novel entitled “ Gay Morning,” which is appearing simultaneously 162 in the United States. This author’s “ Dewn Our Strect ” and ‘‘ Love in a Little Town” are being issued in a new shilling cloth-covered edition, while a series of sketches called “* Billy Finding Out” is about to appear in the Pall Mall Magazine. ‘Frances of the Farm,” an Australian story by an Australian writer, M. Lillian Paten, is published by Murray and Evenden at 2s. net. Stanley Paul & Co. announce “ The Gates of Doon,” a new story of England in Georgian days, by Mr. Rafael Sabatini. The book is to be included in Stanley Paul’s Empire Library. : The authors of “ Birturbiss,’ a novel introducing the Iroquois Indians and Pontiac’s rebellion, are W. H. Williamson and “Canadienne ”’ (T. Wérner Laurie, 6s.). Mr. Clive Holland collects some of his short stories under the title of ‘‘ A Madonna of the Poor ” (Lynwood & Co.). “The Purple Mists,” by Miss Mills Young, is published by John Lane. Mrs. Agnes E. Jacomb Hood’s new novel, “The Fruits of the Morrow,” will be brought out this month by Methuen & Co. The first book of the spring publishing season of Herbert Jenkins, Ltd., was ‘“ Sea- borne of the Bonnet Shop,” by R. K. Weekes. Mrs. Stanley Wrench’s “ Potter and Clay ” is to appear on March 5. Miss Edith C. Kenyon’s Welsh novel, “The Wooing of Mifanwy,” is to come out in a sixpenny edition about Easter. Only a few months ago the most famous of English comic actresses in the past was dealt with by Mr. P. W. Sergeant in his ‘“ Mrs. Jordan, Child of Nature.’ Now a new biography of the same lady is announced b the firm of Nash, the title being “ The Story of Dorothy Jordan,” and the author Clare Jerrold. Mrs. Jerrold, we learn, has had access to important letters and private papers, which help to solve the numerous doubts and difficulties connected with the actress’s life. Mr. Walter Jerrold has recently completed the biography of his grandfather Douglas Jerrold, on which he has long been engaged, and it will shortly be published by Hodder and Stoughton. “Love in a Thirsty Land,” by Mrs. A. C, Inchbold, is a romance which begins in France and is continued in Palestine, the hero being a young American and the heroine a French girl of aristocratic family (Chatto and Windus). Mr. John Law, author of “ Glimpses of THE AUTHOR. Midden India,” has had published through Thacker Spink, of Calcutta and Simla, a story entitled “* The Horoscope.’ “The Chow-chow ” is the name of a work by Lady Dunbar of Mochrum, which deals with that breed of dogs in which the author is so deeply interested, and of which she is a scientific breeder. The book is illustrated with many photographs, and is published by Sir Isaac Pitman & Sons, Ltd. Mr. W. L. George’s book of essays upon the drama will be published by Sidgwick and Jackson this month, under the title ‘‘ Dramatic Actualities.”’ “The Doges of Venice,” by Mrs. Aubrey Richardson, is published, with 16 illustrations, at 12s. 6d. net. Mr. Adclphe Smith’s new work is ‘‘ Monaco and Monte Carlo ” (Grant Richards, 15s. net). Mr. Reginald Blunt’s “In Cheyne Walk and Thereabouts ” contains, according to the sub- title, short accounts of some ingenious people and famous places that were by the riverside at Chelsea (Mills and Boon, 10s. 6d. net). The Rev. Ashley L. Barnes-Lawrence issues, through the S.P.C.K., a little work entitled “The Marriage Vow: a Call to Churchmen.” The price is 8d. Messrs. Methuen & Co. announce a new work by the Rev. P. H. Ditchfield, F\S.A., entitled ‘‘ London Survivals,”’ illustrated by over 100 drawings by Mr. Wratten. It will be published in the spring. Mr. Ditchfield has also finished another book for the same firm, which will appear in the autumn. He is writing a series of articles in the Badminton Magazine on Famous Houses, and contributing to the Field, the Treasury, the Quiver and other magazines. He is editing with Mr. W. Page the Victoria County History of Berk- shire, in four large quarto volumes, and hopes the last two will be issued shortly; the “Memorials of Old Berkshire,” for the Memorials of the Counties of England Series, of which he is the general editor; and has undertaken to write a new book for Messrs. Dent & Co. His article in the Treasury last month is on “‘ Belgian Pulpits.” “Celtic Britain and the Pilgrim Movement,”’ by the Rev. G. Hartwell Jones, M.A., D.D., is published by the Hcnourable Society of Cymmrodorion at the price of one guinea net, Mr. James Baker, F.R.Hist.S., gave recently, at Plymouth, a lecture upon “ R. D. Blackmore, the man and his work,” in the course of which special reference was made to the fact that Blackmore strongly resented being called a one-book man, The lecturer supported Black- - oh. Jenkins, Ltd. THE AUTHOR. 163 more’s position with quotations from many of his novels. Miss Beatrice Chase, in ‘‘ The Heart of the Moor,” is enthusiastic about the spell of Dartmoor, and says that to her the days spent away from it are irrevocably lost (Herbert Jenkins, Ltd.). Mr. W. Barnes Steveni, formerly St. Peters- burg correspondent of the Daily Chronicle, has recently completed a book upon the Volga, the largest river in Europe. The name is “The History of the Volga and its Towns.” Mr. Barnes Steveni has also completed two books on ‘“‘ Sweden, the Land of the Goths and Vikings,” one of which will be brought out by Seely, Service & Co. in the autumn. Mr. Charles Rann Kennedy has published in book-form his new five-act play ‘“ The Idol Breaker” (Harper and Brothers, New York, $1.25 net). “The Memoirs of Babur”’ is a new trans- lation by Annable S. Beveridge of the “ Babur- nama,” incorporating the 1826 translation by Lagden and Erskine (Luzac & Co., 10s. 6d. net). The same author has in the Journal of the Royal Asiatic Society some ‘“* Notes on the Babur-nama.”’ A book of stories, sketches, and verse, grave and gay, dealing with life in Siam, by Mr. Eric Reid, has been published by the Bangkok Times Press, Ltd., under the title “‘ Chequered Leaves from Siam.” Mr. W. H. Harwood’s ‘“‘ The Modern Poet, and other verses” is. published by Constable & Co. at 3s. 6d. net. “‘ The Wheel of Life and Some of its Spokes ” is a small volume of essays by V. E. M. Fetherstonehaugh-Frampton, published by H. G. Commin, of Bournemouth. Miss A. M. Everest’s anthology of German poetry will be published by Erskine Macdonald on March 2. The same firm will print, shortly, a second impression of Miss E. Crosby Heath’s * Little Poems.” In the February Cornhill Mr. Gilbert Coleridge had an article called ‘“‘ Rory of the Glen,” a character-study and description of the local surroundings of a Highland keeper on a Scottish deer-forest—a type of man that is fast dying out. In the February Windsor Mrs. Dawson Scott has some verses entitled the “ Moving Finger.’ Mr. W. H. Dawson is the editor of ‘“‘ The Year-Book of the Universities of the Empire, 1918—14,”” published for the Bureau of the Universities of the Empire by Herbert DRAMATIC. After its performance by the Play Actors at the Court Theatre on January 26, Mr. Israel Zangwill’s four-act drama, “The Melting Pot,” was put on at the Queen’s Theatre, where it still occupies the nightly bill. On January 28 ‘‘ The Music Cure,” a new playlet by Mr. Bernard Shaw, was produced, in front of Mr. G. K. Chesterton’s ‘‘ Magic”’ at the Little Theatre. In the same house on February 3 ‘‘ The Ladies’ Comedy,” by Mr. Maurice Hewlett, was seen at a matinée. “The Eleventh Hour,” a short comedy by Mr. Temple Thurston, was put on at the Coliseum on February 2. ‘The Tyranny of Tears,” by Mr. C. Haddon Chambers, was revived at the Comedy Theatre on February 5. ‘“* A Midsummer Night’s Dream”’ was revived by Mr. Granville Barker at the Savoy on February 6. Mr. Norreys Connell’s play, “ Thank Your Ladyship,” was produced at the Playhouse on February 12. On February 16 ‘‘ Damaged Goods,” a translation by Mr. John Pollock of Brieux’s “Les Avariés,” was played at a matinée by the Authors’ Producing Society at the Little Theatre. On February 17 ‘“ Helen with the High Hand,” an adaptation by Mr. Richard Price of Mr. Arnold Bennett’s novel, was produced at the Vaudeville Theatre. The run of Sir J. M. Barrie’s “ Quality Street ? ended on February 21, and its place at the Duke of York’s Theatre was taken on February 26 by Mr. Somerset-Maugham’s new play, ‘“‘ The Land of Promise.” : On February 28 Mr. Joseph Keating’s “‘Pegay and Her Husband” was staged at the Royalty Theatre. “ The Two Virtues,” Mr. Alfred Sutro’s new comedy, is announced for production by Sir George Alexander at the St. James’s Theatre on the 5th instant. There was a revival of Mr. Sydney Grundy’s “A Pair of Spectacles” at the Marlborough Theatre last month. Mr. Norman V. Norman has a new one-act play by Miss Cicely Hamilton. { Among the plays to be expected are Mr. Louis Parker’s version of “ David Copper- field,” for Sir Herbert Tree ; and Mr. Bernard Shaw’s ‘“‘ Pygmalion,” also at His Majesty’s Theatre. : Sara Jeanette Duncan has, in collaboration with Mr. Forbes Dawson, dramatised her 164 Indian story which was published under the title ‘‘ Sonny Sahib.” : ‘“Consarnin’ Sairey Uggins ” is a one-act piece by Wilfrid Blair, produced under Miss Horniman’s management at the Gaiety Theatre, Manchester. The play deals with rival claimants to a widow’s hand, and shows how the attempt of two of the rivals to score off a third when their own suits have failed results in the success of the third claimant. In the cast were Miss Muriel Pope and Mr. Leonard Mudie. MusiIcat. At the Royal Philharmonic Society’s concert at the Queen’s Hall, on February 19, Sir Charles Stanford’s ‘‘ Fourth Irish Rhapsody ” was given for the first time. 2 Mr. H. E. Hodson’s ‘“ Golden Legend,” published in 1880, and performed in London for the first time the following year, was presented as an opera at the Academy of Musie on January 29. Mr. Cecil Sharp’s songs and incidental music composed for the “‘ Midsummer Night’s Dream” at the Savoy, have been published by Simpkin and Marshall, at 1s. 6d. net. Miss Agnes Mary Astle is the composer of two new songs, “ Brenda” and ‘ Morning- tide’ (Cary & Co., 2s. net each). ———_— 6 + PARIS NOTES. een EEE HE literary prize in the form of an annuity, offered by Prince Roland Bonaparte, has just been awarded to Jules Huret and to Pierre Mille. Both these writers are great favourites with the French public—Jules Huret for his excellent studies of foreign countries, and Pierre Mille for his colonial studies from life. It seems incredible to English and American readers that the great French philosopher, M. Emile Bontroux, should only recently have been elected a member of the French Academy. It seems just as incredible, it is true, that one or two members of the French Academy should ever have been elected members. To those who like to see themselves as others see them, we would recommend a book entitled ““ Le Socialisme et l’Evolution de l’Angleterre contemporaine.” “Le Sermon sur la Montagne ” is a volume illustrated by that incomparable artist, M. Eugéne Burnand. M. Léonce Benedite, Curator of the Luxembourg Museum, has written the preface, and there are about forty- five reproductions in the volume. ~ THE AUTHOR. There have been several extrem ely interest- ing theatrical representations during the past month. A Turkish play by Miss May de Witt Hopkins has been produced in Paris under the title of ‘‘ Ménages Turcs.” It is an extremely strong play of great dramatic interest repre- senting life in modern Constantinople. The leading réle was to have been played by M. Burhaneddine Bey, but, most unfortunately, this interesting Turkish actor was wrongfully arrested under the charge of being implicated in the attempted political murder last month in Paris. He was proved to be innocent, and is to give the play as soon as arrangements can be made for it to be put on again. The Théatré Idéaliste gave a performance of “ Les Fétes Galantes,” a two-act play by Paul Verlaine and Adrien Remacle, last month. The music was by Adrien Remacle. Mr. Philip Carr’s venture, ‘‘ The Little English Theatre,” was inaugurated last month with the most brilliant success. The ‘‘ Mer- chant of Venice” was given three times to crowded houses. The ensemble was admirable, and the Shylock has probably never been surpassed. The matinée was given to an almost entirely French public, and the applause was so genuine and so enthusiastic that Mr. Carr has promised to return shortly to Paris with one of Bernard Shaw’s plays, and The Little English Theatre may now be considered one of the institutions of literary Paris. The Paris branch of the Lyceum Club was honoured this last month by the visit of Madame Poincaré, wife of the President of the French Republic. She was received by the Dowager Duchess of Uzés, who is president of the Club, and was entertained to tea and presented with flowers. The entente cordiale seems to reign supreme in Paris between the French and English. Atys HALLARD. a A GRAYE FLAW IN INTERNATIONAL COPYRIGHT LAW. -: + S? serious is the significance of the judgment pronounced by the Swiss courts in the case of A. Samler-Brown v. J osef Kiinzli, which was supported by the Soc'ety, that it appears desirable to record the facts in the simplest manner possible, so that any one, without possessing technical legal knowledge, may perceive the] meaning of what has happened. _ In 1903 Mr. A. Samler-Brown, a member of the Society, published in London a work with the title: “ Madeira, Canary Islands, and Azores, Practical and Complete Guide for Tourists, Invalids, and Residents, with Twenty Coloured Maps and Plans, and many Dia- grams.”’ In the summer of 1907 Josef Kiinzli, of Aadorf, Thurgau, Switzerland, a representa- tive of the firm of A. G. Kiinzli, of Zurich {illustrated postal-card publishers), at the instigation of Joseph Ratschiiler (at the time manager of the Hotel Quisana, in Santa Cruz, Tenerife), reproduced, without the author's permission, 21,240 copies of maps in Mr. Samler-Brown’s book, in the form of postal- cards. Of these cards, Ratschiiler took 5,000. Josef Kiinzli had to dispose of the others how he could, and, on the occasion of a visit to Tenerife, handed them over to an agent, Richardson, for sale. Supported by the Society of Authors, Mr. Samler-Brown instituted proceedings against Josef Kiinzli on September 15, 1910, in the District Court of Zurich; and, as the verdict of that court was given against him, proceeded to the High Court of Appeal of the Canton. This court, on November 12, 1913 confirmed the sentence of the lower court, and acquitted the defendant Kiinzli on the ground that— No offence had been committed of which the Swiss courts could take cognizance. This was for the following reasons :— (1) The cards were not produced in Switzer- land, but by Emile Pinkau & Co., of Leipzig. (2) The cards were not distributed from Zurich, but were all delivered directly, through Hamburg, to Tenerife. (The publishing firm of A. G. Kiinzli had had nothing to do with the transaction, of which there was no record in their books.) (3) The plea that, although the cards were not of Swiss production, and had not been delivered from Switzerland, the correspond- ence respecting them issued from Zurich, was declared to be beside the question. Even if Kiinzli had written to Richardson from Zurich to place the sale of the cards in Richard- son’s hands, this would not have been an actionable act performed in Swiss territory, because it was not an act of distribution, but 4 mere preliminary thereto. Nor could any- thing be gained by proving that a correspond- ence had been carried on from Zurich as in the case of offences committed by means of correspondence the place where the letter is received and read is regarded by Swiss law as the place where the offence is committed. THE AUTHOR. 165 The receipt of moneys in Zurich, and the corre- sponding entries in commercial books kept there, were mere consequences of what had been done in Tenerife, but not in themselves infractions of copyright. The legal technicalities of the case (into which we do not here enter) are somewhat complicated ; but the result is very simple, and is this :— That Josef Kiinzli reproduced, without the author’s consent, copyright matter, sold his reproductions, and secured the profits of these transactions, is not disputed. As, however, he is domiciled in one country, has reproduced in another, and sold in a third, he is acquitted of infringement of copyright, notwithstanding all the international laws and agreements respecting copyright which are at present in existence. That this should be possible appears to show that, up to the present, a grave flaw exists in international copyright law; or is the flaw in the domestic law of Switzerland ? —$__ +e ______ DRAMATIC COPYRIGHT. a “Toe Beccar Grru’s WEDDING.” Rees v. Robbins. HE decision of Mr. Justice Warrington in this action was a finding of fact, but certain observations of the judge upon the law of copyright and his application of it to the evidence in the case before him cannot be regarded as satisfactory from an author’s point of view. The proposition that two per- sons may arrive at the same results from independent effort, and that, even if the work of the one resembles the work of the other, there may be no infringement of copyright, is based upon cases under the old law relating to the making of directories and other compila- tions. But it is well to bear in mind that copyright under the new Act does not mean “* conscious copying ” ; for if a person produces a play which is in any substantial part a reproduction of another play, it may be an infringement of copyright ; and it is no defence to allege that the later play was written with- out referring at the time to a copy of the earlier play. The dramatist may have drawn from his experience and powers of invention, but if reading another author’s play is part of that experience, this may suggest a presump- tion that he took ideas from that play, even if, 166 in fact, he had no copy of the play before him, and did not consciously copy from it. : The plaintiff, Miss Rosemary Rees, claimed damages against the defendant, who is pro- fessionally known as Walter Melville, for infringement of the copyright in her play entitled “A Beggar Bride.” The plaintiff wrote her play in 1906 and sent it to the defen- dant, who asked Mr. Douglas Bruce to read it. Mr. Bruce expressed a very favourable opinion and considered that the play was worth £150, and the defendant bought the play from the plaintiff for £60. After the defendant had read the play some type-written copies were made, but these were put away for a time as the play was not produced by the defendant. The plaintiff, however, was anxious to have her play performed and eventually bought it back from the defendant for the sum of £60 which she had received from the defendant. At the same time the defendant stipulated that he reserved the right to use the title ““ The Beggar Girl’s Wedding,’ and_ two_type- written copies of the play were handed over to the plaintiff, but one copy remained in the defendant’s possession. Subsequently in March, 1908, the plaintiff's play was produced at Brighton under the title of “‘ A Desperate Marriage,”’ and the defendant was present at the performance. In June of the same year the defendant wrote- his play “The Beggar Girl’s Wedding,” which was produced at the Lyceum Theatre and proved a notable success. The plaintiff saw the performance at the Lyceum Theatre and was immediately struck with the similarities in “The Beggar Girl’s Wedding ’”’ and her own play. ; A number of witnesses, including Miss Cicely Hamilton, Mr. Temple Thurston, and Mr. Cecil Armstrong gave evidence as to the similarity in the plot, divers scenes, dramatic situations and incidents in the two plays, and Mr. Herbert Lloyd, who had acted in both plays, expressed the opinion that they were the same. On the other hand, it was contended that the defendant had had great experience in writing melodramas and that he drew from the store of knowledge in his mind.. He dictated his play, which was original work, and there was no copying from the plaintiff's play. The defendant in his evidence stated that his play was written from his dictation within the period of a week, and that it contained the common stock incidents and purely conven- tional characters. He had only read the plaintiff's play once and did not refer to it THE AUTHOR. when writing his play. Other witnesses were called, including Mr. Douglas Bruce, who stated that it never occurred to him that there was any similarity in the two plays. Mr. Justice Warrington in his judgment said that the position of the owner of copy- right was different from that of an inventor or owner of a patent. The patentee had the sole right to use his invention and anyone who used it, although he made the discovery by independent investigations, was infringing the patent. In the case of copyright it was possible to arrive at the same result from independent sources, and the fact that a defendant produced something like the plaintiff's work did not constitute an infringe- ment of copyright. After dealing with the characteristic features of melodrama, his lordship said that he believed the defendant’s statement that he did not have the plaintiffs play in material form before him when he wrote his play. The defendant may have had some recollection mixed up with his dramatic experiences of the subject-matter of the plaintiff's play, but only as part of a general dramatic experience ; and he did not believe for a moment that the defendant consciously copied from the plaintiff's play. It was clear that the defendant had not per- formed the plaintiff's play. The two plays, except for one matter, were as different as two plays of that class could be. The defendant had drawn from his own experiences in his. profession and from his powers of invention, although it was a fact that the defendant had. seen and read the plaintiff's play, and that was. part of his experience. He came to the con- clusion that the defendant had not infringed. the plaintiff's copyright and therefore the plaintiff's action failed. Haroip Harpy. —_———_+———____—_—__ AGREEMENT OF THE INTERNATIONAL, COPYRIGHT BUREAU. —+ <> HE Committee of Management of the Society has found it necessary from time to time to print agreements in the columns of The Author, and to make comment upon them, in order to draw the members’ attention to points and difficulties that may arise if such agreements are accepted without alteration and without any suggestion on the part of the author. the following agreement is printed :— With this object in view MEMORANDUM OF AGREEMENT made this , one thousand nine hundred and 2 BETWEEN (hereinafter called ‘‘ the author’’) of the one part, and Tar INTERNATIONAL Copyricnut Bureau, Lirrep, of Dewar House, Haymarkct, London, S.W. (hereinafter called ‘‘ the company ’’) of the other part, WHEREBY IT IS AGREED as follows :— 1. The author hereby appoints the company his sole agents for the placing of his play at present entitled throughout the United Kingdom of Great Britain and treland, the British Colonies and Dependencies, the United States of America, and the Dominion of Canada. 2. The company agrees to act as agents for the author, and shall do its utmost to get the said play accepted. The company may make any arrangements it may consider desirable for the assignment or lease of the performing rights or any part thercof in the said play. It is under- must stood that the company Sor ae approval to any such arrangement. The author hereby gives the company full power to sign and execute on his behalf any such agreement dealing with the said play in the countries aforesaid, and to receive all payments for the sale of such rights, or all fees payable in pursuance of any such agreement, and to give good receipts therefor, and the author also hereby agrees to sign, do and execute all such further documents, acts, deeds and other things as may be necessary or, in the opinion of the company, expedient to effectuate any such agreement or arrangement. 3. The author shall not himself or by any other agent negotiate or attempt to negotiate the placing of the said play in any of the aforesaid countries without the distinct approval in writing of the company. 4. The company shall retain or receive out of all monies received by them in respect of the said play, or otherwise payable in respect thereof, a commission of 10 per cent. in tespect of the business done in the United Kingdom of Great Britain and Ireland, and of 10 per cent. in respect of business done in the British Colonies and Dependencies, and of 15 per cent. in respect of business done for and in the United States of America and Canada. 5. The company shall also have a free hand as to the producing rights in the play in all foreign countries. The company shall bear all costs of translation, adaptation, printing, producing ; the author in fact to be exempt from all costs in connection therewith. All gross proceeds from any sale, or lease, or assignment of the performing rights in all countries, except those mentioned in clauses ] and 4, shall be divided as to 50 per cent. for the author and 50 per cent. for the company. 6. The company shall be at liberty to employ sub-agents in any of the aforesaid countries, such sub-agents to have the rights of the company in respect of the several countries for which they may be appointed. 7. In the event of the company not having succeeded in placing any of the aforesaid rights in any of the aforesaid countries by * , the author and the company shall each have the option, by giving notice in writing, of declaring this agreement at an end upon such date or any date thereafter. * Eprror’s Norz.—The date inserted is generally from a year to two years from the date of the agreement. 8. The company shall deliver to the author all monies dlue nereunder within one week from their receipt. As witness the hands of the said parties. In the first clause there is not very much to Object to. The second clause, however, is full of dangers as it gives the agent much too great powers. day of obtain the author’s THE AUTHOR. 167 An author must remember when dealing with an agent that the agent should never have the power to act as principal. No agent can conduct business to the advantage of an author, if there is a chance that the author will have to compete with him acting also as principal. One line taken from clause 2 runs as follows : “It is understood that the ip need not obtain the author’s approval to any such arrangement.’ The mere fact that this clause is placed in the alternative tends to lead the author into great dangers. In no circum- stances should the agent be allowed to act without the author’s approval, indeed, every contract which the agent makes, must be approved and signed by the author. The rest of the clause, therefore, is very dangerous. In discussing agency agreements, and es- pecially the dramatic agency agreement which was settled by the sub-committee, attention has been drawn to the danger of allowing an agent to collect fees all through the time that the contract is running. The agent, no doubt, would be entitled to fees if his agreement with the author allows them, but that he should be allowed to collect in any circumstances is a most dangerous licence. Should the author at any time desire to resume the collection himself, he should be entitied to do so, paying the agent his fees in due course. As a matter of fact, authors who employ agents are, as a rule, quite willing that the agent should collect subject to the author’s power of resumption if he is dissatisfied. It has been shown on various occasions how these dangers arise. An agent may be in a bad way financially, and it is not fair that the author should run the risk of having his fees swept away in the agent’s bankruptcy. An agent may fail to check the accounts properly, and otherwise to safe- guard the author’s interests. It is not fair to the author that he should run the risk of such carelessness after it has been detected. The part of the clause that refers to giving good receipts only makes the position more dangerous. During the continuance of the agreement, it is fair to the agent that the author should not be allowed to negotiate for the play in any of the countries mentioned without the approval of the agent, for otherwise the author might, and probably would, hamper any good agent who is conducting the business on the proper lines. With regard to the amount to be paid the agent, this question has also been touched upon 168 in the agreement which was drafted by the sub- committee. They consider that it is fair that an agent should obtain his fee for placing and negotiating a play by a fixed percentage up to a certain figure. After that figure has been reached the agent, if the author is willing to leave the matter in his hands, should remain merely as a collector of monies. Clause 5 is at once impossible. Here the agent endeavours to act straight away as principal, the only condition being that the author shall receive 50 per cent. of the returns. This position must be combated at once. The clause ought to be deleted. If any clause is to be inserted it must be put on the usual agency basis, namely, that if during the con- tinuance of the agreement the agent is success- ful in negotiating for the production of the play in any foreign country, under an agree- ment signed and approved by the author, then he shall be entitled to 10 per cent. of the amounts as and when received under the contract. That he should be entitled to 50 per cent. is absurd. As the clause stands, no doubt the agent’s answer would be: “ But I have to pay all the costs of translation, adaptation,” etc., but this is in reality no answer, for the author has the right himself to determine what costs shall be paid for trans- lation, adaptation, etc., and it is not for the agent to act as principal in the matter, or employ any translator, or adaptor he may think fit. From another point of view, the answer is no answer; in some countries the translation is undertaken by the theatre that produces the work, and it is not fair in that case that the agent should be paid 50 per cent. of the author’s royalties. Clause 6, again, is a most dangerous clause, especially when the former clauses are taken into consideration, for if the agent has powers to act as principal in the former clauses, he can delegate these powers under clause 6, and it is impossible to say what would be the result. An agency contract is a very personal contract. Though the author may fairly trust the person with whom he is dealing, he should not be in the position of holding no power whatever over the sub-agents that may be appointed. The old legal motto, therefore, ‘ delegatus non potest delegare,”’ should be sternly adhered to. The time limit of one year set out in clause 7 would not be unreasonable if the rest of the clause were not so adverse to the author. Suppose, however, the agent suc- ceeded, under a contract approved by the author, in placing the play for a week’s run in the provinces, then it would appear that THE AUTHOR. the author would have no power of terminating this contract. It is possible to conceive the position where the agent made a contract which was approved by the author for a reasonable run at a West End theatre; that after the run, the agent took no trouble to place the play in other countries in the Colonies or in the provinces, and the author being unable to determine the contract under clause 7, would be left at the mercy of the agent. Some years afterwards, perhaps, the author might succeed in placing the play in America—many plays have succeeded in America which have failed in England, and vice versd—the agent might then turn round and say: “I am entitled to my fees on your contract,’’ although he had for many years neglected the play and had not been instrumental in any way in securing the con- tract on which he demanded payment. Clause 7, therefore, is perhaps the most serious in the whole agreement. If the agent has not succeeded within the time mentioned in placing the play, then the author should have the right of determining the contract in those countries or limited districts where the agent has failed. He should not be at the mercy of the agent in a matter of this kind. The main points, therefore, which should be before an author’s mind when considering this agreement are: (1) that the powers given to the agent in the countries named in clause 1 are far too large; (2) that the power given to the agent in clause 5 to deal as principal should never be granted; and (3) that the right of termination set out in clause 7 should be very strictly limited. eo MAGAZINE CONTENTS. — +o BRITISH REVIEW. The Unworldliness of Journalists. By G@. K. Chesterton. With Dumas in Derbyshire. By Mrs. Andrew Lang. Dramatists of To-day: Bernard Shaw. By Edward Storer. The Music of the Novelists, Harris. “ Anna Karenina” at the Ambassador's Theatre. By J. E. Harold Terry. CONTEMPORARY. By Clement Antrobus The Recent Dramatic Movement in Germany. By The Count de Soissons. Literary Supplement: The Gentle Art of Teaching English. FORTNIGHTLY, Lady Dorothy Nevill. By Edmund Gosse, C.B. A Practical Repertory Theatre. By E. A. Baughan. Feodor Dostoieffsky. By J. A. T. Lloyd. Wordsworth at Rydal Mount. By John Eglinton. HOW TO USE THE SOCIETY. — oe — 1. VERY member has a right toask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 8. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ———__——— 6 —— 9 WARNINGS TO THE PRODUCERS OF BOOKS. ap ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I, Selling it Outright. This is sometimes satisfactory, if a proper price can be THE AUTHOR. 169 obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses,"’ unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. te WARNINGS TO DRAMATIC AUTHORS. —_+—>—+— EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, 170 (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. : (e.) Sale of performing right or of a licence to perform on the basis of royalties (‘.c.., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (%.) apply also in this case. 4, Plays in one act are often sold outright, but it is etter to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should ‘be reserved, 5, Authors should remember that performing rights can tbe limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform, The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a substantial consideration. 9, Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play ds highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in ‘the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object *is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ———+—>——-—_____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —+— > ie, REE typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will ‘be carefully compared by the Secretary or a qualified assis- ~tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies -of the scenario thus filed may be obtained at any time by ‘the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same -tules, with the exception that a play will be ch :at the price of 23, 6d. per act. a a THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. 1 RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ——— WARNINGS TO MUSICAL COMPOSERS. eg ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. — STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, —+_ THE READING BRANCH. ae EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. —~>— REMITTANCES. The Secretary of the Society begs to give notice that all remittances are acknowledged by return of. post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, COLLECTION BUREAU. —.— os HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than eovered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland . : A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs PoGson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. : Oe GENERAL NOTES. —— +—<— 4 UnireEp STATES COPYRIGHT. In another column we print a short article, taken from the Publishers’ Weekly of the United States, dealing with the present position of copyright in that country. We are glad to see that there is “a dis- position to consider modifications of the copy- right code,’’ but it would appear that these proposed modifications do not affect books written in the English language. The deposit copies at Washington are to be reduced to one instead of two, but not in the case cf books in the English language. It seems that the second copy of English books is used so that the American publishers should have a prompt list of those books that have been filed. We trust the day is not far distant when America will see the justice of modifying its copyright law for the benefit of those countries that produce books in the English language, and will see fit to rank themselves with other civilised nations by joining the Berlin Conven- tion. It would be interesting to know, if it were possible to find out, the amount of extra printing which was acquired by the American ‘ THE AUTHOR. 17L printers under the typesetting clause. It cannot be more than a few thousands in any event. The law, as often as not, prevents. works being copyrighted in America which,jif copyrighted, would in many cases be printed! in the United States. In consequence the great majority of books are sold to the United! States in sheets, and the American typesetter obtains no benefit whatever. AMERICAN ROYALTIES. F A MEMBER of the Society has called our attention to the fact that American publishers are cutting down the price at which novels. are issued to the public. The usual price used to be $1.50 and the royalty was paid on that price. Now the price is $1.25 and sometimes. even less. The member aptly.says, “It is no joke to be asked to give up a proportion of one’s royalty ostensibly to support a system which has done nothing for me.” The matter is certainly very serious, for in. the English market authors have suffered severely from the reduction in prices. There is another point which may possibly affect the royalties of authors in the American market, namely, the case which has recently been decided in the American courts that publishers cannot by law maintain the prices at which the books are sold to the trade. They can sell to a certain person under a certain contract, but they cannot bind others. who have no direct contract with them to maintain prices. It is possible that the result of this may be a system of rate-cutting, and should such a calamity arise, it is almost certain. that the author’s profits will suffer. CopyriGHT IN INDIA. WE are informed that the new Indian Copy- right Bill is still under the consideration of the India Council, but that the Imperial Copy- right Act of 1911 was brought into force in India by proclamation on October 31, 1912, so that in spite of the new Bill not having as yet been passed by the Council, the 1911 Act is in force through the Empire of India, with the exception, of course, of certain native States. AutTHors AND TRADES UNIONS. WE have read with interest the report of a discussion at the Lyceum Club on the question of “The Betterment of Authorship as a. 170 (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. : : (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (%.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5, Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a stbstantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play iis highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in ‘the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object ‘is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information aare referred to the Secretary of the Society. —_——__ +e — —____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —+-~<> + —_ Pe eae typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will ‘be carefully compared by the Secretary or a qualified assis- vtant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies -of the scenario thus filed may be obtained at any time by ‘the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same -tules, with the exception that a play will be cha. d -at the price of 23. 6d. per act. an Lee THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. ++ RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author's fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author’s rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. se WARNINGS TO MUSICAL COMPOSERS. BES ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. — STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100._ The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, + —___ THE READING BRANCH. eg ees EMBERS will greatly assist the Society in this Mi branch of its work by informing young writes of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. 9 —____— REMITTANCES. Se The Secretary of the Society begs to give notict that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, COLLECTION BUREAU. > + HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1, Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland i : A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs Pogson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. —_—___—_e——_os____ GENERAL NOTES. UnItrED STATES COPYRIGHT. In another column we print a short article, taken from the Publishers’ Weekly of the United States, dealing with the present position of copyright in that country. We are glad to see that there is “a dis- position to consider modifications of the copy- right code,’’ but it would appear that these proposed modifications do not affect books written in the English language. The deposit copies at Washington are to be reduced to one instead of two, but not in the case cf books in the English language. It seems that the second copy of English books is used so that the American publishers should have a prompt list of those books that have been filed. We trust the day is not far distant when America will see the justice of modifying its copyright law for the benefit of those countries that produce books in the English language, and will see fit to rank themselves with other civilised nations by joining the Berlin Conven- tion. It would be interesting to know, if it were possible to find out, the amount of extra . printing which was acquired by the American THE AUTHOR. 17E printers under the typesetting clause. It cannot be more than a few thousands in any event. The law, as often as not, prevents. works being copyrighted in America which,jif copyrighted, would in many cases be printed! in the United States. In consequence the great majority of books are sold to the United! States in sheets, and the American typesetter obtains no benefit whatever. AMERICAN ROYALTIES. F A memper of the Society has called our attention to the fact that American publishers are cutting down the price at which novels. are issued to the public. The usual price used to be $1.50 and the royalty was paid on that price. Now the price is $1.25 and sometimes. even less. The member aptly.says, “It is no joke to be asked to give up a proportion of one’s royalty ostensibly to support a system which has done nothing for me.” The matter is certainly very serious, for in. the English market authors have suffered severely from the reduction in prices. There is another point which may possibly affect the royalties of authors in the American market, namely, the case which has recently been decided in the American courts that publishers cannot by law maintain the prices at which the books are sold to the trade. They can sell to a certain person under a certain contract, but they cannot bind others. who have no direct contract with them to maintain prices. It is possible that the result of this may be a system of rate-cutting, and should such a calamity arise, it is almost certain that the author’s profits will suffer. CopyriGHT IN INDIA. WE are informed that the new Indian Copy- right Bill is still under the consideration of the India Council, but that the Imperial Copy- right Act of 1911 was brought into force In India by proclamation on October 31, 1912, so that in spite of the new Bill not having as yet been passed by the Council, the 1911 Act is in force through the Empire of India, with the exception, of course, of certain native States. - Autuors AND TRADES UNIONS. WE have read with interest the report of a discussion at the Lyeeum Club on the question of “The Betterment of Authorship as a. 172 THE AUTHOR. Profession.”” The question was raised with a view to forming a trades union. This is a subject which has been from time to time before the committee and sub-committees of the Authors Society ; but at present, 1n spite of endeavours and suggestions, 1t has_been found impossible to form a union on a similar basis to the trades unions which govern mechanical labour. There is no doubt that one side of authorship is a trade, but the other side of authorship is an art. In consequence it has so far been impossible to place a mass of authors on a given level in the same way as it is possible to place a mass of mechanics on a given level. Bricklayers can place so many bricks an hour, and can receive a certain wage for that work ; printers can set up a certain amount of type per hour and can receive so much wage for that work. One author may write in an hour something which can be sold not only during the term of copyright, but throughthe centuries, and will bring in hundreds of pounds. Another author may write the same number of words in an hour, but the result may not be worth the same number of pence as the work of the other is worth hundreds of pounds. The discussion at the Club seems to have been carried on without reference to the work the Society of Authors has done and is doing ; indeed, no inquiry appears to have been made as to whether such a proposition had ever come before the committees of the Society for discussion. From the report it appears that a committee of the Club has been appointed to consider what ought to be done. We shall be very interested to know the result of that committee’s reflections. One important suggestion was made that an Author’s Agency should be established, run by authors for authors. This point has been very frequently discussed by the committee of the Society, but the committee, for various reasons which it is difficult to put forward in a short paragraph, came to the conclusion that it was inadvisable for the Society to run such an agency, yet no doubt such an agency would be of considerable use to the profession. One strong point which the Society gains by not being bound to any agency liesin the fact that it can criticise equally all agents, all publishers and all trading concerns. If the Society had started an agency, those authors who were dis- contented with the work of that agency would be inclined to resign from the Society, and those authors who did not belong to the agency, or whose work the agency could not take up, would always taunt the Society with running the agency for aclique of authors. If the Society is to be of value to ALL authors, it is much better that the committee should be entirely independent in their work and the Society should be entirely independent in its position. Another suggestion that was made was that an authors’ bank should be established. This question has also been discussed by the committees of the Society, and found, for various reasons, to be unworkable from the Society’s point of view. No doubt if such a bank was established it might be of considerable value to a number of authors, but it would not be able to deal with all authors in the same way in which the Society, under its present constitution, can deal with all authors who have copyright property to protect. If it is possible to form a trades union on the basis of the trades unions formed by ordinary labour organisations, the committee of the Society would very willingly consider again, as they have considered in the past, any suggestions that could be made, with a view to bringing about a practical result. The usual answer from those who come fresh to the subject and have not given it careful consideration over a number of years is that the French dramatists have formed a close ring. At one time it was hoped that the English dramatists, containing a smaller number of members than the profession of novelists, might be able to bind themselves into such a close ring, but so far the efforts in that direction have proved unsuccessful. We shall welcome any effort that may be made in the right direction, and suggest as the Authors Society already exists with a membership of some 2,500, and with a certain amount of capital, that if any organisation is possible it should be made through the channels of the Society and with the assistance of the Society’s funds. We await with interest the report of the result of the meeting of the committee. ———— COMMITTEE ELECTION. 1 a the January number of The Author a full statement was given with reference to the election of members to the Committee of Management for the current year. The names of the committee’s nominees for that election were :— Sir Alfred Bateman. W. W. Jacobs. Stanley Leathes. Aylmer Maude. THE AUTHOR. January 31 was the last day on which the names of nominees could be received, and, as no nominees were put forward by the members, the nominees of the committee are elected without opposition. ~_¢—<>—_ ¢ ——— - NEW ZEALAND COPYRIGHT ACT, 1913. HE provisions of the Copyright Act, 1911 are substantially adopted by the New Zealand Legislature in the Copyright Act, 1918, which will come into operation cn April 1. But there are certain modifications and additions relating to procedure and remedies to which attention may be drawn, as they are important to copyright owners. In New Zealand registration of copyright is optional, but it has substantial advantages, particularly in the way of certain summary remedies, which are not available to the copy- right owner who is not registered. For instance, in the ease of an unauthorised performance of a musical or dramatic work, the person who permits a theatre to be used for such a per- formance is liable on summary conviction to a fine of £10, and every person who takes part in the performance, after receiving a written warning not to do so, is liable to the same penalty. But, in order to secure these privileges, the copyright owner must be registered, and on a conviction he is entitled to the fines imposed, by way of compensation for the injury sustained. Moreover, the regis- tered owner is given special remedies in respect of the seizure of infringing copies and a right to search premises where infringing copies are supposed to be. In England a warrant to seize infringing copics or to search premises may be obtained under the Musical (Summary Proceedings) Copyright Act, 1902, and the Musical Copyright Act, 1906, in respect of musical works, while the New Zealand Copyright Act confers these remedies not only on musical composers, but on the registered owner of the copyright in any literary, dramatic, musical or artistic work. A further advantage of registration is that a certified copy of any entry in the register is prima facie evidence as to the copyright owner and other particulars contained in the register ; so that in an action for infringement the production of the document may be sufficient without calling witnesses to establish the plaintiff's title, and this applies also to summary proceedings where the prosecutor is registered owner of the copyright. There 173 is also a provision for the registration of assignments of copyright and licences. The mode of registration is by an application to the registrar, andthe delivery of one copy in the case of a book, and for works of art one copy of the work or a representation of it. There are provisions analogous to those in section 15 of the Copyright Act, 1911, which require a copy of each book to be sent by the publisher to the British Museum, and, if demanded, to certain other libraries. By section 52 of the New Zealand Copyright Act the publisher is required to deliver two copies of every book to the librarian of the General Assembly Library within a month from the date of publication, and in case of default the publisher is liable to a fine of £5 and the value of the copies. A curious distinction is noticeable in the provisions of the Act giving power to the Governor to make Orders in Council relating to other parts of the British Dominions and to foreign countries in the Copyright Union. Under section 28 the Order relating to British Dominions may provide that the rights conferred by the Order shall be “ subject to the accomplishment of such conditions and formalities as are prescribed by the Order.” In section 33, relating to foreign countries, the words are, ‘subject to the accomplishment of such conditions and formalities, if any, as may be prescribed by the Order.” It remains to be seen whether the Orders in Council will, in either case, prescribe any conditions and formalities, the abolition of which was expressly agreed upon by the unionist countries under article 4 of the Berlin Convention. Haroitp Harpy. — ee THE PRESENT STATUS OF COPYRIGHT IN THE US.A. (From the “ Publishers’ Weekly” of U.S.A.) cL is worthy of note that piracy of copy- right material is lapsing into the limbo of the past, like piracy on the high seas, and modern instances are sporadic rather than chronic. Jack London has just brought to terms, by a_ successful compromise, the “movies” proprietors who had ignored his rights; and in a pending case in New York, where a theatre manager had put a play on the boards without authority and, too late, pleaded his willingness to pay royalty, a pre- liminary injunction was promptly granted, and 174 the United States district attorney, of his own volition, started to put the criminal features of the Copyright Act into practical application. Happily we are establishing a standard as to literary and like property which is likely to be fully maintained. There is a friendly disposition apparent to consider modifications of our copyright code in the interests of foreign authors where this ean be done without detriment to American interests, and a Bill is pending in Congress, which is approved by the Copyright Office, to reduce the number of deposit copies from two to one in the case of books in foreign languages. In the case of books in the English language, the Library of Congress makes good use of two copies by utilising one for copyright record and the other for prompt card cataloguing, so that American publishers have no reason to ask for the reduction of the number of deposited copies. But in the case of foreign books, and, indeed, in the case of all other copyright material except books, the Copyright Office needs only one copy, and the second copy is rather a burden than a help to it. It is therefore probable that Congress will make the change indicated, and it is not impossible that a like change may be ultimately made as to other objects of copyright. The important question which must pre- sently come to the front is our relation with British authors. The ad interim period, amounting to sixty days, has proved inadequate for any test of the American market, and though it has usefully met the objections to the simultaneous publication requirement of the old law, it is not otherwise of much benefit to our English brethren. Some extension of the period, therefore, will be welcomed by English authors and should not be harmful to American interests. Copyright relations are making some progress in South America, but so far the provisions of the fourth Pan-American Convention have been accepted only by half a dozen of the minor States, as well as by the United States. Brazil is showing some intent to come into wider copyright relations, and it is to be hoped that Argentina, which has already extended its domestic copyright by reciprocal arrangements to several European nations, will not long delay entering into the excellent convention which makes possible a Pan-American copyright federation. On the whole, the copyright cause is making gcod progress, and the one uncertain factor is the Dominicn of Canada. There nothing seems to:have been done either as to accepting THE AUTHOR. the Imperial Act, as has been done by Australia, New Zealand and Newfoundland, or making progress towards a new code, as is being done in South Africa. It is to be hoped that our neighbours across the border will soon be taking steps and following the precedent of Australia, rather than of the United States. >< —____ THE POPULAR FICTION MARKET. Irs REQUIREMENTS AND REWARDS. Sa By FREE-LANCE. I. Le writing of the fiction market, let me say at the outset that I refer only to the British fiction market, and to the periodical market at that. The money side of book- writing has been dealt with pretty often of late, in doleful or glowing articles, by writers of varying temperaments and ideas as to what is adequate pay for the labour involved. But to the general reader, and to the young writer, the question of what is wanted by the popular press, and what is the usual remuneration, is likely to be of greater interest. Professional authors will agree with me, I think, when I say that the first thing for the aspiring writer of short stories and sevials to do is to assure himself of the fact that his is not an art, but a trade; a skilled trade certainly, and one which will call for much mental ingenuity, and very much patience under rebuffs, but still a trade. This may sound cynical, and there will not be wanting those who will be ready to point out that the present writer has a very poor opinion of his profession. Well, I can say with sincerity that of the art of authorship I have a very high opinion indeed. To all those authors who have been, and are, faithful to their ideals in the produce of literature, I accord my whole-hearted admiration and respect. But I am not dealing here with authorship as an art, but with authorship as a business. It is at least as honest as most other businesses ; the pay to the hard-working and skilful craftsman is good, and it can be practised in the comfort and quietness of one’s own home. With the spread of education during the past twenty or thirty years the profession of letters has entirely changed. Where there was one reader thirty years ago there are a hundred to-day, and, naturally, the number of writers has increased in proportion. The working classes; the mill and factory hands of both sexes; the miners and their wives; the shop-girls; the seamstresses ; all these have to be catered for to-day—and geniuses of a certain type have come forward to do it. The result is that the newsagents’ counters and the railway bookstalls are laden with a mass of cheap periodicals specially designed to meet the requirements of this class of reader—a class which is overwhelm- ingly greater than any other in Britain. This being so, the astute business-author naturally enough decides that he must purvey that style of fiction for which there is the greatest demand. Il. A youth, fired with high ambitions and a proper respect for the honour of literature, may set out to win his spurs and financial reward as a writer of what for want of a better term may be styled “high-class fiction.” Having been duly warned as to the thorny nature of the path he has elected to tread, he is prepared for disappointment at the start. This of course is just as well, for the disap- pointment will not be lacking. Indeed, if he is—as I am presuming him to be—dependent upon his fiction—writing for a livelihood—I fancy that it will not be long ere he is forced to a certain pessimism. He will learn from the lips of those editors whose duty it is to provide for popular taste that fine writing is not wanted—and I go so far as to say that this applies not only to those weeklies which are either rather blood-thirsty or distressingly sentimental, but to the average monthly magazines. ‘‘ Give us action!” is what they are perpetually crying, and action they must have. They have no patience with character- drawing unless it is done very quickly and very broadly; descriptions of scenic effects, no matter how deftly and artistically written, are blue-pencilled at once; subtlety is not allowed—and, indeed, but frequently under- stood—and cleverness is the last offence. All this, of course, is ‘‘ generally speaking.”’ There are some magazines where the manner is counted as important as the matter, where artistic work is welcomed, and where cul- sl and distinguished writers give of their est. But these magazines are few in number, and are so well catered for by the members .of the old school with the big names, and THE AUTHOR. 175 by the American ‘“ topnotchers,” that they are practically closed to the young and unknown writer. _Since I started my own career as a profes- sional author I have written for practically every one of the better known fiction-using periodicals in Britain, and have had the satisfaction of appearing at intervals in the pages of such magazines as I have mentioned above. But I came to realise after some time and many hardships that, if I trusted to good work and the better-class magazines, I would very soon have to use some poor-house as a postal address. The young writer, then, will early discover that he must either give up the idea of making a good living by his pen or he must face the degradation of writing down to the level of a class, excellent and worthy in many ways, but of a far lower mentality than his own. I number among my friends a great many fellow-writers, some of them men and women of the highest culture and refinement, who have made wise use of all the advantages of good education, and, judging from them, I should say that free-lance authors lacking private means are an army of pessimists and grumblers. It may be said that they have themselves to blame; that they should have discovered what was in store for them before burning their boats and pinning their faith to fiction- writing. That, no doubt, is perfectly true, but what ambitious boy or girl with literary talents and a store of courage will believe that disillusionment lies ahead ? In this, as in so much else, experience is the only practical teacher, and her lessons are often bitter. I am purposely leaving out of count those who imagine that they are going to make a good income by writing novels of the usual six-shilling order. Warnings have been given to them in plenty. Of course one may point to A. and B. and C., and so on—all brilliant writers who have built up fortunes by their works ; but it would be interesting to learn just how many years A. and B. and C. took to achieve their present position, and whether they were not at first free from the toils of money-making—or at least spared the necessity of making money by their pens. The trouble with the average reader of periodicals is that he will not think; all the thinking must be done for him by the author. The reader is usually in a hurry; he must be swept into the heart of the action or the 176 THE AUTHOR. mystery at once, for he refuses to get there by leisurely methods. : Broad sensationalism, broader humour, still broader sentimentalism—that is what 1s wanted by the biggest reading class to-day, and it is for that that editors and publishers are willing to pay. IIT. Bathos is at a premium among those long-headed merchants who attend to the wants of the half-educated, and the man or woman who can supply enough of it is sure of a steady and a large income. There are, after all, very few monthly magazines in Britain for the average writer, and it is hopeless to depend upon them to provide sufficient money to pay for rent, and. food, and so on. But the man or woman who casts aside literary scruples, who is frankly “‘ out for cash,” and who learns the tricks of the trade, may be very comfortable indeed. To the beginner of this nature one might say: “ Write a magazine story or a literary article now and then to ease your conscience, but for your living attend to the framing of what pro- fessionals pleasantly term ‘ muck.’ Go to your newsagent ; spend a shilling on buying twelve of those weekly papers—appealing for the most part to girls and women—and soak in the stuff that you will find there. “Tt is to serial stories that you must look for the bigger part of your income, so read the serials. If you have a sense of humour at all and any appreciation for good writing, these serials will, frankly speaking, disgust you, though they may raise a smile now and then by their sheer banality. But remember, while you read, that if you are to be financially successful as an author from the start, you must school yourself to write exactly the type of matter which you are reading. ‘ “You will be expected to increase the circulation of the paper you work for by the description of ‘The girl who looked down on her mother,’ or something of that sort, and it will be very painful for you. But after all, few people are able to make money to-day by doing work which they like and of which they may reasonably be proud.” From personal experience I know that there are two classes of serial writers. (I am not dealing with serials in magazines nor in daily papers, but with those which appear in what may be styled the ‘‘ Home Weekly”’ class.) One class is composed of highly intelligent persons, possibly of good social position, who” write with their tongues in their cheeks and self-shame in their hearts; the other class, and be it noted by far the more successful, comprise those writers who are proud of their work and of themselves for being able to do it! They believe—and I have had the felicity of meeting some editors and editresses who also believe—that the twaddle which they produce is not only wholesome and “ human ” —a favourite word with them—but is the outcome of high literary abilities. IV. Here, then, is the field for the writer with an eye to the rewards, who cannot wait to make a public by novel writing, and who wants more than the pickings which he can get from the magazines. He will find, as I found, that the writers of charm whose names he knows and respects are but poorly-paid workers as compared to the army of hacks whose names are not always divulged to the public, and who disport them- selves week by week in the pages of those many papers which set out to capture the attention of the humbler readers. For the sake of these readers I hope that the editors who provide for them under-estimate their brain power, but I doubt it. Not long ago an editor said to me, ‘‘ The more common and vulgar I can make my paper, the better it will sell.”’ I suppose he was right, though I would fain think otherwise. Publishers of periodicals, remember, are not philanthropists who are wishful to raise the standard of the people’s literary tastes ; they are in business in order to make money, and they are ready to pay well the editors and writers who can help them. Although I have written here disparagingly of these serials upon which the servant-girl and the factory-hand feeds, it must not be thought that the writing of them is necessarily easy. Far fromit. <A great deal of cleverness and dexterity—more by the cultured writer than by his brother, who takes the thing very seriously—and, above all, an unfaltering patience, is needed. The young writer will fancy at first that every single idea has been used before, and editors will probably badger him nearly to despair in an effort to please their several and peculiar wants. But if he makes a fair start and keeps going, he will do well. The pay is not large—even the well-known serialist of this order is seldom paid more than a guinea or thirty shillings a thousand words. ‘But if a writer can turn out such stuffas is ft TIE AUTHOR. wanted, and works hard, he may reasonably expect to make anything from five hundred pounds per annum upwards. I know men and several women—who are making, without apparently undue exertion, fifteen hundred and two thousand pounds a _year—but they are ~of course the masters of their trade, and most distressingly active. Probably a novice would be lucky to get _ fifteen shillings a thousand words, but he could lee oo << PAE climb to the guinea ere long, and after that yt would be merely a matter Of time and grow- ing reputation before being in receipt of an income bigger by far than any which he could have reasonably looked for in the pleasanter realms of magazine work. THE BRITISH INTERNATIONAL ASSO- CIATION OF JOURNALISTS’ ANNUAL MEETING AND DINNER. — <> + HIS Association had not a Cabinet Minister for their chief guest at the annual dinner this year, as in the past two years, but they invited one whose influ- ence upon journalism has been great. The Professor of Poetry of Oxford University, and President of Magdalen, Dr. Herbert Warren, at some inconvenience, for the date was fixed during the first days of term, accepted the invitation, and gave a speech that has been quoted on every hand. There was a goodly gathering including such well-known past officers of the Association as Mr. Arthur Spurgeon, Mr. S. S. Campion and Mr. J. H. Warden. Sir James Yoxall, M.P., Editor of the Schoolmaster, presided. The toasts, after the loyal toasts, were but two. In proposing the guests, Sir James Yoxall made an interesting speech, dealing with the journalism of to-day. Journalism to-day was very near to literature, and was a constant source of education, and was educat- ing the coming generation. This in spite of the fact that journalists could not spend time in polishing their sentences, and their work could not attain the perfection of Gibbon. In referring to the guest of the evening, the President of Magdalen, he spoke of the impor- tant positions Dr. Warren had filled and the important work he had done. He was one of the most distinguished university men of England. He was a poet, reviewer, editor of a famous edition of Plato, a journalist, and a ATT contributor to the Quarterly and Edinburgh Reviews. As journalist and littérateur they honoured him. op-~<de ENCYCLOPADIA OF COPYRIGHT.* —+ <4 HOUGH the name of Professor Réthlis- berger is of itself sufficient to recom- mend to immediate attention any work that issues from his pen, it is only just that very strong insistance should be laid upon the value of this his latest book, both on account of the skill with which it has been constructed and on account of its encyclopedic character. The single volume contains a com- plete representation of the whole of the law of copyright as it stands at the present day. If any evidence of the reality of this complete- ness is required that is furnished by the volume itself; for a supplement of the laws and agreements which have come into force whilst the volume was in the press does not fill a single page; all else being embodied in the various sections of the work. The arrangement of the first part, which comprises the copyright laws of the various States, is alphabetical, under the names of the several countries. Here it will be found that nothing in the shape of actual legal enactments or of regulations respecting their administra- tion has been omitted. The second part of the work contains the various treaties ; first of all those of the Unions which include several States (the Berne Union, the Union of Monte- video, the Central-American Union, the Bolivian Union, the Panama Union); and after these the numerous particular treaties which have been made by various countries— all being alike set out at full length. (In this part of the work we are struck by the very different extent in which various countries have availed themselves of this method of protection of copyright. Belgium has eight such particular treaties, Germany six, France twenty-four, Great Britain only two.) After less than a page of Addenda (already men- tioned), the volume concludes with (1) a Register in the order of the contents, present- ing a conspectus of all that has been already * Dr. Ernst Réthlisberger. Urheberrechts—Gesetze und —Vertrage in allen Laindern nebst den Bestimmungen iiber das Verlagsrecht. Dritte, gainzlich umgearbeitete Auflage. Leipzig. G. Hedeler. 1914. Copyright Laws and Treaties of all countries together with the terms of agreement with publishers. Third, completely revised, edition. 178 set forth, but here growping all the legislation of each country under the three headings of Laws, Unions, Treaties ; and (2) an Index of Matters, in which the subject-matters of the laws, treaties, ete., of all countries will be found grouped under their respective headings ; for example, under “ Duration of Copyright ” will be found references to all the enactments respecting duration of copyright whether enunciated in laws or set forth in various treaties. On the immense value of this Subject Index it is unnecessary to dwell, as the amount of labour which will be saved by reference to it must be evident to all. The toil which it must have cost seems appalling ; and Professor Réthlisberger has every reason to express in his Preface a hope that in every case of excerpts or quotations from his book a reference to it may be made out of considera- tion of the labour which has been bestowed upon it ; labour, he justly remarks, of transla- tion as well as of arrangement—for there are to be found here in a single language legal documents whose originals must have appeared in some score of tongues. The work appears in German, and may be regarded as one more of those works which demonstrate that in the present day no educated man ought to be ignorant of that language : for what pursuits can a man now take up without finding that the investigations which his work necessitates will be seriously hampered if he cannot avail himself of the labours of the Germans ? At the same time it is a notorious fact that among Englishmen such a knowledge of German as is practically useful is not common; and we shall soon be hearing said of this book, ‘‘ I wish it was in English!” Only where shall we look for the English legist who would have compiled it, or the English publisher who would consent to produce it ? Leaving, however, those questions to be answered by any one who ean answer them, we shall content ourselves with repeating that Professor Réthlisberger has produced a work absolutely indispensable for the copyright legist and specialist, and one of the very greatest value. Its nature of a pure compila- tion excludes the possibility of its exhibiting any of that wide-reaching clear-sightedness and deep penetration of copyright questions by which Professor Réthlisberger has distin- guished himself; but its completeness, and the lucidity of its arrangement, and, above all else, the great judgment shown on the treat- ment of the Subject Index, cannot but add to the laurels of the compiler. THE AUTHOR. ENGLISH HISTORICAL LITERATURE IN THE FIFTEENTH CENTURY.* —1—~>—»+ —_ WN R. KINGSFORD’S “ English Historica} Literature in the Fifteenth Century ” is a critical survey of the sources of English history beginning with Thomas Walsh- ingham, and concluding with a chapter on the Sixteenth Century Historians and Fifteenth Century History. The subject of the work will, therefore, appear to many to be a tolerably arid one. As every one will also agree with the author’s opening statement, that “ the history of the fifteenth century in England leaves on a first acquaintance the impression that it is somewhat barren of interest and deficient in variety and concentration of purpose,”’ so there will be few who will not be most agreeably surprised alike by the manner in which the author collects a unity out of the scattered records, and brings into relief, one after another, innumerable particulars of striking interest. The latter feature of the work will render it attractive not to those alone who are in quest of stern historical evidence, but also to all educated explorers of the origins of English literature and the course of its developments, and to all who can with pleasure turn over out of the way records of the past. Nor would we omit a mention of the suggestive- ness of the author’s careful appreciations of values, appreciations which are one of the fundamental aims of his book, but respect- ing which, be it confessed, it may seem pre- sumption for us to express any opinion, though we liked them, and were particularly grateful for a kind word said for our old friend Polydore Vergil. Be that as it may this is a book which can be thoroughly enjoyed, and it is difficult to say whether the chapters dealing with subjects so well-known as the “ Gesta Henrici Quinti’’ and ‘The Brute,’ or the pages devoted to private correspondence and the chapter on “ Poetry and Ballads ” are the more attractive. The author has succeeded in compiling upon what at first appears to be a tedious subject an eminently readable as well as a valuable volume. Everywhere the foot- notes are excellent ; and a portion of the work on no account to be neglected is the appendix of hitherto unpublished documents: among which is a ballad that has not previously appeared in print. Incidentally it may be * “English Historical Literature \fin the Fifteenth Century,” by Charles Lethbridge Kingsford. Oxford, Clarendon Press, 1913, 15s, nett. Boe a4 THE AUTHOR. mentioned that the historical novelist, who is not seldom at a loss where to discover a basis, not yet hackneyed, for a new tale, might in more than one instance find what was wanted in Mr. Kingsford’s pages. Has any one ever attempted a novel on the fate of Eleanor Cobham, Duchess of Gloucester? More is known about her than in some cases sufficed Sir Walter Scott for the foundation for a tale ; and the historical facts present also just those elements of diversity of contemporary opinions which are so dear to the novelist. Notable features of the work are a full bibliography and a most excellent index ; the more valuable and helpful as the evidence there gathered together is often scattered in many different documents. CORRESPONDENCE. PHOTOGRAPHS AND REPRODUCTION. Srtr,—I do not know whether the following matter is worthy of your attention, nor even whether Zhe Author concerns itself with photographic work, but I venture to bring it to your notice on the chance that it may affect some of your readers as it affects me. I am a photographer and also a writer on natural history subjects, and contribute work of both kinds to several of the illustrated sixpenny wecklies. I find that, although the editors of most of these papers consider my photographic work worthy of a page in their journals, they do not apparently think that my name is good enough to appear below my work. It is true that in some cases the name of the photographer is inserted at the foot of the page, but it is in such minute type that a casual reader will probably overlook it altogether. Others have a still more objection- able practice. No name is published with the photographs, but at the end of the paper, among a maze of “‘ special pages ” and adver- tisements, is a small paragraph: ‘ Our pictures are from photographs as follows,” and there the photographer may find his name buried with those of the rest of the unfortunate illustrators. I am not speaking of small pictures, nor of illustrations in the text, but of a photograph or series of photographs, that occupy a whole page of the magazine. If, on the other hand, I contribute an article or story to the same number of the said paper, my name is published thereunder iva in large type. Does the editor consider that the photographer is on a lower level than the author ? Yet his work occupies a place as important, and is paid for at rates as good. Why then may he not receive the same recogni- tion? I am not, of course, speaking of the leaders in either case, but of the rank and file. I remain, Sir, Yours faithfully, ** ONE OF THE RANK AND FILE.” ———1<———_ Dear Str,—Would you be so kind as to grant me a little space for this letter in your paper ? Mrs. Archibald Mackirdy’s house has been burnt completely down, and she has absolutely nothing to wear but the clothes she escaped in—all her clothes, papers and other things are destroyed. We do not know the dates, addresses or times of Mrs. Mackirdy’s public engagements. She is advertised to speak at large meetings all over the kingdom. She will be glad to keep her engagements after she gets some clothes, and has found a furnished house, provided dates, addresses and times are sent, so that they can be re-booked. Until then, it is quite impossible for her to go anywhere. It would be a very great help, if you would kindly let people know through this paper. With thanks, I am, sir, yours faithfully, CHARLOTTE COTTRILL, Private Secretary. i —— S1r,—I send two questions, which, perhaps, some of your readers may be kind enough to answer. First.—Is there any book in existence which explains the principles and mysteries of what is known as ‘stagecraft’? I have several books which tell how to write plays, but none of them gives information on the subject I mention. Second.—Is there any “ authority ”’ for the prohibition of splitting infinitives ? Or is it only a superstition? We split every other mood and tense.; why not the infinitive also ? Yours very truly, Wiiiram Parrick KELty. —-—>— 4 — Tur FREELANCE. Sir.—In connection with what appears in your February issue on the subject of “ Free- lance” work, I think you are very wise to 180 emphasise the desirability of having some other means of support before embarking on such work. In my own case, though I could make quite a long list of the publications to which I have contributed, ranging from the defunct Speaker to the Daily Herald, and including such magazines as Nash’s, Red, ete., and weeklies such as Madame and London Opinion, pro- vincial newspapers such as the Manchester Guardian and the Glasgow Herald, I have no hesitation in saying that had I been under the necessity of living out of the proceeds I should have starved long ago. Nine out of ten of the Freelance’s MSS. are returned to him: some are published and paid for twelve months after they are sent out: some he is not paid for at all, or only after threats of legal proceedings. I advise any young man or woman who desires to become a writer for the press to have some other employment as well, be it ever so poorly paid. To make an income worth having at so-called Freelance work means a drudgery at hack work that surpasses the drudgery of an office by far. The Free- lanee who has to live on it has no time, and soon no spirit, for that great book that is to bring him fame. In conclusion, let me give a little anecdote by way of dispelling the delusion that out- siders’ work stands an equal chance with that of others. A very charming lady of my acquaintance who moves in literary circles said to me one day, “I like young Mr. So-and- so, and I’m doing my best to help him.” ‘“ In what manner?” I asked. ‘‘ Oh, I’ve asked him to dinner once or twice to meet the right people—editors and so on.” The moral is, get asked to dinner to meet the right people. It helps wonderfully, in any calling, and in none more than in—writing. I was going to say literature, but I won’t. Yours faithfully, PAvLus. —+o AUTHOR’S CORRECTIONS. Dear Mr. Epvrror,—I have read with much interest the article on ‘‘ Author’s Corrections ” and may I, with due humility, state my method with regard to the tiresome things ? When the first proofs come, I correct printer’s errors in black ink, and make my author’s corrections in red. Those proofs go back in due course, are corrected at press, and return to me again, with clean second proofs as well. Second proofs go back, passed. Thus first proofs with ‘ author’s corrections ”’ remain in my possession, and THE AUTHOR. these I duly present to my publishers, together with the original MS. which, in accordance with the ordinary routine of proof correcting, inevitably ends its days in the author’s posses- sion also. My self-invented little system appears to ameliorate the hard lot of my long suffering publishers, and is no extra trouble whatever to me, while it prevents any possibility of mistake on any side. Yours respectfully, OLIvE Katuarine Parr. +e On SomME EpiToriAL EccENTRICITIES. S1r,—The letter of ‘‘ Senex ” in the February Author is such a candid confession of injury to authors that I trust it will not be allowed to pass unnoticed. “Senex” is apparently an author; he admits that he is ‘“ perhaps approaching his dotage” ; and he admits that he is in the habit of sending letters to the Press which “as a rule are inserted.” Is he aware that by habitually supplying editors with copy gratis, he is “ blacklegging ’’ authors? How long will it be before authors form themselves, like all other workers, into a trade union, and take steps to prevent this and the hundred and one other evils which afflict them ? By writing this letter I am following the bad example of “Senex.” But I only send a letter to a journal when it appears that the expression of an opinion is badly needed, and is either clearly to the public advantage or to my advantage. I cannot complain like ““Senex’”’ that editors have ever seriously tampered with my letters. The few which I have sent have always been promptly and conspicuously inserted, and without any altera- tion. Sometimes a passage has been struck out, but only when it might have been offensive to some readers. Yours truly, TraDE UNIONIST. Music PuBLISHERS AND MECHANICAL REPRODUCTION. Srr,—I notice that some of the music pub- l'she:s are entering the mechanical instrument trade as reproducers of gramophone and kindred reproductions of their compositions. This should be good news to composers, who may now, surely, expect to see the end of the exorbitant claim of the music publisher to 50 per cent. of the mechanical fees. Yours, ete. A Victim, Dublin Core 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. 24 Issue 06 (March 1914) Subject The topic of the resource The Author, Vol. 24 Issue 06 (March 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-03-02-The-Author-24-6 publications The Author https://historysoa.com/files/original/5/536/1914-02-02-The-Author-24-5.pdf f11c2d93a51818d16bb5f64d0687a6a2 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-02-02 Volume 24 Issue 5 Pages Page range in volume 123–152 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140202 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Futhor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XXTV.—No. 5. FEBRUARY 2, 1914. [Prick SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. ——___+——_+____- NOTICES. ++ a the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. _ ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from ‘Vou. XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. Bee ee THE SOCIETY’S FUNDS. —_— ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other 2 124 matter closely connected with the work of the Society. : : (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. ——__+—__+#—___—_ THE PENSION_ FUND. —_+—— N January, 1918, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. Local Loans Victoria Government 8% Consoli- dated Inscribed Stock ........ London and North-Western 3% Debenture Stock ............ Egyptian Government Irrigation Trust 4% Certificates ........ Cape of Good Hope 84% Inscribed ‘ Stock Glasgow and South-Western Rail- way 4% Preference Stock ... New Zealand 34% Stock ....... Trish Land 22% Guaranteed Stock Corporation of London 21% Stock, 1927-57 ... 6s ee: Jamaica 384% Stock, 1919—49 ., Mauritius 4% 1937 Stock ....... Dominion of Canada, C.P.R. 34% Land Grant Stock, 1938 ...... Antofagasta and Bolivian Railway 5% Preferred Stock .......... Central Argentine Railway Or- dinary Stock 2. 2.5.6...4..0. 232 250 200 200 228 247 258 438 1382 120 bot bet So o oo bo 0 bo oof >) (<>) 198 237 > o oo =O > oao o o o THE AUTHOR. Nominal Value. £ 8. a, $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds 250 Edward Lloyd, Ltd., £1 5% Preference Shares 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ....... ates 8 Central Argentine Railway £10 Preference Shares, New Issue.. 400 250 PENSION FUND. —_—+-—>—+ THE list printed below includes all fresh dona- tions and subscriptions (i.e, donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 1913. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. ‘: : ; Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . Nov. 6, Bentley, E. C. ‘ Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert Dec. 4, Lunn, Arnold . : Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana Dec. 4, Vallois, Miss Grace Dec. 17, Beresford, J. D. Dec. 29, Inge, Charles . Dec. 29, Cross, Miss May . Dec. 29, Hardy, Thomas, O.M. 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. _ mt _ Or Or Or NOS SHUM MHS S OO OO Ot OO OL 4 oco meooooococrmooococoooroocoocoocom SSS SSR2SSSONSOSCOSOSOSOSCSCOOCSO SCOOP ee ae: THE AUTHOR. 125 Jan. 16, Cooke, Arthur O. Jan. 23, Exley, Miss M. 1913. Donations. Oct. 7, Darwin, Sir Francis . Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27. Frankish, Harold Oct. 30, Rossman, Miss Nov. 8, Holland, Theodore Nov. 3, Steane, Bruce ‘ Nov. 3, Batty, Mrs. Braithwaite . Nov. 10, Elrington, Miss Helen Nov. 10, Waterbury, Mrs. . : Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dee. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. Dec. 21, Keating, J. Lloyd Dec. 21, Church, Sir Arthur . 1914, Jan. 5, Anon : Jan. 5, Joseph, L. S Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. Jan. 6, De Crespigny, Mrs. Champion Jan. 6, Rankin, Miss F. M. . Jan. 7, Sneyd- Kynnesley, E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace . Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. Jan. 10, Daniell, Mrs. E. H. . Jan. 12, Avery, Harold Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullemn, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane Jan. 19, P. H. and M. K. Jan. 19, Greenstreet, W. J. . Jan. 19, Gibbs, F. Leonard A. Jan. 23, Campbell, Mrs. L. A. R. . Jan, 23, Cameron, Mrs. Charlotte, PRES . : Jan. 23, Blunt, Reginald. Jan, 24, Raphael, Mrs. Mary. oom oo? oo _ i Koro OH HK ON OOo o OO _ Moocoocormrocoocoooorwon _ 1 bt te one AOAAInowinrocoeawmnanrnonowonuned _ ooo Samococcoeocoonacaocoooooaace eecoeoceocoaaooeocooeoaoo _ oS ore eceoomoocoocoece|ceocecoeocoscs _ Or COMMITTEE NOTES. a ee first meeting of the Committee of Management for 1914 was held at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster, on Monday, January 12, at 8 o’clock. Owing - to the great pressure of business the committee have found it necessary to call the meetings at 3 instead of 4, as hitherto. After reading the minutes the committee proceeded with the election of members. The full list is set out on another page. The committee are pleased to state that the year has started very favourably, with an election of forty-four members and associates, the resignations only amounting to twenty-seven. At the beginning of the year resignations are always considerable—this happens inevitably in all similar bodies. The number, this year, is less than that for the corresponding period of 1913. This is very satisfactory in view of the much increased membership. The solicitor then reported on the cases during the month. In the first case, against a well-known Magazine, judgment was obtained, but it was not till execution had been levied that the sum was recovered. In the second case, judgment was recovered but execution failed to produce payment, and the solicitor is afraid that the judgment will prove abortive. ‘This is the more to be regretted because, before the proceedings were taken, an offer of settlement was made which, contrary to the solicitor’s advice, the member refused. In a claim against a paper for articles supplied, the money has been paid, and in two small cases against another paper the solicitors have been forced to take proceedings, as no notice has been taken of their preliminary letters. The Elysian Press, which owned the Onlooker and Throne, has gone into liquidation. There were two claims against this limited company which will not now, it is feared, be satisfied. Another paper has gone into liquidation, against which there is, at present, one claim outstanding. Ina claim by a member against a publishing firm the claim has been settled by payment of the royalties due. Another claim against an agent for exceeding his instructions is being considered, and if no satisfactory explanation is forthcoming will be taken up on behalf of the member. The solicitor reported a case against a pub- lisher, who, after repudiating the construction of his agreement, put forward, when an arbi- tration was suggested, accepted the Society’s view, and sent a cheque for the sum in dispute. A small dispute between one of the members and a firm which had been in liquidation has now been settled,’ and the member has accepted the legal view of the contract as set out by the solicitors. An important case respecting property in a 126 title was laid before the committee and very fully discussed. The matter appeared to the committee to be of such importance that they instructed the secretary to write a letter to the member concerned with a view of the Society taking immediate action in the matter. Ina question of alleged copyright infringement, which turned upon complicated questions of facts, the solicitors were instructed to write to the infringers for a statement of the circumstances in which they became possessed of the rights they claimed to hold. : In a case of infringement of a dramatist’s copyright, considered by the committee, the solicitors were instructed to take action on the member’s behalf. : The secretary then reported certain cases which had come into his hands. A case of infringement of dramatic rights in America was considered. The committee decided to send the papers to the Society’s American lawyer, and if assured that the author’s title was good, and that he had complied with the technicalities of the American law, instructed the lawyer to proceed in the matter. Ina case of dispute between author and publisher on the contract for publication, the com- mittee regretted they were unable to assist the author as he had not completed his part of the contract. The secretary was in- structed to write a letter to the member advising him to complete the contract as soon as possible, in which case the com- mittee would be willing to reconsider the _ matter. A request from a member that an accoun- tant should be placed in to inspect a publisher’s books the committee were obliged to decline, in the absence of any evidence of inaccuracy on the face of the statement of sales delivered. In a dispute between a member of the Society and an agent, the secretary was instructed to write to the agent that the committee were unable to accept his view of the position. Questions put forward by the Dramatic Sub-Committee were then considered by the committee. The committee adjourned the consideration of a request for a list of drama- tists from the Society’s New York agent, pending information respecting the purpose for which the list was required. The committee sanctioned an arrangement by which powers of attorney should be despatched to the Society’s lawyers in all parts of the world, with a view to facilitate their action in the event of copyright infringe- ments coming to their notice. The secretary was instructed to put matters in train, such THE AUTHOR. action having been approved by the Dramatic Sub-Committee. The question of the insertion in The Author of an article dealing with certain agreements was referred to the next meeting for considera- tion, in order that the Committee of Manage- ment might see the form of the article. Matters referred to the Committee of Management by the Composers’ Sub-Committee were then considered. The committee passed an article for insertion in The Author, and agreed to issue a pamphlet for the information of those composers who were members or desirous of joining. A proposal to alter the name of the Society was passed, subject to a discussion at the next meeting of the com- mittee as to a suitable title. A sub-committee was then appointed to settle the Annual Report, and it was agreed that the report, when finally settled, should be placed before the next meeting of the full committee. The appointment of an arbitrator made at the last meeting was confirmed in a case of dispute between. two members of the Society. The date of the General Meeting was left to be settled by the chairman of the Committee of Management. It was agreed that it should be held some time in April. The report of the meeting of the delegates of the Society with the Society of British Composers was then read, and the committee decided to follow out the suggestions of the Composers’ Sub-Committee thereon. Counsel’s opinion, which had been taken since the last meeting, in regard to the right of income tax collectors to demand from publishers information respecting the royalties paid to authors, was read, and it was decided to write to the publisher who had brought the matter to the committee’s notice, and also to write to the Publishers’ Association. The consideration of the draft guarantee form was adjourned to the next meeting, when the form will be finally settled. The secretary drew the attention of the committee to the fact that important questions often arose which affected writers of fiction only, and it was essential in these matters that the novelists should be consulted, just as the dramatists are consulted on matters specially affecting their interests. It was decided to keep a ecard index of the novelist members of the Society. A question of United States Copyright Law, laid before the committee by a correspondent in the United States, was considered, and the secretary was instructed to enquire of the | a ae THE AUTHOR. Society’s United States lawyer, as well as of the correspondent referred to, their views as to the best course to be pursued in the matter. An important case in regard to copyright in Canada was also laid before the committee. The committee decided that a notice should be printed in The Author, and instructed the secretary to take what steps were possible to draw the attention of the Government to the present difficult position. A proposal made by a member that a list of authors should be periodically printed in the Society’s magazine, giving particulars of the subjects on which they would write as experts, was negatived by the committee. After some discussion, the committee decided it was impossible to arrange for loans to authors on their contracts, not only because it was outside the work of the Society, but also because of the many difficulties that surrounded the proposal. The question of sending representatives to the International Congress in San Francisco in 1915 was considered, and the secretary was instructed to express the committee’s thanks for the invitation extended to them, and to add that arrangements would be made to send delegates, whose names would be communi- 127 the clauses had been finally settled ; that the remainder of the Treaty would be discussed at a subsequent meeting. He was pleased to add that many of the remaining clauses had been approved, and that the matter was practically finished. At the next meeting he hoped to be able to report a final settlement. The agreement for a run in a West End theatre which had been settled by a duly appointed sub-committee of the Dramatic Sub-Committee was finally approved, subject to two or three small alterations. The agree- ment will, in the course of a few days, be ready for any member of the Society desiring a copy. An important question of infringement of the property in a title by a cinema film was then brought forward, and the secretary was instructed to get the leave of the chairman of the Committee of Management to take action, as immediate action was necessary to carry the matter forward. It was decided to refer the whole question to the Committee of Management with a view to taking action, if necessary, to prevent similar infringements by asking the Government to legislate on the issues. Another important case of copyright in- fringement was laid before the sub-committee, aks | ys Letters from a member concerning Lending cated later, when the date approached. and the secretary was instructed to write to the member concerned thereon. The secretary laid before the sub-committee a letter received from the secretary of the Société des Auteurs et Compositeurs Drama- tiques on the question of film fees. enue 43 OE Libraries and the methods of the loaning of books were very carefully considered, but the suggestion appeared impracticable. The secre- tary was instructed to write to the member to thank him for his action in the matter. reas | an | ef intl | A letter dealing with the Library Censorship was adjourned to the next meeting. The committee instructed the secretary to convey their thanks to Mr. James T. Tanner for a donation of five guineas and to Mr. H. C. Davidson for a donation of ten shillings to the Capital Fund of the Society. —_— Dramatic SuB-COMMITTEE. Tur Dramatic Sub-Committee of the Society met at No. 1, Central Buildings, Tothill Street, Westminster, S.W., on Friday, January 16, at three o’clock. After the minutes of the previous meeting had been signed, the chairman, as one of the delegates appointed to meet the delegates of the Society of West End Managers, gave a report of the meeting which had been held the beet afternoon. He stated that the anagerial Treaty had been taken clause by clause and very fully discussed; that six of —_——+ ComposERS’ SuB-COMMITTEE. Tue first meeting of the Composers’ Sub- Committee for 1914 was held on Saturday, January 10, at the Society’s offices. After the reading of the minutes of the previous meeting, the question of the Board of Trade Regulations for the stamping of mechanical contrivances was again considered. It appears that in some cases the stamps fall off after being affixed, and that in other ways the arrangement is a source of annoyance to the manufacturers. The sub-committee con- sidered whether it would not be possible to make some suggestion to the Board of Trade which, whilst adequately protecting the com- posers, will, at the same time, in no way hamper the reproducers. When full con- sideration has been given the composers will, if necessary, make a suggestion to the Board of Trade. 128 The report of the meeting “of the delegates of the Society with the delegates of the Society of British Composers was read, and after some discussion it was decided to take no action at present, but the sub-committee decided to press the Committee of Management again on the question of the alteration of the title of the Society. The secretary informed the sub-committee that the matter would be laid before the Committee of Management at their meeting on the 12th. The Royalty Agreement which had been drafted for the publication of sheet music was gone into clause by clause, considered carefully, and finally passed. The Agreement will be set up in type and be at the office of the Society for those members who desire a copy. oo Cases. Durine the past month sixteen cases have been in the hands of the secretary. At present the number of those carried through to a successful issue is very small. This, no doubt, arises from the fact that during the end of December, and the first two or three weeks in January, there was a lull in business, and little came to the Society’s office. Now that the Christmas festivities are over, work is again being taken in hand, so that half at least of the cases submitted have only just come to the Society’s office. There were six cases for the return of MSS.; one has been placed in the hands of the solici- tors, and the other five are in the course of negotiation. A question of infringement of copyright has been settled and the amount claimed paid as damages. One claim for money has also been settled, the sum due having been forwarded to the author. Of three claims for accounts one has been closed, the other two are still open. Two claims for monies and accounts are still unsettled, and one dispute with an agent is still being negotiated, as also is one dispute on the interpretation of an agreement. No foreign cases have come in during the past month. Of the cases which were still left open at the end of the year three alone remain unsatisfied, but they are all cases outside Great Britain, and the delay has occurred owing to the necessary time which must elapse between writing a letter and receiving a reply. THE AUTHOR. January Elections. Aberdeen, The Rt. Hon. PC, The Earl of, K.C.M.G., ete. Aikin, W. A., M.D. Allen, Charles Edward. Anderson, Arthur James. Astle-Allam, Mrs. Agnes Mary. Bunting, Freeman Byng, Miss N. W. Campbell, H. R. . Cannéll, H. Skipwith Cohn, Miss Phoebe Cooke, Arthur Owens . Daviel, Leon Elson, Robert . Enthoven, Gabrielle. Esdaile, Ernest Hanrahan, Mrs. Agnes I Haworth, George K. Hixton, Madelline Hope, G. L. N. Hudson, H. Lindsay _Jackson, Holbrook ° Mrs. Levick, Dr. G. Murray Light, Miss Tipara Lynch, J. G. Bohun Vice-Regal Lodge, Dublin. 66, Bedford Gardens, Kensington, W. 4, Bis Passage, St. Charles, Tunis, North Africa. North Gate Cottage, Launceston. 127, Rotherhithe New Road, Lon- don, S.E. New Westminster, British Columbia. Wydford, Ryde, Isle of Wight. Holmer Court, Amersham. c/o American Stu- dents’ Club, 4, Rue Joseph Bara, Paris, France. 14, Sussex Place, N.W. 388, Dublin Edinburgh. 2, Albert Studios, Albert Bridge Road, S.W. Whittington, westry. 97,Cadogan Gardens, Chelsea, S.W. : 7, Carlton Parade, Herne Hill, S.E. 28, Highfield Road, Rathgar, Dublin. Irwell View, Rams- bottom. Hollinhurst, Edger- ton, Huddersfield. Park View House, Dartmouth. Avonlwyd, North Road, Glossop. Mill Hill, N.W. 19, Dewhurst Road, Brook Green, W. c/o Messrs. Hom- burg and Melrose, Grenfell Street, - Adelaide, | South Australia. 207, Lauderdale Mansions, Maida Vale, W. Street, Os- Macdonald, Frederika, D.Litt. 12, St. George’s Square, Primrose Hill, N.W. No. 1719, Isamian Bazars, Hydera- bad (Deccan), India. Mangiah, Jayanti, B.A., LT, Merrick, Mrs. Hope . Millard, C. Killick ‘ Miller, Mrs. E. Olive (‘‘ Olive Chancellor ’’) Moor, Lady : , Town Hall, Leices- ter. The Old Vicarage, Brixton, Ply- mouth. Greystone, Estcourt, Natal. Author’s Club, 2, Whitehall Court, S.W. Schloss Felsegg Wiltenberg, Inns- bruck, Tirol, Austria. Miigge, Maximilian A. . Oliver, John Rathbone. Philmar, Arthur J. : Pullein, Miss Catharine. Redfern, Miss Joan Lyceum Club, 128, Piccadilly, W. 60, The Groton Building, Cincin- nati, Ohio, U.S.A. Grey Friars, Ascot. Reed, Dr. Charles A. L. M.A., M.D., F.C.S. Sarawak, Her Highness the Ranee of. Saunders, John G. ‘¢ Eissendon,’’ Wood- ville Road, New Barnet, N. 8, Portland Man- sions, Clapham, S.W. Standing, Percy Cross . (i BOOKS PUBLISHED BY MEMBERS. a While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate, ARCHASOLOGICAL. Norzs on Taz CHurcHEes IN THE DEANERY OF Kann, Dzvon. By Beatrix F.Cresswett. 9 x 6. 191 pp. Exeter: J. E. Commin and Son. ARCHITECTURE. VALUATION AND Comprnsations. A Text Book on THE Practice or VALUING PROPERTY AND ON COMPENSA- THE AUTHOR. 129 TIONS IN RELATION THERETO, FOR THE USE OF ARCHI- TECTS, SURVEYORS AND OTHERS. By PRoFEssoR BanisTeR Fiercuer. A fourth Edition. Revised, Rewritten and greatly enlarged by BanistER FLIGHT Fietcuer and Hrrsert Pumiies FuutcuEr. 7} x 43. 446 pp. Batsford. 7s. 6d. n. BIOGRAPHY. Paun VERLAINE. By Witrrm TuHorRLeY. (Modern Biographies.) 62 x 43. 107 pp. Constable. 1s. n. DRAMA. Puaxpra. A Tragedy in Five Acts, from the French of Racine. By S. Cuaupr Tickert. 8} x 52. 79 pp. J. Richmond, 14, Conduit Street, W. 2s. n. ECONOMICS. Tue Earty WEIGHTS AND MEASURES OF MANKIND. By GENERAL Srr CHARLES WARREN, G.C.M.G. 82 x 53. 135 pp. Palestine Exploration Fund. 7s. 6d. La GRanpeE Ittuston Park NoRMAN ANGELL. Translated by S. Ruesrrers. 64 x 4}. 498 pp. (Collection Espafiola.) Nelson. 1s. n. 7% x 5. 316 pp. Jacop BatTeman’s LappEerR. By Asnitry L. Barnzs- Mattory’s Tryst. By Mrs. Pumie CuHamrion DB Crespicny. 74 xX 5. 306 pp. Mills and Boon. 6s. 314 pp. Lane. 6s. Love anpATittr. By HerpertFLrowerprew. 73 x 43. Cauuista IN Revott. By Onivia Ramsny. 72 x 6. 321 pp. John Long. 6s. 7% x 5. 320 pp. Everett. 6s. Lats in Lire. By Aticze Prrrin. 64 x 43. 254 pp. Ex Misterio pr LA VitLa Rosa Por A. E. W. Mason. Translated by F. Battv#. 308 pp. 64 x 4}. (Collec- JemMMY ABERCRAW. By BERNARD CAPES. Library.) Cheap Edition. Nelson. 7d. n. 7% x 6. 301 pp. Methuen. 6s. Ont Kinp anp AnotHEeR. By Barry Parn. 73 x 5. Gay Mornina. By J. E, Buckrose. Mills and Boon. 6s. 73 x 5. 320 pp. Stanley Paul. 6s. Tue Master or Merripir. By Epen Poiiwporrs. 72 x 5. Dust rrom tox Loom. By Epwarp Nopin, 7} x 65. Constable. 6s. 303 pp. Melrose. 6s. Tue Decoy. By Tau Countrss or CRoMARTIn. 7} X 5}. Terms or Surrenper. By Lovis Tracy. 7% x 43. 346 pp. Cassell. 6s. 320 pp. John Long. 6s. Otp Motn’s Nover. Revised and Expurgated by 6d. n. i Lawrence. Illustrated in Colours. §.P.C.K. Somepopy’s Lucaace. By F. F. Ranpau. 72 x 5. 320 pp. Greening. 6s. Tue Curtain. By Gertie DE S. WENTWoRTH JAMES. (Re-issue.) Methuen. 7d. n. tion Espafiola Nelson.) Nelson. Is. n. (The Nelson Tue Friyine Inn. By G. K. CHesterton. 308 pp. Martin Secker. 6s. Tue Waters or Letun. By Dorotuea GERARD. 304 pp. Ward Lock. 6s. Buryp Eyrs. By Marcarret Puterson. 7% x 5. 176 pp. Erskine Macdonald. 3s. 6d. n. A Brspoxen Bripz. By Frep Wuisuaw. 72 x 5. GILBERT Cannan. 6} x 4}. 63 pp. Martin Secker, (Cheap Reprint.) 63 x 44. 247pp. Methuen. 7d. n. 130 HISTORY. ANNALS AND Memorrs or THE Court or Pexine. From the Sixteenth to the Twentieth Century. By E. Back- Housr. J. O. P. Buanp. 10 x 6}. 531 pp. Heine- mann. 16s. n. POETRY. Wittow’s Forar anp Orner Porms. By SHemma Kaye- Suiru. 73 x 5}. 52 pp. Erskine Macdonald. LITERARY. S’Amusr. By W. Wurrem Bram Fisu. Blackwell. 3s. 6d. Sa Muss OXFORD : —_——_—_ + o—___—_- LITERARY, DRAMATIC, AND MUSICAL NOTES. — + — e HE SCHOOLMASTER,” by Mr. A. C. Benson, C.V.O., President of Mag- dalene College, Cambridge, is the new volume in Murray’s Shilling Library. It is described as a commentary upon the aims and methods of the public-schoo] master, in relation to the boys in his house, his pupils, and his classes. In ‘“‘ Ancient and Medieval Indian Archi- tecture,” Mr. E. B. Havell completes the previous survey of the subject, and traces the history from the earliest times to the Moham- madan conquest. The book is announced for publication by Mr. John Murray. The new publications of the same firm include ‘‘ Buddhist China,” by Mr. R. F. Johnston, of the Weihaiwei Government (15s. net); ‘‘ Christina of Denmark, Duchess of Milan and Lorraine,” by Julia Cartwright (Mrs. Ady), (18s. net); ‘‘ The Mounted Police of Natal,” by Mr. H. P. Holt, with an introduc- tion by General Sir George Dartnell (10s. 6d. net); ‘‘ Memories of a Musician,” by Wilhelm Ganz (12s. net); and a second edition of ** Law and Politics in the Middle Ages,’ by Edward Jenks, M.A., B.C.L. Mrs. Ellis H. Chadwick’s ‘‘ In the Footsteps of the Brontes ”’ is published by Sir Isaac Pit- man & Sons, at 16s. net. The Canadian publishers of Mr. Arnold Haultain’s “ Goldwin Smith: His Life and Correspondence,”’ are McClelland and Good- child, of Toronto. A book of ‘‘ Reminiscences, Social and Political,” by the Lady Southwark, has been published by Williams & Norgate, at the price of 12s. 6d. The book contains glimpses of Queen Victoria, Prince Albert and the Royal children, and other celebrities of the Victorian THE AUTHOR. era. The volume is illustrated by many por- traits drawn by the pencil of the author. Mr. Herman Scheffauer’s translation of Heine’s “‘ Atta Troll,’’ with an introduction by Dr. Oscar Levy and illustrations by Mr. Willy Pogany, has been published by Sidgwick & Jackson. ‘* Busy Days ”’ is the title of a collection of extracts from the fourteen previous works of Mrs. Alec Tweedie, whose ‘‘ America as I Saw it’? is in its second edition. The sub-title of E. Nesbit’s ‘‘ Wings and the Child,’’ gives some idea of its scope—‘‘a Plea for the Culture of Imagination” (Hodder & Stoughton, 6s.). Dr. Marie Stopes is bringing out in the first week of February a volume of original verse called ‘“‘ Man, other Poems, and a Preface.” Messrs. Heinemann are publishers of this, as well as of ‘‘ Plays of Old Japan: The No,” by Dr. Marie Stopes and Professor Sukurai, to which the Japanese Ambassador, Baron Kato, contributed a congratulatory preface. Mr. Walter M. Gallichan’s new book will be published in the spring by Holden & Harding- ham. It is an illustrated volume dealing with the position of women under plural marriage in the Eastern nations. The title is ‘““ Women under Polygamy.” ‘* A Moralist’s Birthday Book ”’ is the title of a little volume in which the quotations are selected and edited by Mr. Mark Meredith. ‘** Behind the Veil,” by Mr. George R. Sims, figures among the spring announcements of Greening & Co. Mr. Horace A. Vachell’s new novel is ‘** Quinneys.” This and Mr. Eden Phillpott’s latest volume of Dartmoor stories, ‘‘ The Judge’s Chair,’ are announced by Mr. John Murray. Other works of fiction from the same house are ‘“‘ Cake,” by Mr. Bohun Lynch; “ The Race of Castlebar,” by the Hon. Emily Lawless and Mr. Shan F. Bullock; ‘‘ Through Other Eyes,”’ by Miss Amy McLaren; ‘ The Vision Splendid,” by Messrs. D. K. Broster and G. W. Taylor; and ‘“‘ Loot,” a collection of Mr. H. A. Vachell’s short stories. Miss Jeanette Marks’s ‘‘ Leviathan,”’ a novel dealing with the drug habit, is published by the - George H. Doran Co., of New York. Mrs. Alice Perrin’s story, ‘The Happy Hunting Ground,” which has appeared serially in the Daily Telegraph, is coming out in volume form on the 19th inst. (Methuen). Mr. Frank Savile’s ‘‘ The Red Wall’ (Nelson), appeared in the Pall Mall Magazine under the title of ‘‘ The Secret,” but a change was ? THE AUTHOR. necessary owing to the latter name having already been used for a novel by another author. Mr. Savile’s ‘‘ The Pursuit ”’ is coming out in a cheap edition (Hutchinson & Co.). In “ Square Pegs,”’ Mr. Charles Inge, author of “ The Unknown Quantity,”’ raises again the question what is failure and what is success, as illustrated by the careers of a big man from South Africa and a little solicitor, each of whom both succeeds and fails. Mr. Max Rittenberg has two novels for 1914, “The Modern Chesterfield ” and “* Every Man His Price.” The former is in the nature of a Fleet Street satire, and is described in the sub- title as ‘‘ being a series of letters from a self- made baronet to his son, imparting counsel and an occasional grilling, through the latter’s career in philanthropy, halfpenny journalism, politics, & marriage.” Hurst and Blackett are to publish this during March. The second novel projects into the future, and deals with a young scientist’s career in the development of wireless telephony. Methuen in London and Dillingham in New York will publish this in August next. Among the novels appearing through John Long, Ltd., are ‘‘ Faith and Unfaith,” by Mr. James Blyth; ‘‘ Mary’s Marriage,” by Mr. Edmund Bosanquet ; and ‘“‘A Bespoken Bride,” by Mr. Fred Wishaw. Miss Ivy Low’s “‘ The Questing Beast ’’— the title of which recalls both the ‘‘ Morte d’Arthur’”’ and the ‘‘ Faery Queen ’’—deals largely with the life of girl-clerks, of which the author has intimate knowledge. Mr. Ralph Stock’s “‘ Marama ”’ is a novel of the South Seas (Hutchinson). The dramatic rights have been secured by the Leibler Co., of New York, for production in March. “‘ Drum’s House,” by Ida Wild (Mrs. Meynell Pearson), was published by Constable & Co. last year. E. W. Savi’s “ Baba and the Black Sheep,” an Anglo-Indian love story, is to be published early in the spring by Hurst & Blackett. The same author’s ‘“‘ The Daughter-in-law ”’ is now in its third edition. Stanley Paul & Co. are the publishers of ““The Twin Soul of O Take San,” by the Baroness d’Anethan, sister of Sir Rider Haggard; of ‘The Split Peas,” by Mr. Headon Hill; and of ‘‘ Cupid’s Caterers,”’ by Mr. Ward Muir. The two last-named are included in Stanley Paul’s Empire Library. In the same firm’s 2s. net series Miss Dorothea Gerard’s ‘“‘ The Unworthy Pact ”’ is to appear. ' Stanley Paul & Co. are also producing * Jill All Alone,” by Rita (Mrs. Desmond Hum- 131 phreys). A 7d. edition of this author’s novel, ‘** A Man of No Importance,” has been issued by Hurst & Blackett. The most recent of Mr. Ascott Hope’s books for prizes, school libraries, ete., is ‘“‘ Half and Half Tragedy ” (A. & C. Black, 5s.). Mrs. Fred Reynolds’s new book, to be pub- lished shortly by Mills & Boon, is entitled **An Absent Hero.’ It owes its interest to the rather unusual fact that the hero never appears on the scene at all; his character and personality being entirely worked out in the conversation of those who are his friends or otherwise. Mrs. Charlotte Mansfield’s novel, ‘‘ Red Pearls,”’ introduces the great strike of last year in South Africa (Holden & Hardingham). Mr. Dugald Ferguson’s ‘“‘ Mates” is pub- lished by Hurst and Blackett. “ At the Back of the World,” by George and Jennie Pugh, is published by Lynwood & Co. Miss Constancia Serjeant is the author of ‘“ A Christmas Rose: a Story of the Christ Child.” The late Mr. H. D. Lowry left an unfinished Cornish story, ‘‘ Wheal Darkness.” This was completed by his cousin, Mr. C. A. Dawson Scott, and is now running serially in the Cornish Post, Cornish Telegraph, and Redruth Efficient Advertiser. In the December number of Health and Vitality, the organ of the International Health League, appeared a complete Christmas story by Miss Annabel Gray, entitled “A Bitter Cup; or, Jack’s Yarn.” An article on ‘‘ Differences in Animal and Plant Life,” by Mr. F. Carrel, appeared in the January number of Science Progress. In the letter from Mr. James Marchant in the January Author, concerning the late Dr. Alfred Russel Wallace, the address—Loch- nagar, Edenbridge—was omitted. As a result Mr. Marchant fears that those who would have responded to the letter did not know whither to send their reminiscences. In the same Correspondence column the address of Mrs. E. M. Story, who wrote con- cerning ‘‘ Browning Relics,” should have appeared as Orchard House, Whitton Road, Twickenham. On the front page of the January Author the advertisement of Mackirdy’s ‘Veekly stated that the circulation of the paper was “10,000 weekly.” Mrs. Archibald Mackirdy (Olive Christian Malvery) writes to say that this should have been ‘‘ 100,000 weekly,” and that the standing orders are now far over that figure. 132 The fourth number of€Poeiry and Drama (published at the Poetry Bookshop, 2s. 6d. net, or 10s. 6d. per annum, post free) completes the first volume of this quarterly. The editor announces a new departure in the section of the magazine devoted to criticism. ‘‘ We have decided, with certain exceptions, to represent the volumes which come before us in 1914 solely by quotation, without comment.” Mr. S. B. Banerjea, author of ‘Tales of Bengal,” etc., is publishing a volume of “JIndian Tales” with the Oxford University Press, Bombay, immediately. Though mainly intended for young people, the book will interest and entertain their parents also. Mrs. Philip de Crespigny’s new novel, “Mallory’s Tryst,”’ was publi hed last month by Messrs. Mills & Boon. It is a modern- day story. Mrs. de Crespigny has also a short story coming out in the Storyteller. DRAMATIC. Mrs. Leonard Merrick’s new four-act play, ‘* Mary-Girl,”” was produced at the Vaudeville Theatre on January 13. After the 150th performance of Mr. Louis N. Parker’s “‘ Joseph and His Brethren,’ ‘‘ The Darling of the Gods’’ was revived by Sir Herbert Tree at His Majesty’s Theatre on January 17, under the supervision of Mr. Yoshio Markino. The Play Actors produced at the Court Theatre on January 25, Mr. Israel Zangwill’s “The Melting Pot,” which has been played many thousand times in the United States, but has only been seen in London in a Yiddish version. The play is published in book form by Heinemann, with an afterword by the author, dealing with the problems involved in the play. Mr. Paul Rubens contributes the book and the music to the new musical comedy, ‘“ After the Girl,”’ at the Gaiety Theatre. “The Ladies’ Comedy,” by Mr. Maurice Hewlett, is to be seen at a matinee at the Little Theatre on February 8. A dramatic version of Mr. H. de Vere Stacpoole’s romance, ‘‘ The Blue Lagoon,”’ is among the ventures contemplated by Sir Herbert Tree. A dramatic version of Sir Rider Haggard’s “ A Child of Storm ”’ will be seen at the Globe ea with Miss Lily Brayton in the title- role. At the Comedy Theatre on the 5th inst. ‘‘ The Tyranny of Tears,’”’ by Mr. C. Haddon Cham- bers, is being revived. THE AUTHOR. On the termination of the matinee season of ‘** Peter Pan” at the Duke of York’s Theatre this month, Sir J. M. Barrie’s “‘ Quality Street ”’ will be seen at Thursday and Saturday matinees as well as in the evening bill. A German version of Mr. Herman Scheffauer’s play, “‘ The New Shylock,” has been given at the Stadt Theatre, Dantzig. Miss Cicely Hamilton lectured to the Gallery First Nighters’ Club on January 18. The post of Examiner of Plays, vacant on the death of Mr. Charles Brookfield, has been given to Mr. G. S. Street. Some of the work of Rita (Mrs. Desmond Humphreys) has been purchased for the Kinema by the Edison Co. and by Pathé Fréres. Mr. W. Percival Westell, F.Z.S., gave four “cinema nature lectures”? at the Playhouse, Hitchin, last month. Mustc. Mr. Theodore Holland’s new violin pieces, “* Poéme ” and “‘ Fireflies,’ were introduced by Mr. Horace Fellowes at his recital in the AKolian Hall on January 28, accompanied by the composer. > —_____—_ PARIS NOTES. VY ““La Perception du Changement,” M. Henri Bergson explains to us, with his usual simplicity and wonderful clearness, some of the essential points of his theories. ““L’Appel des Armes ”’ is the title of a novel by Ernest Psichari, a grandson of Ernest Renan. The author tells us the story of the son of an anti-militarist Professor, who, against the wishes of his father, enlists for five years’ service in Africa. We see the influence of his Captain, who, having no high ideals, can only teach him his profession. As a psychological study the book is extremely interesting, and from a literary point of view we see with the greatest pleasure that something of that exquisite writer, Renan, lives again in his grandson. ** Vivre la Vie,”” by Jacques des Gachons, is a sequel to that clever psychological study entitled “ La Vallée Bleue.’ Each of the two books is a complete story in itself. In the - first, we see the influence of surroundings on two brothers, one of whom lives in Paris and the other in the country. In the second story we have the history of the descendants of the two brothers. This novelist’s books are greatly appreciated in France and have already won, for their author, two of the French Academy prizes. “La Ville Assiégée,” by Guy Chantepleure, is not a novel, but a story of real life. Madame Guy Chantepleure was at Janina in October, 1912, just as war was declared with Turkey, and she describes the town to us, in November, when all the schools were transformed into ambulances. On December 26, in the very midst of the horrors of warfare, she had organised a féte for the Greek children, who danced around the Christmas tree and forgot for a short time, at any rate, the privations and miseries they were enduring. An excellent translation of the well-known novel by the Swedish author, Gustaf af Geijerstam, has been made by Wilhelm Bauer under the title of ‘‘ Le Livre du Petit Sven.” It is merely a story of family life, but told with such delicacy and refinement that the reader is held spell-bound by it. Little Sven and his dog Fox, his mother, father, and the other members of the family, become real, living individuals, and as one reads the father’s diary one sympathises with him in his great grief, after the death of his little boy and his wife. To all lovers of Old Paris we would recom- mend the volume by André Hallays, entitled + Bn flanant a travers la France, Paris.”” The author tells us of the Auteuil of the seventeenth century, of the history of the Hotel Biron, and also of the house in the Rue Saint-Jacques, in which Mdlle. de la Valliére took refuge. After Old Paris comes ‘‘ Le Nouveau Paris {la vie artistique de la Cité moderne),” by Ray- mond Escholier. The preface is written by M. Gustave Geffroy. The book entitled ‘“‘ Espagne et Portugal,” by Marcel Dieulafoy, can now be read either in French or English. No better informed writer could have been chosen for this volume of the collection : Historie générale de ’ Art than the celebrated explorer and archzxologist whose travels in Persia resulted in the interesting collection now to be seen in the Louvre Museum. M. Dieculafoy has travelled a great deal in Portugal and in Spain, and he gives us, in this volume, his theories with regard to architectural origins and the influence of the various styles. About 700 illustrations are given in this work. Rabindranath Tagore’s Gitanjali has been translated into French by André Gide and is entitled ‘‘ L’Offrande Lyrique.” “Les Lettres, les Sciences, les Arts, la Philosophie et la Religion des Anglo-Saxons,” by H. Pierquin, seems to us rather a vast subject to treat in one volume. THE AUTHOR. 183 “La Résistance legale en Finlande ”’ by J. J. Caspar, Avocat a la Cour d’Appel a Paris, may interest the Society of Friends of Finland. The preface is written by Pierre Mille. ‘‘Visages de Femmes” is another of the volumes of excellent studies by André Beaunier. He tells us of Lucile de Chateaubriand, of Mme. de Staél and of Mme. de Beaumont, of Adéle Schopenhauer and of Eugénie de Guérin among others. The Abbé Blandin gives us another volume to add to those already written on “J. K. Huysmans.”’ As he knew him intimately, he tells us of his life, his first books, his evolution and his conversion. He endeavours to explain many things which have always appeared unexplainable. M. Paul Leprieur, Curator of the Louvre Museum, gives us a volume with illustrations entitled ‘‘ Millet.” It is an excellent bio- graphical study and criticism of the celebrated painter of ‘‘ The Angelus.” ‘“‘TImpét sur le Revenu,” by M. Joseph Caillaux, is certainly the book of the moment. M. J. Combaricu now gives us the second volume of his ‘‘ Histoire de la Musique.” For the first volume the sub-title was ‘ Des origines 4 la fin du XVI.™°siécle,” and for the second volume: ‘‘ Du XVII.™ siécle ala mort de Beethoven.” To all interested in scouting, a book entitled “‘ Les Eclaireurs de France et le Réle social du Scoutisme frangais,” by Captain Royet, may throw some light on the progress of the move- ment in France. The preface is written by Gaston Deschamps. M. Couturier who was for many years Frangois Coppée’s secretary, has published a volume entitled ‘‘ Chez Frangois Coppée.”’ He tells us of the simple and beautiful life of the “‘ people’s poet ” and of the fine character of that Parisian of Paris, whose absolute sincerity and kindliness won all hearts. At the Theatre Frangais, Henry Bataille’s play ‘‘ La Marche Nuptiale”’ is being played, and at the Odéon “Rachel” fills the house. Sarah Bernhardt may be congratulated on having found, in ‘‘ Jeanne Doré,” a play which the public hope may have a very long run. Everyone is genuinely delighted that the great French tragedian should, at last, receive the recognition which she ought to have had years ago. Her promotion to Chevalier of the Legion of Honour was the occasion of a special fete. At present, the indefatigable artiste is giving a series of lectures at the request of the University of Les Annales. 134 Among theatrical enterprises, it seems likely that ‘The Little English Theatre,” organised by Mr. Philip Carr, will be welcomed enthusias- tically. For some years, it has been proposed to have a theatre here of comparative ltera- ture, and it seems now quite possible to realise this plan. M. Camille de Sainte Croix, director of the Compagnie frangaise du Theatre Shakespeare, is putting on in French “ Le Marchand de Venise,”’ and almost immediately afterwards, Mr. Philip Carr will produce ‘‘ The Merchant of Venice ’’ here in English. Other plays will be given in the same way by these two directors, who, with separate organisations, will work together to carry out this idea. On his honorary committee, M. de Sainte Croix has some of the best names in France, including those of the Duchess of Rohan, Professor Charles Richet, Princess Lucien Murat, M. d’Estournelles de Constant, Jean Finot, whilst Mr. Carr has on his honorary committee, The British Ambassador, the Ambassador of the United States, the Dowager Duchess of Uzes, Duchess of Guiches, Anatole France, Auguste Rodin, M. and Mme. Albert Besnard, M. and Mme. Emile Boutroux and many others. Atys HALuarp. Oo COPYRIGHT IN A TRANSLATION. ——4+—<— 4 ‘ Byrne v. THE Statist Co., Lrp. HE decision of Mr. Justice Bailhache in this case is important to authors and journalists because it determines several interesting questions relating to copyright in a translation of a non-copyright work, the rights of an author who is in the employment of a newspaper, and the new defence to an action for damages in respect of an infringement for copyright, wherein the defendant alleges that he was not aware and had no reasonable grounds for suspecting that copyright subsisted in the plaintiff’s work. The plaintiff, Mr. F. D. Byrme, who is employed on the editorial staff of the Financial Times, and has an extensive knowledge of foreign languages, including Portuguese, sued the defendant company for damages for the infringement of his copyright in a translation of a speech dealing with financial matters, which was delivered in the General Legislative Assembly of the State of Bahia by the governor of that State. The speech, which was in Portuguese, was published in a Bahian news- paper ; and the plaintiff was asked by the business manager of the Financial Times to quote a price for making a translation of the THE AUTHOR. speech for publication in that paper as an advertisement. ‘The plaintiff agreed to do the work for twenty guineas and asked that his name should appear as the translator. The work was done by the plaintiff out of office hours and the English translation of the speech appeared in the Financial Times with the note, ‘‘ Translated from the Portuguese by F. D. Byrne.” This advertisement in the Financial Times was seen by the business manager of the Statist, who obtained permission from the Bahian Government to reproduce the speech, as an advertisement in the Statist. The defendants published the plaintiff's English translation in the Statist and this was the infringement of copyright for which the plaintiff claimed damages. It was contended on behalf of the defendants that the plaintiff's translation was not an ‘*‘ original literary work’’ and was not the subject of copyright; and that if it was capable of copyright, the translation was made by the plaintiff when he was in the employ- ment of the Financial Times and in the course of his employment, so that the copyright, if it existed, would belong to his employers. It was further pleaded that the defendants were not liable for damages, because they were not aware and had no reasonable grounds for suspecting that copyright subsisted in the work. It was upon this latter point that the defendants most strongly relied. Evidence was given that the practice of the managers of newspapers with regard to advertisements is that when they see an advertisement in a paper, which they would like to have the profit of publishing, they apply to the advertiser or his agent for leave to print the advertisement in their paper; and having arranged a price they print a verbatim copy of the advertise- ment, apparently relying upon the supposition that there is no copyright in the advertisement or that the copyright belongs to the advertiser. The points raised on behalf of the defendants are dealt with in the judgment of Mr. Justice Bailhache, who said that he thought the words ‘*‘ original literary work’? meant a literary work of which the person in whom the copy- | right was laid: or through whom the title to the copyright was traced was the author. A translator of a literary work had for many years been held to be the author of his transla- tion. The plaintiff’s translation was not merely mechanical. The plaintiff had com- pressed the speech and edited it by omitting the less material parts. He had divided it into suitable paragraphs and supplied appropriate headlines. The plaintiff's translation was therefore an original literary work. As to the question of employment, the judge pointed out that the plaintiff did not make the translation in pursuance of any duty owed by him to the Financial Times as one of their staff, or in the course of his employment as such, but his employment to make the trans- lation was an independent engagement quite outside his ordinary duties, and the work was done entirely in his spare time. The last point raised on behalf of the defendant company also failed. The adver- tisement in the Financial Times contained an intimation that it had been translated by the plaintiff. The evidence showed that such a notice was unusual, and in the judge’s opinion there was reasonable ground for suspecting that there was copyright in the plaintiff's translation. The position of the defendants in truth was not so much that they did not suspect the translation was the subject of copyright as that they supposed that the copyright belonged to the governor of Bahia, whose permission to reproduce it had been obtained. This merely amounted to saying that they supposed they had the authority of the owner of the copyright, which was a very different thing from not suspecting that any copyright existed. The Act does not give protection to a person who, knowing or suspecting that copyright exists, makes a mistake as to the owner of the copyright and under that mistake obtains authority to pub- lish the work from a person who is not in fact the owner of the copyright. The defence therefore failed and judgment was given for the plaintiff for £150 damages and costs. Haroitp Harpy. i COPYRIGHT TITLE AND TRADE MARK. 9 U.S.A. Law Case, aS. of space has prevented our quoting sooner the opinion of the Circuit Court of Appeals at St. Louis in the case of Atlas Manufacturing Co., et al. v. Street and Smith, which involved several very interesting questions of the protection of the name of a fictitious character by trade mark or copy- right or both, this though questions of copy- ag per se, were not presented by the case. T e name involved was “Nick Carter,” which Street and Smith were attempting to THE AUTHOR. 135 protect against moving picture piracy. The decision rendered was a divided one and will, it is understood, be appealed to the U.S. Supreme Court. Van Valkeburgh, District Judge :— ‘* Appellees, complainants below, are citizens of the State of New York, and are the members of a co-partnership known and styled as Street & Smith. This firm is engaged in the business of publishing detective _ stories characterised by the general name of ‘ Nick Carter.’ Its publications are issued weekly and consist, exclusive of cover, of 32 pages, 11 by 8 inches in size. Of these pages, 26 are devoted to a detective story complete in itself ; 5 pages to space-filling items under the heading ‘ News of All Nations’; and 1 page to advertising other publications issued by the same firm. The cover is in colours and pre- sents in order the serial number, date, price, general title ‘ Nick Carter,’ the specific title of the detective story, as ‘The Red Button,’ contained in that issue, and an illustration characteristic of the story, or depicting some incident in it. Slight modifications of interior make-up have since been made, but this description applies to complainants’ exhibit, filed with their bill July 1, 1913. The func- tion of the weekly issue is the publication of the single detective story contained therein. A different story under a distinct title is pub- lished each week. These stories are complete in themselves. The only connection between them is that the detective character, Nick Carter, is the central figure in each. On April 19, 1910, complainants registered the name ‘ Nick Carter’ as a trade mark for ‘ a weekly publication devoted to fiction,’ alleging that it had been used in their business and that of their predecessors since March 30, 1885. “The appellant, Atlas Manufacturing Com- pany, is a Missouri corporation domiciled in the city of St. Louis. Its business includes the manufacture and sale of moving-picture films. Appellant Crawford is its president. In January or February, 1912, said Atlas Manufacturing Company employed certain persons, named, respectively, Wolcott and Hamilton, to write a scenario or memorandum of the series of events in a detective story, This story was then acted with appropriate stage setting and the performance photo- graphed in sequence. From _ these photo- graphs a film was prepared, and it is the pur- pose of appellants to sell, rent, or lease this film to such persons as may desire to display it in moving-picture theatres. As advertised‘ the story presents ‘Nick Carter, the Great 136 ' American Detective, Solving the $100,000 Jewel Mystery.’ It appropriates neither title, plot, nor situations of any story pub- lished by complainants: The name Nick Carter is used and a detective story portrayed. The name of the appellant corporation, a manufacturer, is displayed upon the screen. Complainants, claiming the ‘ exclusive right to make, sell, print, publish, and display to the public detective stories marked with the name and trade mark ‘ Nick Carter,’’ and called and known by the trade name “‘ Nick Carter,”’ ’ filed their bill of complaint July 1, 1912, to restrain defendants from using his name in any connection or form. A preliminary injunction was granted, and _ defendants appealed. Complainants have taken out no copyright upon any of their publications, therefore no rights arising under the copyright law are presented for determination. The property rights asserted are based (1) upon registered trade mark; (2) upon long-estab- lished trade name. ““(1) The trade mark registered is ‘ Nick Carter.’ The law authorising such registra- tion provides that the applicant shall specify ‘the class of merchandise and the particular description of goods comprised in such class to which the trade mark is appropriated, . . . a description of the trade mark itself,’ and ‘a statement of the mode in which same is applied ‘ and affixed to goods... .’ Act, February 20, 1905, 33 Statutes at Large, pt. 1, ce, 592, p. 724 (U. S. Comp. St. Supp., 1911, p- 1,459). In compliance with this requirement complainants particularly describe their so- called goods as ‘a weekly periodical devoted to fiction.’ To entitle this publication to protection under the trade mark granted it must conform to the description filed ; it must be a periodical. In Smith et al. v. Hitchcock, 226 U.S. 58,33 Sup. Ct. 6, 57 L. Ed.—,decided November 18, 1912, the Supreme Court held that the ‘Tip Top Weekly,’ issued by these same complainants, and practically identical in structure with the ‘ Nick Carter ’ publica- tion, is not a periodical, but a book. (2) Literary property in a book cannot be protected by trade mark, nor otherwise than by copyright. Black v. Ehrich (CC) 44 Fed. 798 ; Brown on Trade Marks, 116, 117. This is conceded by complainants’ counsel in brief and argument ; but it is claimed that whether the publication be regarded as a periodical or a book the trade mark protects it in its character as goods or merchandise. It is therefore well to determine the exact nature of the ‘ merchandise’ to which the THE AUTHOR. trade mark applies. This must be the publica- tion, as such, whether book or periodical. It is the form, not the contents. ‘ Nick Carter’ is not the name of the specific story, as, in this case, ‘The Red Button.’ None of the indi- vidual stories are covered by the mark. To publish a little booklet entitled ‘The Red Button,’ distinct in size, form and dress, not bearing the imprint ‘ Nick Carter,’ would not infringe this technical trade mark. Con- ceding to this registered mark its broadest application, it can at most protect only against something in the nature of a periodical publica- tion of the same class. ‘““No exercise of imagination, however fertile, can transform defendants’ film or its intermittent exhibitions into anything re- sembling a periodical publication. ‘**(3) Complainants’ chief reliance would seem to be upon the claim asserted in their bill that they have possessed for many years, and still possess, the exclusive right to make, sell, print, publish, and display to the publie detective stories called and known by the trade name ‘ Nick Carter.’ This is a direct appeal to the law affecting unfair competition in trade. Because they have long published detective stories associated with this name and character, they now assert the exclusive right to construct and make public in any manner whatsoever all detective stories involving the name and character of ‘ Nick Carter.’ It is the individual story as an article of mer- chandise, and not the form of publication for which protection is thus invoked. In the language of the brief, ‘ the sole question in this case for the court to decide is whether or not a moving-picture film is of the same class of goods as a printed book.’ The claim advanced is ingenious and decidedly comprehensive in its scope. ““(4, 5) We agree with counsel that ‘ the fact that appellees’ (complainants’) stories are not the highest class of literature does not bar complainants from relief by the courts.’ In other words, this fact does not take from the stories their essential character as litera- ture in the eyes of the law. They are subjects of copyright. And this leads us to inquire what complainants’ standing would be under the law of copyrights? The author of a literary work or composition has, by common law, the exclusive right of the first publication of it. He has no exclusive right to multiply or control the subsequent issues of copies by others. The right of an author or proprietor of a literary work to multiply copies of it to the exclusion_of others is the creature of statute. This is the right secured by the copyright laws of the different governments. Palmer v. De Witt, 47 N. Y. 532, 7 Am. Rep. 480. “*(6) Neither author nor proprietor of a literary work has any property in its name. It is a term of description, which serves to identify the work; but any other person can, with impunity, adopt it and apply it to any other book, or to any trade commodity, provided he does not use it as a false token to induce the public to believe that the thing to which it is applied is the identical thing which it originally desig- nated. If literary property could be pro- tected under the theory that the name by which it is christened is equivalent to a trade mark, there would be no necessity for copyright laws.’ Black v. Ehrich (C. C.) 44 Fed. 793. (7-9) So the copyright of a book does not prevent others from taking the same title for another book, though the copyright has not expired ; and on the expiration of the copy- right of a novel any person may use the plot for a play, copy or publish it, or make any other use of it he sees fit. In such case, where one writes and copyrights a play based on a novel, and bearing the same title as the novel, he cannot prevent another from giving the same name to an entirely different play which has been constructed from that novel. Glaser v. St. Elmo Co. (C. C.) 175 Fed. 276. The right to use a copyrighted name upon the expiration of the copyright becomes public property, subject to the limitation that the right be so exercised as not to deceive members of the public and lead them to believe that they are buying the particular thing which was produced under the copyright. G. & C. Merriam Co. v. Ogilvie (C. C. A.) 159 Fed. 688, 88 C. C. A. 596, 16 L. R. A. (N. S.) 549, 14 Ann. Cas. 796. (10) Original section 4,952, R. S. U. S., provided that ‘authors may reserve the right to dramatise or to translate their own works.” Unless this reservation was made the public was free to make such use of them. By Act of March 8, 1891, c. 565, 26 Stat. 1,107 (U. S. Comp. St. 1901, p. 3,406), it was pro- vided that * authors or their assigns shall have exclusive right to dramatise and_ translate any of their works for which copyright shall have been obtained under the laws of the United States.’ This made such exclusive right an integral part of the copyright itself. Under this section, so amended, the Supreme Court has held that an exhibition of a series THE AUTHOR. 137 of photographs of persons and things, arranged on films as moving pictures and so depicting the principal scenes of an author’s work as to tell the story, is a dramatisation of such work, and the person producing the films and offering them for sale for exhibitions, even if not himself exhibiting them, infringes the copyright of the author. Kalem Co. v. Harper Bros., 222 U.S. 55, 32 Sup. Ct. 20, 56 L. Ed. 92, Ann. Cas. 193 A, 1,285. Never- theless, it is held that the owner of the copy- right of a novel is not entitled to protection against the use of that name in connection with a dramatic composition which does not present any scenes, plot or dialogue imitated or adapted from the novel; it being the name in connection with the novel, and not the name alone, which the copyright protects. Harper et al. v. Ranous (C. C.) 67 Fed. 904. If the copyright has expired, or none has been taken out, neither the rights and privileges conferred, nor the limitations and obligations imposed by that law are present, because, apart from the statute, none exist. “Complainants do not rely upon copy- right. The name ‘ Nick Carter’ is not the title of any story, nor the name of author or publisher. But complainants insist that we shall consider their books, not from the liter- ary standpoint, but as merchandise, and cite numerous Cases recognising that the principles of trade mark law, and the law forbidding unfair competition in business, may, under certain conditions, apply to books, magazines, periodicals and newspapers. That they may and do apply to magazines, periodicals and newspapers, as such, we have already seen; to books the application is more limited. The cases cited reveal that protection is accorded in con- nection with specific kinds of books, such as bibles, dictionaries, and works of a like nature, where the name has so long been used to desig- nate the production as to have become identified with such particular publications as denoting their origin, and where the use of such name by another publisher, having no connection with the place or name, can have no purpose except to deceive purchasers. Chancellor, etc., of Oxford University v. Wilmore-Andrews Pub. Co. (C. C.) 101 Fed. 443; Merriam Co. v. Straus et al. (C. C.) 186 Fed. 477; Ogilvie v. Merriam Co. (C. C.) 149 Fed. 858 ; Merriam v. Holloway Pub. Co. (C. C.) 48 Fed. 450; Merriam et al. v. Tewvas Siftings Pub. Co. (C. C.) 49 Fed. 933; Merriam v. Famous Shoe and Clothing Co. (C. C.) 47 Fed. 811. In instances where the same method of selection, illustration and style of binding, as 138 THE AUTHOR. well as name on the cover, have been taken, the form of publication is the feature of critical importance. _ Estes et al. v. Williams et al. (C. C.) 21 Fed. 189 5 Estes et al. v. Leslie et al. (C. C.) Fed. 22; Estes et al. v. Worthington (C. C.) 81 Fed. 154. In all cases the courts have been careful to limit the doctrine announced to the special circumstances, and have coupled it with a re-statement of well- known principles. Thus, In Merriam Vv. Straus et al., supra, J udge Wallace said : ‘““¢ It is proper, however, to say that the pill is in part an attempt to protect the literary property in the dictionaries, which became publict juris upon the expiration of the copyrights. This attempt must prove futile.’ : “In Ogilvie v. Merriam Co. (C. C.) 149 Fed! 858, it is pointed out that this public right cannot be taken away or abridged on any theory of trade mark or unfair competi- tion, which is only another way of seeking to perpetuate the monopoly secured by the copyright. Similar views are expressed in Merriam v. Texas Siftings Pub. Co. (C. C.) 49 Fed. 944, and Merriam v. Famous Shoe and Clothing Co. (C. C.) 47 Fed. 411. In G. & C. Merriam v. Ogilvie (C. C. A.) 159 Fed. 638, 88 C. C. A. 596, 16 L. R. A. (N. 8.) 549, 14 Ann. Cas. 796, the Court of Appeals for the First Circuit used language still more explicit:— ““*Phe name ‘‘ Webster” having been copyrighted by the Merriams, they were protected in its use under a statutory right during an express term of years. The pro- tection, therefore, in that respect, came by virtue of the copyright, rather than by virtue of its use in publication and trade. The statutory monopoly having expired under statutory limitation, the word ‘‘ Web- ster’ used in connection with a dictionary became public property, and any relief granted upon the idea of title or proprietor- ship in the trade name of “* Webster ” would necessarily involve an unwarrantable con- tinuance of the statutory monopoly secured by the copyright.’ ‘The important principle involved is, per- haps, most pointedly stated by Mr. Justice Miller in Merriam et al. v. Holloway Pub. Co., supra. He says :— “* JT want to say, however, with reference to the main issue in the case, that it occurs to me that this proceeding is an attempt to establish the doctrine that a party who has had the copyright of a book until it has expired may continue that monopoly indefi- nitely, under the pretense that it is pro- tected by a trade mark, or something of that sort. I do not believe in any such doctrine, nor do my associates. When a man takes out copyright for any of his writings or works, he impliedly agrees that at the expiration of that copyright such writings or works shall go to the public and become public property. I may be the first to announce that doctrine, but I announce it without any hesitation. If a man is entitled to an extension of his copyright, he may obtain it by the mode pointed out by the law. The law provides a method of monopoly of the sale of his writings for a definite period, but the grant of a monopoly implies that after the monopoly has expired the public shall be entitled ever afterward to the unrestricted use of the book. ... I will say this, however, that the contention that complainants have any special pro- perty in ‘‘ Webster’s Dictionary” is all nonsense, since the copyright has expired. What do they mean by the expression ‘“‘ their book,” when they speak of Webster’s Dictionary ? It may be their book if they have bought it, as a copy of Webster's Dictionary is my book if I have bought it. But in no other sense than that last indicted can the complainants say of Webster’s Dictionary that it is their book.’ “* In the Chatterbox Cases (Estes v. Williams, supra, Estes v. Leslie, supra, and Estes v. Worthington, supra), emphasis is laid chiefly upon similarity of form. In Estes et al. v. Williams, et al., supra, it was said :-— ““<«There is no question but that the defendants have the right to reprint the compositions and illustrations contained in these books, including the title of the several pieces and pictures. That does not settle the question as to the right claimed here. There is work in these publi- cations aside from the ideas and concep- tions. Johnston was not the writer of the articles nor the designer of the pictures composing the book, but he brought them out in this form. The name indicates this work. The defendants, by putting this name to their work in bringing out the same style of book, indicate that their work is his. This renders his book less remunera- tive, and while continued is a continuing injury which it is the peculiar province of a court of equity to prevent.’ ““In Kalem Co. v. Harper Bros., 222 U. S. 55, 82 Sup. Ct. 20, 56 L. Ed. 92, Ann. Cas. 1913 A, 1285, it was suggested by counsel that to extend the copyright of a case or reproduc- r . THE AUTHOR. 139 ing scenes from Ben Hur by means of moving pictures was to extend it to the ideas as distinguished from the words in which those ideas are clothed. Mr. Justice Holmes said :— ““* But there is no attempt to make a monopoly of the ideas expressed. The law confines itself to a particular, cognate, and well-known form of production.’ ““(11, 12) It may be conceded: That the law relating to unfair trade has a three- fold object: First, to protect the honest trader in the business which fairly belongs to him ; second, to punish the dishonest trader, who is taking his competitor’s business away by unfair means ; third, to protect the public from deception. Gulden v. Chance (C. C. A.) 182 Fed. 303, 105 C. C. A. 16. That to sus- tain a charge of infringement the owner of a trade mark must have used it on the same class, but not necessarily on the same species, of goods as the alleged infringer. Layton Pure Food Co. v. Church & Dwight Co. (C. C. A.) 182 Fed. 35, 104 C. C. A. 475, 82 L. R. A. (N. S.) 274. Of course, defendants’ film bears no resemblance to complainants’ books. No one would buy the one in the belief that he was getting the other. It is the display that constitutes the infringement, if there is one; and in such case the producer of the film is responsible equally with the exhibitor. Kalem Co. v. Harper Bros., supra. We do not think a moving-picture show is of the same class as a written book. One belongs to the field of literature; the other to the domain of theatricals. Originally there was no legal connection between the written novel and a dramatisation based upon its characters and incidents. The connection was made by statute in derogation of the common law. In the absence of copyright, the situation is as if no such connection had ever been made. We are unwilling, indirectly, to extend to writings a protection beyond that conferred by statute. Congress created a specific form of monopoly for literary property in this country, and made it subject to express limita- tions. It is for Congress to say whether these limitations should be relaxed. ““(13) Neither trade-mark nor trade-name can afford protection to, detective stories, as such, whether published ‘or still unborn, and much less where neither title nor composition is pirated, and but a single common character is used. The suggestion involves an attempt to make a monopoly of ideas, instead of confining the application of the law to ‘a particular cognate and well-known form of production.’ **(14) Moving pictures and dramatisations are cognate forms of production. When copyright was extended to the latter, it neces- sarily included the former ; but in the absence of copyright no such relation exists between either of these forms and the written book. It is not thought that the public will be deceived into belief that it is seeing a produc- tion of one of complainants’ stories when it witnesses that displayed from defendants’ film. But, if so, it is no more deceived than when it reads a book of the same name as one thereto- fore published, but unprotected. It may be that the defendants are profiting by the use of a name made distinctive by complainants, but this is true of one who sells a brand of cigars named after a famous book or a famous personage. In the absence of some positive legal right in complainants, these are con- ditions for which equity cannot undertake to create a remedy. The decree below must therefore be reversed and the case remanded, with directions that the preliminary injunc- tion be dissolved and the bill dismissed for want of equity. Mast, Foos & Co. v. Stover Manufacturing Co., 177 U. S. 485, 20 Sup. Ct. 708, 44 L. Ed. 856; Castner v. Coffman, 178 U.S. 168, 20 Sup. Ct. 842, 44 L. Ed. 1021. ‘It is so ordered. ** Hook, Circuit Judge (dissenting). My objection to the above conclusion can be expressed in a sentence: The defendants are engaged in appropriating the fruits of com- plainants’ current endeavours, and are deceiv- ing the public.” ———___ +»—~<__-—____—__ MAGAZINE CONTENTS. 8 BritisH. The Writing of Irish History. By Padriac Column. The Silence of Journalists. By G. K. Chesterton. Language and National Unity. Francis W. Grey. Dramatists of To-Day: Synge; St. John Hankin. By Edward Storer. CoNTEMPORARY. The “New Way” of Playing Shakespeare. Scott James. Literary Supplement : By R. A. Traditional Christmas Carols. EncuisH REVIEW. Yeats, Lady Gregory and Synge. By George Moore. Dialect Words. By Logan Pearsall Smith. The Bi-Centenary of Laurence Sterne. Gosse. The Piano-Player and the Music of the Futuro. By E. Newman. Stanley Houghton: An Appreciation. Ellis. M. Anatole France Comes to London. By Edmund By Anthony L. By 8. 0. THE AUTHOR. HOW TO USE THE SOCIETY. — VERY member has a right toask for and to receive 4, advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2, Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not seruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting &1e independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a_fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers; (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- jars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7, Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members, 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ee WARNINGS TO THE PRODUCERS OF BOOKS. a “ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property:— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be e obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for ‘“‘ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. So —_—_—— WARNINGS TO DRAMATIC AUTHORS. ———+ — EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters inte such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the: play-bills, THE AUTHOR. (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. : (¢.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights‘of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ———_+—~>—_ ——_____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. os ne typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. 141 DRAMATIC AUTHORS AND AGENTS. RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ———_—_+—@—+ —__ WARNINGS TO MUSICAL COMPOSERS. ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. —— 4 gg STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ————-— >> —______ THE READING BRANCH. Se EMBERS will greatly assist the Society in this VI branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works, The Readers are writers of competence and experience, The fee is one guinea, —_o1—>—_ REMITTANCES. The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, COLLECTION BUREAU. —$— > —— HE Society undertakes to collect accounts and money j due to authors, composers and dramatists. : 1. Under contracts for the publication of their works. 9. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :-— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland . ; ; . A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany . Mrs Pogson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ————————__+—_>—_+—__—_ GENERAL NOTES. + 4 UNITED STATES COPYRIGHT. WE print in another part of this issue a very interesting case dealing with infringement of a title. The judgment on the point before the Court is not of much importance, as it was a question of trade mark under the American law. But the “ obiter dicta”’ of the judge with regard to the difference between rights created by statute and rights under the common law are worthy of careful consideration. It is, of course, difficult to say what view an English judge would take of these points. It is doubtful whether he would confirm the sayings of his American brother. CANADIAN COPYRIGHT. TuE present unsatisfactory position of an author as regards copyright in Canada has been brought to the notice of the Committee of Management on one or two occasions recently. The Imperial Act of 1842 still runs in the Dominion. This Act, as everyone knows, has been repealed as far as Great Britain is concerned. In consequence, certain difficulties arise. THE AUTHOR. The first deals with dramatic” production. Under the Act of 1842 a copyright performance was essential. This performance, as the Act of 1842 still runs, is still essential in Canada, if the copyright is to be acquired there. Dramatists, therefore, who set store by their Canadian and American rights must be very careful to see that they are properly protected, otherwise it might chance that either the Canadian or United States rights have been lost. The second point arises with regard to book publication. If the work is published in England copyright is still obtained in Canada under the Act of 1842. If the English author places his Canadian market in the hands of the English publisher, although the Customs Authorities in Canada refuse to prevent the importation of foreign reprints, yet it is possible for the author to bring an action against the sellers of the foreign reprints should he care to do so, and thus preserve his market; but, if the author is unfortunate enough as to grant the book rights for the United States and Canada to the United States publisher, then, although the United States publisher has the right of selling the work in Canada, he cannot stop the importation and sale of books lawfully printed under the English Copyright Act. In other words, supposing the English publisher without knowledge sells thousands of copies to a middleman, and the middleman chooses to import and sell them in Canada, the United States publisher has no remedy. These points for the time being are rather serious, and it is necessary to warn members of the Society to be exceedingly careful how they deal with their Canadian rights. It is hoped that at no distant date they will be set right by the introduction of an equitable Canadian law. CopyriGHt AND Fitm RIGHTS. TuE Daily News in one of its issues pub- lished an interview with a well-known authoress upon the question of copyright and film rights. In case this article may have come to the view of any members of the Society, and has led them to make false deductions, it may be of interest to members to know the exact position as far as it is possible to diagnose it under the new law. The lady who was interviewed stated that the copyright acquired by a publisher exists only in the book as it stands. No publisher, she says, has ever claimed the right to alter or adapt novels for either cinematograph or THE AUTHOR. dramatic performances. It is quite clear that this statement has been made without any study of the present law. If any unfortunate author reading the article assigns his copyright to a publisher on the idea that he is not assign- ing his dramatic and cinematograph rights, he may wake up suddenly one day and find him- self in a very difficult position. Under the first schedule of the Act of 1911, if a person before the passing of the Act has acquired the copyright: (in the case of works other than dramatic or musical works) he acquires under the new Act, as a substituted right, copyright as defined by the Act. Now copyright as defined by the Act covers dramatic and cine- matograph rights. Accordingly, to take a concrete ease, if A., before the Act, has assigned his copyright in a story or a novel to a pub- lisher, the publisher, after the passing of the Act, will hold both the dramatic and cine- matograph rights. But the publisher will hold these rights subject to the special provisions of clause 24 as to duration, ete. It is quite clear also that if, after the passing of the Act, A. has assigned his copyright in a story or a novel, such assignment will cover the dramatic and cinematograph rights. It is a serious matter, therefore, that the statement printed in the Daily News should be allowed to pass unchallenged, as it may lead unfortunate authors into signing away their rights in total ignorance of what those rights cover. Dramatic MIpDDLE-MEN. THE attention of the Dramatic Sub-Com- mittee has been called by one of its members to a form of speculation that is taking place in the dramatic world, and the sub-committee desires members of the Society to be warned. Certain persons have been approaching authors with a view to buying up certain portions of their dramatic rights. They have no prospect whatever of producing the dramatic rights themselves, but desire to gamble in these rights by selling them to. other people. Members of the Society, therefore, should make it an essential point of any sale or licence they may make, that production shall be ensured within a certain fixed time, and that the production shall be made by the people to whom the rights are being sold. Otherwise the dramatist may find himself in a*very serious position. Not only that, he may find he is obtaining a considerably . smaller amount in royalty than he would 143 be entitled to if he had placed his own wares, owing to the fact that two or three middle- men are intervening between himself and the producing manager. AGENTS AND THE Four-Boox CLAUSE. THE question that is now so frequently before authors not only of fiction, but of other literary works, is the demand made by publishers to have the control of one, two, three and in some cases, even as many as six more books from the author’s pen. We have pointed out that the publishers’ argument for making this demand is that by special advertisement they can push an author’s books more satisfactorily. We have generally found that where an author is tied in this way by his contract, he does not get any special advantage, indeed, the publisher knowing that he is entitled to receive future works, generally pushes the authors to whom he is not so bound. The author’s argument in answer to this is :— 1. If you push my book by special advertise- ment without my binding myself, I shall be willing to put my second, my third, and even my fourth book in your hands. 2. If I do bind myself, will you undertake in the contract to insert a special clause by which you will carry out your suggestion to give it special advertisement. The publishers’ answer to this is always in the negative. It is not, however, the danger with the publisher that is so serious, but it is the danger with the agent who makes the clause for the author. In a clause of this kind the agent’s and the author’s interests are not incommon, and it is essential if the agent should do his best for the author that their interests should be in common. It is to the advantage of the agent to bind the author to a publisher for a series of books in one agreement, for he knows that, however dissatisfied the author may be with the agreement, and with his methods of doing business, so far as that contract is concerned, he is entitled to his commission on the following books, and that the author cannot take the matter out of his hands. The question has become so serious that it is necessary to warn authors once again of the danger of such a clause, not only as between themselves and the publisher, but as between themselves and the agent. 144 PUBLISHERS AND LENDING LIBRARIES. Ir appears that certain publishers have started a lending library of their own. We do not refer to publishers of books. There are subscribers to this lending library who pay so much per annum, and they are entitled for this subscription to receive certain orchestral parts and certain other musical pieces. The publishers reap the benefit from the annual subscriptions but the composer, unless he is aware of the position, does not make any arrangement in his contract by which he should be entitled to a share of the profits of the library and in consequence may possibly lose a circu- lation which he otherwise would have obtained. When composers have learned the art of insisting on reasonable agreements in addition to the art of writing music, they will cover a point of this kind and claim a certain fee each time their music may be lent. It would be as easy for them to check such a transaction as it would be if they received a royalty on every copy sold. A Minister oF FINE Arts. AutL those who believe—in spite of the Chancellor of the Exchequer’s statement in the House of Commons some time ago that such a thing was “‘ not practical ’’—that the foundation of a Ministry of Fine Arts in this country is not only possible, but eminently desirable, will rejoice to hear, on the authority of Mr. Wynford Dewhurst in the Journal of the Imperial Arts League for January, that the investigations of the large and influential com- mittee of professional men working to formu- late a scheme for presentation to Parliament, are most encouraging to the hope that public opinion will be able to force the establishment of such a Ministry in the near future. To Mr. Dewhurst, indeed, it is manifest that it “ might have been successfully inaugurated twenty years ago,” had public opinion been the only body to be consulted. Elsewhere—in his book entitled “Wanted: A Ministry of Fine Arts ’’—the same writer has shown with the aid of the French Government Yellow Book issued by the Ministére des Beaux Arts, that, so far from being an expensive institution, a Ministry of this kind is a direct means of retrenchment of expenses, our present method of encouraging Art being most wasteful and unproductive. The report of the Committee mentioned above is expected very shortly. THE AUTHOR. THE NEW YEAR’S HONOURS. ——S ITERATURE has not been prominent in + the recent list of New Year’s Honours. It included, however, the names of two well-known members of the Society of Authors, Mr. James Bryce and Mr. Owen Seaman, the former becoming a viscount and the latter receiving knighthood. Of all the awards so made norie has been better deserved than these, and the hearty congratulations of their fellow-members will be added to those of their private friends and of the general public. The Right Honourable James Bryce, or The Viscount Bryce of Dechmount in-the county of Lanark, as he now becomes, enters the House of Lords as the natural and customary reward of political and diplomatic service to his King, rather than in recognition of the literary ability and encyclopedic learning which have added distinction to his career. He is, however, one of the now, alas! dwindling band who enrolled themselves as_ original members of the Society when it was founded in 1884. To him public honours are no new thing, and if his peerage is political and recalls . the fact that he was recently British Am- bassador at Washington, and that so long ago as 1892 he first had a seat in the Cabinet, he is not only a Privy Councillor, but also a Fellow of the Royal Society, and, moreover, can append to his name initials representing degrees conferred by about a dozen universities at home and abroad. He has also received the high honour, and one independent of politics, of the Order of Merit, as well as the Prussian order Pour le Merite. Politics have, however, no doubt claimed his chief attention since the year of Liberal triumph at the polls which gave its name to the Eighty Club, and the fact that he once practised at the Bar, and was for twelve years Regius Professor of Civil Law at Oxford, may fairly have been forgotten by many who recognise him better as Under Secretary for Foreign Affairs, as Chancellor of the Duchy of Lancaster, or as President of the Board of Trade. Here we will remember rather that the publications from his pen commenced in 1859 with a work on the Flora of Arran, followed in 1862 by “The Holy Roman Empire,” and by others covering a wide range in politics, law, juris- prudence, history and other subjects, down to a recent date. We will also record our esteem for one who, being an original member of our Society and of its council, in more recent years has assisted its efforts in the THE AUTHOR. cause of copyright in America, and in other ways, when the occasion has. offered itself, has rendered to it, and through it to his fellow-members, practical service and valued help. Thirty years after Mr. James Bryce was called to the Bar at Lincoln’s Inn Mr. Owen Seaman took the same step at the Inner Temple. This was in 1897, after he had been a master at Rossall School and a prof-ssor at Newcastle-on-Tyne, and when fourteen years had elapsed since he took a first class in the Classical Tripos and captained his college boat club at Clare. His distinguished talent for light verse had, however, already attracted attention. The World and the National Observer had frequently published his work, and the editor of Punch had for some little time recognised the talents of his future successor, who was to become Sir Owen Seaman, as he became Sir Francis Burnand. Journalism, therefore, claimed him from the law before it had taken a close hold of him, or a judge now on the bench not unknown for his talent as a versifier and a humourist might have had a very dangerous rival. Mr. or Sir Owen Seaman, as we must now call him, is recorded to have joined the staff of Punch in 1897, to have become its assistant editor in 1902, and editor in 1906. It is hardly necessary now to recount the volumes in which have been collected his polished verses upon every kind of topic, and the gay travesties of the more serious poems of others which earned for their author, in a newspaper paragraph recording his knighthood, the description of ““the best living exponent of the art of parody, succeeding to the laurels of Calverley and H. D. Traill.’”” We may add to this that the high classical degree mentioned above may well be recalled by those who appreciate the scholarly spirit and refined polish of Sir Owen Seaman’s verses, and that other qualities both in his verse and in his work as editor suggest in like manner the mens sana in the sound frame of one whose athletic distinc- tions were not confined to the waters of the Cam, ryAs a member of the Society of Authors, the editor of perhaps the most widely known English periodical occupies a seat upon its council and finds time to serve upon its Pension Fund Committee. 145 COMPOSERS’ ROYALTIES AND THE COPYRIGHT PROTECTION SOCIETY. =< HE question of the collection of royalties T' due under the clauses of the new Copy- right Act is a matter of great importance, and musical composers, in particular, should be very careful how they deal with their rights. They should, if possible, keep full control; but in any event they should not allow those agents who collect on their behalf to make charges which are not clearly defined when the contract is made. There seem to be three very important points in the rules of the Copy- right Protection Society, the body supported by music publishers, to which it is necessary to call attention. First, the expenses of the society of and incident to the collection of royalties, and the carrying out and administration of the business operations of the society, without any appor- tionment of such expenses in respect of or amongst the works of its members individually, are to be deducted from the aggregate fund collected. Secondly, of the balance remaining after this indefinite sum has been deducted, 30 per cent., is to go to the publisher. Thirdly, although the member may with- draw from the society by giving a certain notice, still, inthe event of his withdrawal or death, all the rights that he shall have conveyed shall continue to be vested in and exercisable by the company. It is proposed to discuss these points entirely from the composer’s standpoint. The com- mittee of this Copyright Protection Society is composed of three composers, three authors and six publishers, and in addition a chair- man who shall be a composer. Authors in this connection have very little claim in comparison with composers and publishers who have pur- chased copyrights. It is right that the original creators, the composers, even though they may be so foolish as to transfer their copyright to the publishers, should have control of any company started for the collection of their royalties. It is reasonable that publishers and composers should both be represented—though the former in a lesser degree—because both are holders of copyright. But it is an astonishing thing to see composers sitting on the board of a company whose regulations proclaim clearly that com- posers are expected to surrender the greater part of their royalties without having control of the expenditure which is to be deducted, 146 and, after that, to surrender a great part of the residue to the publishers who ought to have no claim whatever upon them. Dealing with the first point, it should be stated that there are societies which collect royalties for composers, deducting a definite per- centage. From a business point of view this is no doubt the best method. These societies do not ask the compdsers to give away any portion of their royalties to other people. If a composer likes to give away a certain portion of his royalty to other people, that is quite a different thing, but that he should be bound to do so, seems an astonishing line for members of the musical profession to advocate. The composers are bound under the rules of the Copyright Protection Society by a clause in which the committee of that society demand the transfer to the society for the entire period of membership of the rights of repro- duction by mechanical instruments of all works which are or may be published by a member. This is apparently contradictory to article 5 already quoted, which states that such rights shall continue to be vested and exercisable by the company in the event of a member’s withdrawal or death. But it would appear that if a member has once vested his rights in the company he cannot withdraw them. There are other rules, by which the member is bound to notify the society of all works, which he writes—rules which compel him to a sterner slavery, rather than admit him to a _ freedom. When he has vested all is rights in the company, the committee are allowed to conduct and defend such legal proceedings as may be sanctioned by them. Now this is a very serious matter when it is considered that the general body of members have no control over the expen- diture. The committee can take or omit to take any action they like. They can take action where a member strongly objects to any action being taken; they may omit to take action where a member may strongly desire action to be taken. The unfortunate composer whose property is being dealt with, has no power of control one way or the other. The only limit to these expenses appears to be the total amount of royalties collected. It is possible, of course, under these Rules, that the members of the committee may be replaced, but the members of the first committee cannot be replaced until the general meeting in 1915, so that there is some time to run before the members can take any action whatever. And whatever they do, the general body cannot be freed from the tyranny of the rules. THE AUTHOR. The second point refers to the division of the royalties with the publisher. Various reasons have been given for this division. The music publisher has claimed that by publishing the composer’s music, he makes the gramophone rights valuable. This may or may not be the case, but it is a matter for the composer to decide whether or not to give the publisher any of his rights. The point must not be settled arbitrarily by the company. As another reason, it has been stated that the production of pieces on mechanical instru- ments has reduced the sale of sheet music enor- mously. This may indeed be the case; and, in fact, it is possible that at no distant date the production by mechanical instruments will act as an advertisement for the sheet music rather than the sheet music for the production on the mechanical instruments. When the taxi-cab drove the unfortunate hansom off the streets, the driver of the hansom, however much he may be regretted, was allowed to die a natural death, and was not awarded a liberal pension by those who had _ patronised_ his vehicle. If the production of mechanical in- struments has reduced the sale of sheet music, this is no reason why the composer should be bound to pay part of his royalties as a pension to the publisher. The publisher must either readjust his business or suffer. The final point has already been mentioned when dealing with the first one, namely, that the composer, when he has once become a member of this society, and has yielded over his rights to the society, can never withdraw those rights again or obtain control of his own property. It is possible that there may be some explanation of the two contradictory clauses referred to, other than the one put for- ward, but this does not seem probable. No doubt, after a member has retired, future com- positions can be dealt with by other firms. It would seem, therefore, the best advice to give to composers is that they should with- draw from any society that collects their royalties on an indefinite charge, and that gives 80 per cent. of the royalties when collected to the publisher, and should join some society where, at any rate, they know that the deductions are limited to a certain ercentage. The Mechanical Copyrights icensing Company collects for composers on a 25 per cent. basis, subject to certain condi- tions; the Authors’ Society collects at 15 per cent. without any conditions at all except the payment of an annual subscription of one guinea, for which very full value is given in organising and defending the whole body of THE AUTHOR. composers’ interests, including those which are opposed to those of publishers. But even those composers who have an objection to the organisation of their own profession might at least employ a solicitor. A solicitor who gave 80 per cent. of his client’s royalties to a pub- lisher would get into serious trouble. Sensible composers, by joining the Society of Authors, get the services of a solicitor and a skilled and disinterested agent at one stroke. ——_—_+-—<—_ 2 —_____—__ AUTHOR’S CORRECTIONS. —— + S the question of the charges for correc- A tions is constantly recurring, and as the matter is of considerable importance to all authors, the difficulties connected with this subject must once again be put before the members of the Society. In the first instance sundry clauses collected from different publishers’ agreements bearing on the question of corrections are printed below for consideration. Clauses on the lines of the following appear in nearly every agreement ; they are taken at random as examples. 1. ‘The said author to correct proof sheets with all reasonable despatch, and if any alterations or additions to proofs are made beyond the usual corrections of printer’s errors he is to pay for such extra work.” 2. “The cost of correction of other than the printer’s errors in the proofs of the said work exceeding 10s. per sheet of thirty-two pages is to be borne by the said author, and the amount thereof shall be payable to the publishers by the said author within one month after the publication of the book.” 3. ‘‘ All alterations in proof sheets made by the author while the book is passing through the press, the cost of which shall exceed 16s. per sheet of sixteen pages, shall be at the expense of the author.” 4. ‘That the author shall not be liable for expenses of author’s proof corrections (exclusive of the correction of printer’s errors) up to the amount of £5, equivalent to 100 hours of work, but that should such charges exceed this amount, the author shall be debited with the excess.” The first two are exceedingly dangerous to the author. In the first clause the author is bound to pay for all extra work. This is unfair, for, as will be pointed out later, some printer’s errors must under the most favourable circumstances be included in author’s corrections. In the second clause the author is allowed 10s. per sheet of thirty- two pages (this is a low allowance) and is bound to pay the amount within a month from the publication of the book. This is not customary; in a fair contract the amount (if any) is deducted from the returns. In the third ‘clause the amount the author has to pay is 147 anything in excess of 16s. per sheet of sixteen pages. This clause would be a favourable one for the author if printer’s errors had not been included. In the fourth clause he is bound to pay anything over £5, which is equivalent to one hundred hours’ work; this may be a low allowance. The charge the author has to bear in agree- ments from the best publishing houses varies from anything over 7s. 6d. to about 12s. per sheet of sixteen pages. Let us consider for a moment what this means. The ordinary 6s. book runs to about 320 pages, generally rather over that amount. This would be twenty sheets of sixteen pages, and if the author was allowed 7s. 6d. per sheet, he would be therefore allowed for corrections an amount of £7 10s., for which he would not have to pay. It will be seen therefore, that the amount put forward in the above clauses, with the exception of clause three would be exceedingly small ; and in clause four, whether the amount was reasonable, would of course depend on the size of the book. In any case, where a fixed allowance is made, care should be taken that the amount is reasonable as compared with the cost of composition. If the author exceeds the sum of £7 10s., say he has to pay £10 himself, this would mean there would be £17 10s. of corrections, or in other words, would mean 350 hours’ work, or the work of a man for thirty-five days at the rate of ten hours a day, reckoned at 1s. per hour, the ordinary charge. This will give some idea of the absurdities of some charges made under the cover of corrections. In the draft agreements issued by the Publishers’ Association we find the following clause :— “The author agrees that if costs of corrections and alterations in the proof sheets exceed 25 per cent. of the cost of composition it shall be deducted from the royalties payable to him.” The cost of composition of the ordinary 6s. book varies between £20 and £80. Here allowance for the corrections free to the author is very small, especially as the clause makes no statement whatever with regard to printer’s errors. It is a clause to be avoided therefore. There is one point, however, on which the clause is reasonable, namely, that the amount should be deducted from the royalties and in most publishers’ agreements where it is not expressly stated this course is generally adopted. There is one publisher who offers the author 10 per cent. of the cost of composition, or about £2 for corrections on the composition of an 148 ordinary length /novel.{ Special mention is made of this as the firm is one of the best known in London. The only redeeming point in the case is that he does not often’insist on any charge; but it is not fair that the author should be dependent on the _ publisher’s generosity. oe The next point for consideration is how the author’s corrections are to be distinguished from printer’s errors. Printers will tell you that the proofs are read over before they are forwarded to the author, and the author, therefore, has a clean sheet. Any corrections made on the clean sheets are author's cor- rections. If the author finds many printer’s errors still in the proofs he should return them for a clean sheet before he makes any cor- rections of his own (this may be sometimes necessary if the author comes across proofs so corrupt that they have evidently been in the hands of a young compositor). This would be an admirable way of ascertaining the difference if the printer’s reader was infallible, but not only is such a_ position impossible, but this further difficulty must be taken into consideration, that the printer may make mistakes unnoticeable by the reader but very clear to the author, and every author who has been accustomed to read proofs will know that, as a matter of fact, he never receives a proof clear of printer’s errors. He has however, on the printer’s own confes- sion, to be responsible to the publisher for more than his own corrections—in the result this position, however unfair, is almost unavoidable. An honourable house will, how- ever, act fairly, but a dishonest publisher not infrequently takes advantage. In case of a dispute is it possible to determine what are printer’s errors and what are author’s corrections, and how much time is expended on one and how much on the other? It is almost impossible. The author should keep duplicate proofs and should make his correc- - tions. on both, and in both cases should make the corrections of printer’s errors in different coloured ink from his own corrections. This would be the most secure way of ascertaining the facts of the case correctly. Is all this trouble worth while ? The following statement will show the contrary, even if any author would undertake this pedantic accuracy. The time necessary for alterations when picked out by this method is only approximately ascertainable and tends to make the sugges- tion valueless. Even when the author has — the corrections distinct, the fresh difficulty will arise in determining the time expended on THE AUTHOR. the re-composition for the correction of printer’s errors as apart from those of the author, and if the matter has to be settled before a judge as the final arbiter expert evidence can only prevent an_ exorbitant overcharge, but no expert can reduce the question to the accuracy of a mathematical problem. If, then, the printer or publisher intends to be dishonest to the extent of £5 or so, no power on earth can prove the dishonesty. On some publishers’ accounts these few uncheckable pounds are always in evidence. The safest way, therefore, is to send in a clean typescript in the first instance and to know exactly how to correct at the least cost. The author should be careful to make such alterations and to such an extent that the lines should not overrun and necessitate the carrying forward of the whole type. Sometimes an exceedingly small correction, from the author’s point of view, will be an exceedingly large one from the printer’s. The cost of corrections is vouched for by the printer’s time-sheet showing so much time spent by the compositor, whose time is reckoned at 1s. per hour. As a matter of fact he is not always paid so much, but it is one of the many plans by which the printers put a little into their own pockets. The publisher is bound to produce proper - vouchers from the printers if called upon to do so. One other point should be mentioned, and that is the question of corrections in the American cost of production. It is much more difficult to settle any disputes with American publishers than it is with a publisher in England owing to the distance, and the fact that if the matter is taken finally into the courts it is hardly worth while to bring an action in America unless the amount involved is very large or the principle very important. Authors, however, should be much more particular in dealing in America as to the position of the publishers and as to the form of correction clauses, and should be careful to deal with those houses only of an established reputation. This further point must also be noted ; the cost of labour in America is higher than the cost of labour in England, and there- fore the cost of corrections is proportionately greater. Finally, it has been suggested that the author should not in any case be liable to pay for corrections above a certain fixed amount. But such an arrangement, it is feared, would never be agreed to by the publisher, and would hardly be fair, as the author might involve THE AUTHOR. the publisher in an enormous expense and the publisher would have no possibility of obtaining any redress. As the fault of many corrections must lie with the author it is only fair that the author should pay a reasonable proportion. What such reasonable proportion is will adjust itself by the conditions of the trade when at last the full details of cost are known to both author and publisher. “THE LITERARY YEAR-BOOK.” * —_+—<— + —— d. HE 1914 issue of ‘‘The Literary Year- Book” is now to hand. _ This is its eighteenth annual issue, and the book like all good year-books, has been growing in usefulness and handiness during those eighteen years. In another column of The Author is a review of the general features of the book. I desire only to deal with the Law and Letters. It is a small portion of the book, about forty pages out of a total of 650 and more, but in some points it is the most important section of the whole book. These forty pages are divided into (1) The Law of Copyright, which is sub-divided into Imperial Copyright; Colonial Copyright ; International Copyright; (2) Author, Pub- lisher and Agent; (3) Memorandum of Agreement. The Imperial Copyright gives in a short space a rough outline of the present law, and quotes the judgments under the new Act which have been declared during the past year. It makes special mention of the clauses in the Bankruptcy Act of 1913 and states as follows: ‘‘ Owing to the decision in the case of In re Grant Richards, Ex parteW arwick Deeping, an author parting with his copyright to a ublisher who had the misfortune to become ankrupt, might to his dismay find the trustee in bankruptcy of the publisher within his legal rights in publishing the author’s work for the benefit of the creditors without paying him any royalty, or selling the copy- right without attaching any condition as to * “The Literary Year-Book, Authors’ Who’s Who and Illustrators’ Directory,’ Vol. XVIII. London, Heath, Cranton and Ousley, 1914. 149 the payment of royalties to the author.” This was a very serious position, and the Authors’ Society may be justly proud of having been instrumental in amending the law by the insertion of section 15 into this years Bankruptcy Act. The clause is quoted at length. The explanation of the law under the Act of 1911 must of necessity be very curtailed, but setting this point aside, it is creditably and carefully done. The case of Corelli v. Gray is quoted, and an important statement of the judge on the new Act as dealing with that case. It is difficult to deal with Colonial Copyright in the space of a little more than two pages. The Australian Law of 1912 is explained in half a page. With regard to the Canadian Law, which is dealt with in a page and a half, it is. impossible to be satisfied, but as most probably the new Canadian Act will be passed in 1914, it is as well not to lay too heavy a stress on the present difficult position of copyright property in Canada. The countries which have been covered by Orders in Council under the. new Act are fully set forth and form a very useful reference for those who desire to know how far the copyright of a British author ex- tends. The next section on Author, Publisher and Agent, has an important note at the beginning: in black clarendon, drawing attention to a note at the end of the article. To this note attention should be drawn. The editor states. ‘It is the object of ‘The Literary Year-Book ’” to deal with facts as they are. The Authors’ Society is at hand to try and often to succeed in moulding facts, as perhaps they ought to be.” Though not entirely agreeing with this state- ment, the articles which deal with the con- tracting parties and the terms of their con- tracts are written carefully and by one who has considerable knowledge of the intricacies of marketing literary property. : The writer of the articles deals with the agency clause, but surely in the first line he should not have stated, ‘‘ The author should be warned against a clause sometimes intro- duced into agents’ agreements.” The diffi- culty of the agency clause lies in its introduc- tion into the agreement between the author and the publisher, not into the agent’s agree- ment, where it is often counteracted by other clauses. Agents are springing up all round. There is no standard of knowledge, no standard of education, and no standard of financia honesty necessary in order to become a literary agent. Any person who has placed an articlein, 150 _ “THE AUTHOR. a magazine or seen one agreement between an author and a publisher, thinks he knows sufficient to take up the work, and the author suffers accordingly. To many authors a good literary agent is a necessity ; to no author is a bad literary agent of any good. It is essential, therefore, that a note of warning should be given. The note in the present instance is hardly strong enough. There is no space to criticise the proposed forms of publication in detail, but, the criticisms on the whole, are fair. The writer, referring to the account clause, by which the publisher renders annual accounts made up to a certain date and delivered three months afterwards, states, ‘‘It is better that these accounts should be rendered semi-annually, but we print the clause in the form in which it is commonly found.” This statement we cannot support. The great majority of publishers consent now to give semi-annual accounts and many of the old-fashioned houses that have annual renderings, consent during the first two or three years from the _publi- cation to give approximate semi-annual state- ments. Though the annual account clause is bad, that a publisher should make up his accounts annually and render and pay them six months after they are made up is much worse and must never be tolerated. Some publishers have lost quite good business owing to this grievous delay. The question of prices is dealt with cursorily. It is almost impossible to give any advice on this point without an accurate knowledge of each particular case. Some publishers or editors will offer figures which would disgrace a sweat- ing East-end tailor. When it comes to the ques- tion of figures, as the editor wisely remarks, it is as well to invoke the opinion of a literary agent. I think it might be better still to invoke the opinion of the Society of Authors. There is little further to be said about the forms of agreement, but one or two remarks might be made. The writer advises never to hand over the copyright, but to alter this to “the exclusive right of printing.” The writer should have gone further and should have advised the alteration to an exclusive licence to print and publish in book form, in the English language. Sometimes it is even necessary to limit to book form, in the English language, at a certain price, or again, to a certain number of copies, or again to a form to be mutually agreed between the author and the publisher. But in any event, the publisher should only have the right of producing the work in book form in the English language. He is not there as the agent of the author to sell the translation rights, and serial rights, and many of the minor rights. To give this larger power is a fatal error. II. ALTOGETHER “‘ The Literary Year-Book for 1914’? contains more information, and that information dealing with a wider field, than has been given in previous issues. That a very great deal of interest to authors is col- lected in the Year-Book is undeniable, but we are not in a position to bestow upon it whole-hearted approval. Parts are undeniably very well done. The public library re- turns which have been included in the Year- Book for some years past are this year omitted, and we think with good reason. Full par- ticulars still remain respecting libraries likely to be used by authors for purposes of research. Certain changes have been made in the list of periodical publications. Periodicals which gave no information beyond an address are now omitted. This also appears to us to be fully justified; and we may add that the arrangement of the information in the ‘Contributors’ Index to Periodicals” and the hints to contributors are excellent. An entirely new feature is a section dealing with photo-playwriting, with an introductory article on ‘‘ How to Write Photo-plays,” by Mr. E. A. Dench, and a list of firms which purchase photo-plays, with notes of their requirements. Many writers will welcome this addition, though whether anyone desiring to write photo-plays will derive much real assistance from the article devoted to the subject is a question on which we will not venture to express an opinion. The Supple- ment contains a ‘‘ Tabulated List of the Books contained in Eighty-six different Series of Cheap Reprints.” So far as it goes this catalogue is certainly useful; but it must be understood that a very large number of reprinted cheap books are not to be found in it. Other quite familiar features of the Year-Book remain in forms in which they are already well known, and will require no mention. rf } | 4 en ee ee THE AUTHOR. THE ENGLISHWOMAN’S YEAR-BOOK AND DIRECTORY, 1914.* ee - HE Englishwoman’s Year-Book and Directory” again presents the familiar mass of valuable information, care- fully brought up to date, which has made it indispensable to all women taking any part in public or social life; but not without new additions that are certain to be welcomed. An entirely new feature is a table of ‘‘ Records for Women,” showing how “ all along the line, women are breaking new ground in the pro- fessions previously supposed to be man’s exclusive privilege.” Another most valuable new article is that on “‘ Health Centres and School Clinics.” We are particularly pleased with the chapter devoted to literature, and have seldom seen anywhere better advice than is given at its commencement under the heading of ‘‘The Author.”” The book naturally contains, under other headings, subjects of which we cannot pretend to judge; but we may say that, if here also the information and advice is as excellent as that given respecting literature, the work may claim to be ideal. Divided into two parts, educational, profes- sional and social life; and philanthropic and social work, the volume deals in turn with all the activities of women ; whilst its information is so admirably digested as to make reference extraordinarily easy. tot FREE-LANCING.+ 9 HERE is an insidious, romantic flavour about the word ‘“ free-lance,’ which is calculated to attraet the young author whom Mr. Percy Vere avowedly writes to help and encourage (see the cover of this book). How fast the romance fades is known to nearly all who set themselves to the task of free- lancing for a living. Some lucky few there no doubt are whose talents are of such a kind that they soon succeed in making a competence by their hireling profession. But of the rest it is sad even to think. The writer who * “The Englishwoman’s Year-Book and Directory, 1914.” Thirty-third year of Issue. London: Adam and Charles Black. + ‘The Confessions of a Literary Free-Lance,” by Percy Vere. Edinburgh: Wm. Nimmo & Co, 1s. 6d. net. 151 disguises himself under the cheerful pseudonym now before our eyes would be doing an ill turn to the “ earnest literary aspirants ’’ to whom he dedicates his work, were it not that he admits from the start that his livelihood never depended on his writings. He was in an office from the age of fourteen and a half, and his salary rose steadily ever afterwards. Writing for the magazines was a pastime, a hobby, to him. The phrase “born in the purple of commerce ”’ flashes across our mind, and we wonder what right he has to~call himself a literary free-lance. When he turned his office experiences into magazine articles, he was perhaps a bit of a condottiere—but surely only inanamateurish way. How grateful he should be to his desk ! Having made this protest, we may admit readily that Mr. Percy Vere is both entertaining and instructive in his account of how by ‘“‘ pereyverance’’’ he earned the privilege of describing himself as contributor to the Strand Magazine, Royal Magazine, Chambers’s Journal, etc., etc., and that his hints on the writing of short stories and articles have their value for those who yearn to give the public what it wants. Let the yearners, however, keep their feet all the time, like their monitors, under the desk. ————_o_xca—_——_ CORRESPONDENCE. + A PROTEST. Dear Sir,—A book ealled “ Children’s Stories from English History,”’ purporting to be by E. Nesbit and Doris Ashley, has been sent out for review by Messrs. Raphael Tuck & Sons, and has been reviewed as a new book. Now I do not know Miss Ashley, and have never collaborated with her. Those stories, in this book, which are mine, are very early, immature stuff, written between twenty and thirty years ago, and at.that time, unfortunately, sold by me to Messrs. Raphael Tuck & Sons. Authors who part with their copyrights have to endure the mortification of being unable to suppress early and unworthy work—and I do not resent Messrs. Tuck’s continuing to sell this stuff. It is theirs, and they have a right to sell it. And it serves me right, for parting with the copyright. But I think I have just cause to resent the publication of this early work—or any other work—in a form which makes two authors who are strangers to each other appear to have written a book in col- 152 laboration. Further, it seems to me that the publication of old stuff, again and again, year after year, without any announcement or admission that the work is old, is an outrage to the press, the public, and the author. That such work is sent out in a form which offers no hint of its being a reprint is proved by the reviews which treat it as new. Yours faithfully, E. Nespir BLAnp. ta — THE WANDERING JEW. Str,—In order to forestall one of those misunderstandings as to priority of theme and treatment which so frequently arise between authors, I should like to say that I have written a play which, like that announced by Mr. Temple Thurston, deals with the legend of the Wandering Jew. This play of mine has been published in Germany some time ago, and as it is shortly to be translated by Heiman Scheffauer, I think it expedient to make this preliminary announcement. G. SIL-VARA, Literary Correspondent of the ** Neue Freie Presse,’’ Vienna. 11, Chester Place, Regents Park, N.W. —_—+— ** ONLY.” Srtr,—Whilst expressing entire agreement with Mr. Edward Clodd’s protest against the all too frequent misplacement of “only,” I should like to point out in reply to Mr. Louis Zangwill that his contention applies to col- loquial rather than to literary language, and that, in the conversational instance he gives, the “only” can be correctly placed, and at the same time fulfil his condition of its coming out at once and making a pretest, by saying, “Only Saturday I bought it,” or ‘* T'was ‘only on Saturday I bought it.”’ Surely much may be forgiven in the spoken ‘word which is unpardonable in the written. In such discussions as the present, it is always well to see what the Oxford Dictionary has to say. This is how it judicially sums up the matter: ‘‘ Only was formerly often placed -away from the word or words which it limited ; this is still frequent in speech where stress and ‘pauses prevent ambiguity, but is now avoided THE AUTHOR. by perspicuous writers.” Of such placing the earliest example given is from Caxton, and is dated 1483. With all due respect, the antithesis of living language and dead formalism with which Mr. Zangwill concludes his letter is both vague and irrelevant. Yours faithfully, T. Francis Howe... — 1 — On Some EpitroriaAL EcCcENTRICITIES. Srr,—I am a somewhat elderly person, who is perhaps approaching his dotage, and one of my habits (I hope a harmless one) is to spend a certain amount of my leisure time in writing to the newspapers. As a rule my letters are inserted, but the joy that I naturally feel on such oceasions is frequently diminished by the fact that the editor has broken up my letter into paragraphs on an_ irritating system, entirely of his own devising. The rule, I understand, is that a new paragraph indicates a new subject, and this rule I carefully observe myself in writing, but there are editors who appear never even to have heard of it, and their idea of breaking up a letter is to begin a new paragraph where a break looks well. Thus, the other day, I wrote a letter of thirty- six lines to a well-known daily paper, and began a new paragraph at the twenty-eighth line ; when the letter was printed the only para- graph began at the twenty-fourth line. Surely the person who writes the letter is the best judge of its form; he, if he is a fairly com- petent writer, studies the rhythm, and, if I may so phrase it, the build of his letter, far more carefully than any editor is likely to have time to do. Another objectionable practice of editors is to insert a letter, signed perhaps with the writer’s proper name, with two or three lines of matter excised at the end or elsewhere. A curious tale has been told me of an editor who cut out all the vital part of a writer’s argument, so that another correspondent with a well- known name might triumph over him next day. All this appears to me to prove that discussion is not so free as it might be, even in first-class newspapers, and that the editor, by tampering with letters or suppressing them, may give the victory in a discussion to anyone he likes. I am, Sir, Yours truly, SENEX. 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. 24 Issue 05 (February 1914) Subject The topic of the resource The Author, Vol. 24 Issue 05 (February 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-02-02-The-Author-24-5 publications The Author https://historysoa.com/files/original/5/535/1914-01-01-The-Author-24-4.pdf e0533c53cae4a566378208021967c35c 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1914-01-01 Volume 24 Issue 4 Pages Page range in volume 93–122 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMuthbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. Vor. XXIV.—No. 4. JANUARY 1, 1914. [PRIcE SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. — NOTICES. —+—~<9+—_ RR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by ed Editor on all literary matters treated from on. X IV, the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS, Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. +—> + THE SOCIETY’S FUNDS. gg ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other * 3 i THE AUTHOR. MR. GOSSE’S ESSAYS.* oe volume of Mr. Gosse’s collected essays will be welcomed alike by those who made the ac- quaintance of these particular essays when they first appeared, and by those to whom they are new. Few writers, past or present, can invest with so much charm the critical and anecdotal saunter round the shelves of a book-room as our author. Few, too, have such sane views of what a library should be—“ a small one, where the books are carefully selected and thoughtfully arranged in accord- ance with one central code of taste, and intended to be respectfully consulted at any moment by the master of their destinies.”’ If fortune made him possessor of one book of excessive value, Mr. Gosse tells us, he would hasten to part with it. This is true wisdom. The first quarto of “Hamlet” may be left to the Transatlantic millionaire. The essays before us range over a vast period of literary history. From Camden’s ‘“‘ Britannia,” early in the sixteenth century, they travel by degrees to Meredith’s “‘ Shaving of Shagpat.” The first and the last, it will be seen, deal with well-known works. Perhaps the most pleasing, however, are those which take as their subject obscure or forgotten books —such as Wither’s ‘‘ Shepheards Hunting,” Lady Winchilsea’s “ Miscellany Poems,” Farquhar’s ‘“‘ Love and Business,” and that extraordinary panegyric on prize- fighting, “‘ The Fancy,” of which the author was Keats’s friend, John Hamilton Reynolds, disguised under the alias of Peter Corcoran. The last-named essay—for it takes its title from the title of _Reynold’s book—is an admirable example of the man of letters at the ring-side. With what gusto does Mr. Gosse quote Corcoran’s apology to his lady-love :-— “ Forgive me, and never, oh never again, Tl cultivate light blue or brown inebriety ; Tl give up all chance of a fracture or sprain, And part, worst of all, with Pierce Egan’s society.” and explain that “heavy brown with a dash of blue in it’ was the fancy phrase for stout mixed with gin ! There may be those to whom it seems grotesque to turn the pen to discourse of such things as these. To them may be commended the lines from Samuel Daniel’s “* Musophilus,” which Mr. Gosse quotes as the motto of his book, beginning **O blessed Letters, that combine in one All ages past, and make one live with all. . . .” * “Gossip in a Library,” by Edmund Gosse, C.B. London; William Heinemann. HE second CORRESPONDENCE. —~> + —— ** ONLY.”’ Sir,—The irritating misuse of the word ‘only ’? to which your correspondent “ Richard Free ” called attention in your last issue, is by no means confined to careless writers. Many who denounce the split infinitive have not yet had their grammatical consciousness awakened to this solecism. For example, I have culled the following three passages from the latest edition of ‘“‘ The King’s English,” the best book we have on the ill-treatment of English. ‘“ We shall now only make three general remarks before proceeding to details.”’ ‘““The mistakes are nearly always on one side, the infinitive being the form that should only be used with caution.” “For a person’s name can only require a defining cause to distinguish him from others of the same name.” The intended meanings are certainly not “only make,’ ‘“‘ only require,”’ or “ only be used,’’ as a moment’s analysis shows. This is perhaps the commonest error in both spoken and written English at the present day ; once perceived, it is undoubtedly one of the most irritating, and your correspondent deserves thanks for calling attention to it. I am, Your obedient servant, Ernest A. Baker. SE ann a a New anp AMUSING TRICK OF THE Lirersary AGENT. Dear S1r,—The literary agent has found a new way of amusing his authors. He has a special cheque printed with a receipt upon the back which requires a penny stamp. He pays his author with one of these cheques and of course does not stamp his receipt. The author is abroad, or he has only embossed envelopes upon his desk, and the fun begins. Publishers are taking up this delightful little novelty. The author finds on the back of the publisher’s cheque a printed receipt, in which he is invited to make over to the publisher all sorts of rights he never sold when the. bargain was made. Any alteration of the receipt invalidates the cheque. Letters, explanations, recriminations. What an infernal nuisance all this smartness is! X, (The Organ of the Incorporated Society of Authors. Monthly.) Che Author. FOUNDED BY SIR WALTER BESANT. VoL. XXIV.—No. 4. JANUARY 1, 1914. [PRICE SIXPENCE. TELEPHONE NuMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. ——— NOTICES. a RR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind ' members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by ~ Editor on all literary matters treated from ou. X IV, the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ps advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. —- + THE SOCIETY’S FUNDS. Seg ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds aatable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other * 2 ; 94 matter closely connected with the work of the Society. : : (2) The Pension Fund This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. —_———_+ <> —___——__ THE PENSION FUND. — 1 N January, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. 6.1 d Local LOANS: ..........-¢-s.--- 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ............ 250 0 0 Egyptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Cape of Good Hope 33% Inscribed StoGk, $3 occ lice ots dn 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock 228 0 0 New Zealand 34% Stock ....... 247 9 6 Trish Land 22% Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1927-57). 0.5 scenes cus 438. 2 4 Jamaica 34% Stock, 1919—49 .. 182 18 6 Mauritius 4% 1987 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 84% Land Grant Stock, 1988 ...... 198 8 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- dinary Stock ....... veavcan. &. 282:.0..0 THE AUTHOR. Nominal Value. £ &@ $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........--. 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares ........+.-- 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ............ 550 0 0 & 8 Central Argentine Railway £10 Preference Shares, New Issue.. 30 0 0 Total 2. i263 ce £4,764 6 0 PENSION FUND. —+~> + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and | subscriptions not hitherto acknowledged) received by, or promised to, the fund from April, 1913. It does not include either donations given prior to January, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 19138. April 8, Caulfield-Stoker, T. . June 12, Wimperis, Arthur . June 16, Ballantyne, J. W. June 16, Thorold, Rupert Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. 2 : : Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 13, Knowles, Miss Oct. 20, Collison, Harry : Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . ; Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert Dec. 4, Lunn, Arnold . : Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana Dec. 4, Vallois, Miss Grace Dec. 17, Beresford, J. D. 1913. CUMANOAH As — _ SOHO Ot OS OS Or Or Or Or St Or Oc Or cococacocosososcoscooossoooooF® ecocoooreoccoocoosorososooororoth — Donations. April 2, Daniel, E. H. . ; . April 2, Hain, H.M. . : » 0 45 oon THE AUTHOR. 95 th ~% April 7, Taylor, Miss Sueties M. . April 7, Harding, Newman . ‘ April 9, Strachey, Miss Amabel . April 10, Aspinall, Algernon. April 15, Craig, Gordon ; . April, Robbins, Miss Alice June 12, Peel, Mrs... : June 18, Barlow, Miss Hilaré : June 13, Kynnersley, E. M. Sneyd. July 5, Williams, Robert . . July 11, Broadbent, D. R. . ‘ July 22, Cameron, Mrs. Charlotte . Sept. 29, Peacock, Mrs. F. M. Sept. 30, Wallis-Healy, F. < Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold ; Oct. 30, Rossman, Miss Nov. 3, Holland, Theodore Noy. 3, Steane, Bruce Noy. 3, Batty, Mrs. Braithwaite Nov. 10, Elvington, Miss Helen Nov. 10, Waterbury, Mrs. . < Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia : Dec. 11, Little, Mrs. Archibald. . 1 Dec. 11, Topham, Miss Ann . _ _ CSOT RK ON OLOTOO CONN EH OOOOH ae Ok OO: — _ ececoeocoaancoocoonocacocooooonoooocSe COCFrFSOOCOCOCOOCOSOHOCOUOCONKE RK OCOCSCOoFrEoooSO eg eg COMMITTEE NOTES. | last meeting of the Committee of Management for 1913 was held at the offices of the Society on December 1. After the reading of the minutes of the previous meeting, the committee proceeded with the election of members. Thirty-three members and associates were elected. The committee are pleased to state that the elections this year have exceeded the number elected in 1912, and give the Society another record, 349 members and associates having been elected. The committee then accepted with regret eight resignations, bringing the resignations for the year up to ninety-one. Here, again, the com- mittee may congratulate the members. The resignations are slightly fewer than in 1912, when the number was ninety-nine. It must be remembered that in proportion to the size of the Society the decrease is even more marked than might, at first sight, seem apparent. The solicitor of the Society then reported on the cases with which he had been dealing during the month. The first, which has been running on for some time, arose out of a dispute on accounts. It is possible this matter may be settled by the purchase outright by the publisher of the member’s copyright. The next matter referred to a dispute as to the payment by a certain publisher of an amount due, the publisher having disclaimed the full liability owing to non-fulfilment of part of the contract by the author. A sum has now been agreed in settlement. In the last issue, reference was made to a difficult case. An agent had sold certain rights in an article to an American magazine without referring the question of price to the author. The American magazine insisted on its strict legal rights, in spite of the author’s wishes to the contrary. It appeared, after investigation, that the agent had exceeded his instructions, and, in consequence, that the editor of the American paper, from his point of view, had acted within his rights, the only claim open to the author being against the agent for exceeding his authority. Another question arose out of a dispute between author and publisher, dealing with the publication of a book. At the author’s suggestion, she attended personally and explained the full details to the committee. The committee carefully considered the rights of the matter from every point of view, the Society’s solicitor setting out the legal position. After full dis- cussion, the committee came to the conclusion that the publisher had not broken or exceeded his contract, and there was no legal claim enforceable by the member against him. The solicitor was instructed to report to the member accordingly. The solicitors then reported that the Society’s case, Corelli v. Gray, taken to the Court of Appeal at the instance of the defendant, had been heard, and that judgment had been given in that Court in confirmation of the judgment given in the court below. A report of the case appeared in the December issue of The Author. In a dispute between author and publisher on the terms of a contract the committee decided to go ahead. The next question dealt with the delay in publication of a book. The solicitors had already received instructions to bring pressure on the publisher, and the committee decided that whatever steps might be necessary to ensure early publication should be taken. In a dispute arising between an author and a magazine relating to infringement of copyright, the solicitors reported that a settlement had been reached on the basis that the editor had 96 agrecd to publish an apology drafted on behalf of the member. A member of the Society appealed to the committee in the following circumstances :— A book had been published by a certain firm for the member, but had been adver- tised in the publisher’s lists as by another author. The matter had been taken in hand at once. The publisher had expressed his regret and had undertaken to do what he could to remedy the mistake. This settlement had been agreed to by the author. A dispute on one of the unsatisfactory con- tracts which authors so often make, binding themselves in respect of future books, had arisen. The question at issue was the number of books which had been offered to the pub- lisher and the royalties payable on those accepted. The matter was one of importance, as the amount of the author’s royalty depended upon the correct interpretation of the agree- ment. The solicitors advised that they con- sidered the author had a sound case, and the matter will be submitted to arbitration under a clause in the agreement to that effect. In three small claims for moneys due the solicitor reported that in the first case he had signed judgment. -In the second case he had issued a summons, and in the third he proposed now to take steps to commit the defendant for contempt of court as he had failed to attend an appointment to be examined before the Master. The committee authorised these proceedings. A difficult case arose under an agreement executed some years ago, in which it was claimed that the acting rights in a play included the cinematograph rights. It was decided to await further developments and the committee instructed the solicitors to report fully when further information was to hand. The next matter related to a dispute between two members of the Society as to whether one member had infringed the other’s copyright. The solicitor was given instructions, having heard statements from both parties, to endeavour to arrange a settlement, and if unsuccessful, to offer to have the matter settled by an arbitrator appointed by the Society’s committee. The result will be reported to the next meeting. The secretary then reported to the committee certain eases which had arisen, which had not been in the hands of the solicitors. The first was an alleged breach of contract by an Australian editor. It was decided to place the matter in the hands of a lawyer in THE AUTHOR. Australia if the solicitors of the Society advised the claim was a sound one. In a case of dispute between a member of the Society and‘an agent which had been placed before the Society by the agent, the committee decided it was impossible for them to advise the agent as to the course to be pursued, the advice, if any, only being available to the member and at his request. The secretary reported that in a case which the committee had agreed to take in Germany subject to the approval of the member con- cerned—for whom counsel’s opinion had been taken—the member, after consideration, had decided not to trouble the Society any further. An important case being fought out in America—important to all authors—English and American—had been brought to the notice’ of the Society, not only by the American Authors’ League, but by an American member of the Society. The committee decided to assist the Authors’ League of America to fight the case as they considered a judgment on the issues of vital importance to all authors. Another American case involving questions as to the international arrangements between the United States and England was brought to the notice of the committee, and the committee decided to put the full details before the Board of Trade or whatever Government office might be competent to deal with the details. In another case in the United States—a dispute between an author and an agent—it was decided, on the author’s statement that he did not wish to press the matter, to write to the agent to draw his attention to the unsatisfactory nature of the explanation given. The question of the right of the Income Tax Commissioners to demand from publishers detailed statements of the sums paid in royalties to their authors was considered, and it was decided to obtain counsel’s opinion on a matter which was of such vital importance to authors. The secretary reported that, owing to the pressure of work at the office, it had been found absolutely essential to engage a new clerk. The engagement was confirmed by the com- mittee. A letter from Sir Alfred Bateman, who was unable to attend the meeting, was read. It dealt with certain important questions of international copyright in which he had been working for the benefit of the Society. The committee expressed their thanks to Sir Alfred for his labours. The committee sanctioned the drawing of a cheque for Christmas boxes for the clerks of nesinematerer mn alg ue | fe | THER AUTHOR. the Society as the work of the Society had been successful during the year. They also sanc- tioned the purchase of certain office furniture. Mr. Rann Kennedy received the thanks of the committee for his generous action in paying costs ineurred by the Society in a copyright ease in Winnipeg. The amount—£15—was paid into the capital account. The committee also thanked Mr. Banister Fletcher for a donation of £5 5s. to the same fund. The questions of loans to authors and the International Gathering of 1915 were adjourned to the next meeting. te Dramatic SuB-CoMMITTEE. Tue December meeting of the Dramatic Sub-Committee was held on Friday, Decem- ber 19, at three o’clock. After the reading of the minutes, the secretary reported that the draft Royalty Agreement, with notes and comments, had not yet been finally settled, but that the delegates appointed to settle it hoped to be able to lay it before the sub-committee at the next meeting. The secretary read some very interesting letters he had received from the secretary of the Société des Auteurs et Compositeurs Dramatiques in regard to cinema rights in France, and laid on the table an agreement which had been settled for the marketing of these rights. He was instructed to make further enquiries of the French society, and to inform the society that the sub-committee would be ready to consider any proposal for an international conference. The secretary also read a letter on the same matter from Mr. Rex Beach, who was acting for the United States Author’s League, and he was requested to thank Mr. Beach for his letter. The sub-committee then settled their nominees for the coming year, and a notice will be sent round to the dramatic section in due course. The question of placing powers of attorney in the hands of foreign lawyers was again con- sidered, and a draft power of attorney was laid on the table. The matter was referred to the Committee of Management for their sanction. An interesting letter from an American lawyer to Mr, Charles Frohman, setting out the method by which dramatic copyright could be secured in Canada, was read to the sub- committee, and the secretary was instructed to enquire of Mr, Frohman whether he would 97 have any objection to its being published in The Author. Mr. Jerome put before the sub-committee an important case in which he was involved, and the sub-committee referred the matter to the Committee of Management for their favour- able consideration. The secretary then pointed out the necessity for dramatists to register their plays in Australia, in order that they might obtain the benefit of the summary proceedings under the Australian Act. He was instructed to write to the Registrar in Australia to obtain full details, with registration forms, if possible, so that the Society might carry through such registration on behalf of its members. One of the members of the sub-committee raised the question of the interference of middlemen between dramatic authors and managers, and the secretary was instructed to write a paragraph on the point for insertion in The Author. — —> Composers’ SuB-COMMITTEE. Tue December meeting of the Composers’ Sub-Committee was held on Saturday, December 18, at No. 1, Central Buildings, Tothill Street, Westminster, S.W., at 11 a.m. After the minutes of the former meeting were read and signed, the sub-committee considered the following questions :— The secretary reported that a paragraph had been sent to the papers, and also men- tioned the papers in which it had appeared. It was hoped that this paragraph might have some effect in bringing composers more closely together, Arising out of this it was suggested that an article should be written in one of the papers dealing with mechanical reproduction and composers’ rights, and the secretary was instructed to see whether he could get such an article inserted in one of the London papers. The sub-committee next considered the question of stamps on mechanical instruments. It appeared that the stamps which, under the Board of Trade regulations, had been affixed to mechanical reproductions, were often falling off. The companies whose duty it was to affix the stamps, stated that all they had to prove was that the stamps were affixed, and that if the stamps dropped off, the fault was due to the copyright owners who had supplied stamps inadequately gummed. The sub- committee thought the matter of serious importance, as it was very difficult to check piracies unless the matter was carried out 98 according to the spirit of the Act. It was decided to write to other collecting agencies with a view to joint action being taken in submitting the matter to the Board of Trade. Another question arose as to the supplying of stamps in foreign countries, and the sub- committee decided to accept a proposal at any rate, for one year, put forward by one of the foreign collecting socicties, in order to test a suggestion that they had made. The question of the loaning of orchestral parts and works by certain lending libraries attached to music publishing houses was con- sidered. The arrangement frequently left the composer with no monetary reward, and it appeared clear that if the idea was carried forward to any great extent, it would be possible for the publishers to avoid paying any very large sums in royalties, owing to the fact that the publishers need not sell, but might only loan the composers’ works. The next question had reference to the prices which the composers of comic songs received for their performing rights and mechanical instrument rights. The secretary was instructed to obtain further information. Members of the Committee, also, promised to obtain information and report. An article written on instructions given by the sub-committee at their former meeting, deal- ing with the collection of mechanical fees, was read, and the sub-committee decided, with the approval of the Committee of Management, that the article should appear in The Author. They also decided, with the approval of the committee of Management, that the com- poser’s pamphlet should be printed, containing the secretary’s article on The Commercial Side of Music, the article by Mr. E. J. Mac- Gillivray on Composers’ Rights, and a Com- posers’ Royalty Agreement, when it is settled. It is hoped these matters will be carried through in the beginning of the year. The arrangements for the meeting with the delegates of the Society of British Composers were finally settled, and a report will be sub- mitted to the next meeting of the sub- committee. The question of agents’ fees in foreign countries was considered and adjourned, pending the arrival of further information which was expected before the next meeting of the sub-committee. The consideration of the royalty agreement was also adjourned. oe THE AUTHOR. Cases. Durine the past month there have been eighteen cases in the hands of the secretary. There were four cases, disputes on agree- ments, two of which have been negotiated ; one has been placed in the hands of the Society’s solicitors and one has only recently come to the office. In two claims for MSS. from editors, the MSS. have been returned and forwarded to the authors. There has been one application for accounts and money, but as the matter lies in the United States, it will be some time before it is possible to report the result. There have been ten applications on behalf of members for default of payment; four of these have been successfully carried through ; three have had to be placed in the hands of the Society’s solicitors, and of the remaining three, two have only recently come to the office, and the last one is in course of negotiation. In one case of infringement of copyright, the infringement has been acknowledged and the matter has been settled. Of the eighteen cases three were in foreign countries. It is useful to note that the number of complaints which the Society is asked to settle outside the British Isles increases monthly. There are three cases open from former months, not counting those which have had to be placed in the hands of the Society’s solicitors. Of these two are in the United States and one is in Canada. It is hoped, however, that negotiations will be carried through successfully, indeed in one case the matter seems almost to be at an end. —— December Elections. Armstrong, Cecil Ferard 164, Ebury Street, S.W. Smith Street, Barnby, Miss. ; Westminster, S.W. Berry, Ana M. . . 8, Sloane Court, S.W. Bradley, Miss Edith Greenway Court, Hollingbourne, Kent. Coales, H. G. (“‘ Market Harborough ’’). Coats-Bush, W. . : Market Harborough. Villa Vecchia, Davos Dorg, Switzerland. 6, Pembroke Walk Studios, Kensing- ton, W. Cook, Miss Margaret C. - q fi hp ea Comper, Cotes, Miss Frances M. M. Cory, Mrs. Theodore . Mrs. (“* Sara Duncan ’’). Everard Jeannette Cross, Miss May . ‘ Davies, Emil tr “. 7 JONES, Fraser, Hampden-Cook, Deane, Sara ‘ ‘ Dymock, R. G. Vaugh- ton (““ R. Penley’’). Maj.-Gen. Sir Thomas, K.C.B., C.M.G. Gaul, Miss Lilian J. . Rev. ‘Ernest, M.A. Horn, Miss Kate (‘‘ Mrs. Weigall”). Ernest, M.D., M.R.C.P. * King, Cecil Lubbock, Basil i Lunn, Arnold rity ph Meese 3 ¢ Mitford, E. | Vavasour-Earle, Watson, Bruce, F.R.G.S. Roberts, Dr. C. G. D.. Smyth, Dr. Ethel Steuart, Maria S. . Vallois, Grace Mary. a ' -Vansittart, Robert : Vaughan Miss Evelyn Goode. Miss Aimée. Alex. C. (“ Alexander Camp- bell”) —_(** Campbell Watson’’). Watson, Augusta Gor- don, THE AUTHOR. 1, Stratford Street, Oxford. The White House, Hampton Court. 36, Buckingham Gate, S.W. 86, Worple Road, Wimbledon, S.W. 65, 66, Chancery Lane, W.C. 28, Wellington Court, Knightsbridge, S.W. Prestfelde, bury. 83, Onslow Square, S.W. Shrews- Gillott Lodge, Gillott Road, Edgbaston. Methlic, Brentwood, Essex. 391, Upper Rich- mond Road, Put- ney, S.W. 69, Portland Court, W. 225, Goldhurst Ter- race, South Hamp- stead, N.W. The Manor House, Hamble, Hants. 8, Upper Woburn Place, W.C. 29, Sternhold Avenue, Streat- ham, S.W. 8,Sergeants Inn, W.C. Coign, Hook Heath, Woking. 79, Great King Street, Edinburgh. 59, Cambridge Road, Kilburn, N.W. 31, Princes Gate,S.W. Fullarton, Adelaide, S. Australia. The Haven, 53, Queen’s Road, St. John’s Wood, N.W. 4, Queen Edinburgh. Street, 8, Cadogan Gardens, S.W. 99 BOOKS PUBLISHED BY MEMBERS. ——— + While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members, In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate, ARCH ZOLOGICAL. Norres oN THE CHURCHES IN THE DEANERY OF KeEnn, Devon. By Bearrix F. CResswetn. 9 x 6. 91 pp. Exeter: J. J. Commins and Son. ARCHITECTURE. An Intropvuction to Enciise CHurcH ARCHITECTURE FROM THE ELEVENTH To THE SIXTEENTH CENTURY. By Francis Bonn, M.A., F.G.S., Hon. A.R.1.B.A. Two Vols. xxxv + vi+ 986pp. Milford. Two guineas n. ART. PAINTING IN THE Far East. An INTRODUCTION TO THE Hisrory oF Picrortan ArT IN ASIA, ESPECIALLY CHINA AND Japan. By Laurence Bryyon. Second edition revised throughout. 10} x 8. xviii + 295 pp. Edward Arnold. 21s. n. More asout Cottectinc. By Sir James Yoxatt, M.P. 8} x 6. 339 pp. Stanley Paul. 5s. n. VisvakaRMA: Examples of Indian Architecture, Sculp- ture, Painting, Handicraft. Chosen by Ananpa K. Coomaraswamy, D.Sc. Part VI. 11 x 8%. 100 pp. 2s. 6d. (Rs. 2). BIOGRAPHY. MacponaLp or THE Isues. By A. M. W. Srra.ina. 9 x 5}, xii + 295 pp. John Murray. 12s. n. Memories oF A Musician: REMINISCENCES OF SEVENTY Years or Musicat Lire. By WinetmMGanz. 9 x 5h. xiv + 357 pp. John Murray. 12s. n. My Betovep Sour. By Mrs. T. P. O'Connor. 9 x 53. vili + 427 pp. G.P. Putnam’s Sons. 10s. 6d. n. BOOKS FOR THE YOUNG. SHAKESPEARE’S Srorres. By Constance and Mary Maup. 73 x 5. 346 pp. Edward Arnold. 5s. n. Marcarer’s Boox. By H. Frenpinc-Harn. 9 x 6}. 284 pp. Hutchinson. 7s. 6d. n. DRAMA. LANDED Gentry: A Comepy In Four Acts. By W.S. Mavecuam. 7 x 5. vii+ 168 pp. Heinemann. 1s. 6d.n. EDUCATIONAL. WINGS AND THE CHILD, oR THE Bur~pine or Maarc Ciriss. By E. Nesprr. 8 x 5}. xiv +197 pp. Hodder and Stoughton. 6s, eg owen % FICTION. 7 #3 Ta" |S] We! THE Epvucation or Oriver Hyp. By Rezcrnatp E. Satwey. Digby, Long & Co. Five Years anp 4 Monto. By Fanny Morris Woop. Duckworth & Co. Loor yrom tHe Tremere or Fortuns. By Horacu Awnestey Vacuetn. 74 x 5. 310 pp. Murray. 6s. StmPLe Smmon. His Adventures in the Thistle Patch. By A. Nem Lyons. Illustrated by G. E. Pero. Lane 6s. 100 FOLK-LORE. By Rev. 8. Barinc-Goutp, M.A. K oF FOLK-LORE. ee i (The Nation’s Library.) Collins 6% x 44. 264 pp. Clear Type Press. 1s. n. HISTORY. [mpErtaLisM AND Mr. GLADSTONE, 1876-1888. Compiled by R. H. GRETTON. 7k x 43. 120 pp. Bell. le. n, LITERARY. Joun Muurncton SYNGE AND THE Trish THEATRE. By Maurice Bovrexois. Demy 8vo. xvi-+ 338 pp. Buckram. With 16 full page illustrations by Joun B. Yuats, R.H.A., Jack B. Yuats, JAMES PATERSON, R.8.A., JoHN CURRIE and others. Constable & Co. Tue LIGHTER SIDE oF ENGLISH Lrrs. By F. FraNxrort Moors. With Illustrations in Colour by GORGE BeLcuer. 8 x 5}. 284 pp. Foulis. 5s. n. Tur KIRRIEMUIR EDITION OF THE Works or J. M. BaRRIE. ‘Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s. the set. Reminiscent Gosstr oF MEN AND MATTERS. Baker, F.R.G.S. 7} x 5}. viii + 246 pp. man and Hall. 6s. MISCELLANEOUS. Our Wrésr. A Collection of Sketches of Life in the Canadian West. Illustrated with photographs. Thomas Murby & Co., 6, Bouverie Street, E.C. 6d. n. NATURAL HISTORY. Wiup Anmats aT Home. By Ernest THOMSON SETON. 8} x 5B}. xvi+ 224pp. Hodder and Stoughton. 6s. n. Tu BopLey HeAD NaTuRAL HisTORY. By E. D. CuMING. With Illustrations by J. A. SHEPHERD. Vol. Il. British Birds. Passeres. 6} x 5. 122 pp. Lane. 28. n. POETRY. Tar Porms oF Francois VILLON. Translated by H. Dr Vere STacroonn. 9 xX 6}. xii + 300 pp. Hutchin- son. POLITICS. War anp THE Workers. By Norman ANGELL. 63 pp. The National Labour Press. ls. REPRINTS. A Selection from Irish Poetry. By 93 x 6}. xxvi + 160 pp. Sidg- ls. 6d. n. By JAMES Chap- 7k x 5. THe Wimp Harp. KATHARINE TYNAN. wick and Jackson. A Century oF Paropy anp Imitation. Edited by Water Jerrotp and R, M. Leonarp. 1k XG: xv + 429 pp. Humphrey Milford. 1s. 6d. n Tue Hus or Home. By L. MactEan Watt. With the Pentland Essays of Robert Louis STEVENSON. 8) x 5h. 259 pp. Foulis. 5s. n. SCIENCE. “ Wuo's Wuo IN Scrence” (International). Edited by Hl. H. Sreruenson. 9} X 6. 667 pp. J. and A. Churchill. 10s. n. Continurry, THE PRESIDENTIAL ADDRESS TO THE BRITISH ASSOCIATION, BIRMINGHAM, MCMXIII. By Sm Oxtver Loven. Printed in full, and supplemented by Explana- tory Notes. 7} x 5. 118 pp. Dent. 1s. n. SOCIOLOGY. Conriictine IpEats! Two Sikes OF THE Woman’s Qumstion. By B. L. Hurcutns. 74 x 5. vii + 83 pp. Murby. ls. 6d. n. THE AUTHOR. THEOLOGY. L’Imrration ps Jesus CHRIST. Introduction par Mer. R. H. Benson. 6} x 4. xiii + 374 pp. (Collection Gallia.) Paris: Georges Cres et Cie. London: Dent- i te. n., eel ay (lem igettee op avert. A Woman’s Wrxter my Arrica. By Mrs. CHARLOTTE Cameron. Demy 8vo. Printed throughout on_ art paper, with 155 illustrations. 403 pp. Stanley Paul & Co. 18s. 6d. n. Tur Guipe To SouTH AND East AFRICA. For the use of Tourists, Sportsmen, Invalids, and Settlers. Edited annually by A. SAMLER Brown and G. Gorpon Brown, ¥.R.GS., for the Union Castle Mail Steamship Company. Twentieth edition, 1914. 74 x 4%. liv+ 695 pp. Sampson, Low. + LITERARY, DRAMATIC, AND MUSICAL NOTES. E are asked by the executive officers of the Alfred Russel Wallace Memorial Fund to state that, if a sufficient sum can be raised, the following memorials to the late Dr. A. R. Wallace are proposed : (1) A medallion to be offered to the Dean and Chapter of Westminster Abbey ; (2) a portrait, for presentation to the Royal Society, to be painted by Mr. J. Seymour Lucas, RA. to whom Dr. Wallace had, within the last few months of his life, consented to sit ; (3) a copy of the portrait for presentation to the nation ; and (4) a statue to be offered to the trustees of the British Museum for erection in the Natural History Museum. It is estimated that £350 will cover all expenses connected with the portrait by Mr. Lucas, including a hotogravure reproduction, signed by the artist, for each subscriber of one guinea and upwards; and that an additional £750 will permit the scheme being carried out in its entirety. Subscriptions will be received and acknowledged by Professor R. Meldola, 6, Brunswick Square, London, W.C.; Professor E. B. Poulton, Wykeham House, Oxford ; Sir Wm. Barrett, Kingstown, Co. Dublin ; and the Manager, Union of London & Smith’s Bank, Holborn Circus, London, E.C. Direct payments to the Manager will be the most convenient course. A. shilling pamphlet entitled ‘“* National Principles and ational Duty.” by the author of ‘National Revival,” with a preface by the Rt. Hon. the Earl of Selborne, K.G., has been issued by the Women’s Printing Society, Ltd., Brick Street, Piccadilly. A. Swedish translation of Mr. Francis. uk eS ae aS . . @ THE AUTHOR. 101 Gribble’s ‘‘ Court of Christina of Sweden ”’ will be published by Messrs. Walstrom and Widstrand. Among the Fellowship Books published by Messrs. Batsford, at 2s. net, are “ A Spark Divine,”’ a book for animal lovers, by Mr. R. C. Lehmann ; “* Romance,” by Mr. Ernest Rhys ; * Friendship,”” by Mr. Clifford Bax; ‘* The Joy of the Theatre,’’ by Mr. Gilbert Cannan : and “ The Country,” by Mr. Edward Thomas. A revised and cheaper edition of Mr. Frederick A. M. Spencer’s ‘“ Meaning of Christianity’? has now appeared (Fisher Unwin, 2s. 6d. net). Viscount Esher, G.C.B., contributes a pre- face to Mrs. St. Clair Stobart’s ‘‘ War and Women from Experiences in the Balkans and Elsewhere ” (G. Bell & Sons, 3s. 6d. net). Mr. R. A. Scott-James’s “‘ Influence of the Press” is published by Partridge & Co. at 3s. 6d. net. Mr. James Baker’s new work is ‘“‘ Reminis- cent Gossip of Men and Matters ” (Chapman & Hall, 6s.). Mr. A. R. Haig Brown, in “‘ My Game-Book,”’ deals not only with sport in Surrey, Sussex, Norfolk, ete., but also with early adventures at Charterhouse and later days at Lancing (Witherby, 5s. net). H.M. the Queen and H.M. Queen Alexandra have both been graciously pleased to accept copies of “ A Woman’s Winter in Africa,”’ of which the publishers are Messrs. Stanley Paul. ‘The author, Mrs. Charlotte Cameron, has been elected a Fellow of the Royal Geographical Society. Messrs. S. Paul announce the issue, in due course, of ‘‘ Napoleon in Exile at Elba ” and “Napoleon in Exile at St. Helena,” by Mr. Norwood Young, who sails this month on his second trip to the two islands to complete his study of local Napoleonic history. Mr. A. M. Broadley will be responsible for the illustrations to the books. Mr. E. Pearse Wheatley’s ‘“ Out West ?— according to the Times, “short and breezy descriptions of life in the Canadian West, illustrated with photographs ”—is published in paper covers at 6d., by Thomas Murby & Co. A volume on “ Practical Pathology, includ- ing Morbid Anatomy and Post Mortem Technique,” by Dr. James Miller, Assistant in Pathology to the Edinburgh Royal Infirmary, is shortly to be added to Messrs. Black’s Edinburgh Medical Series. Mr. Julius Price’s ‘‘ My Bohemian Days in Paris” was published on November 25 ([T. Werner Laurie, 10s. 6d. net, with 32 drawings by the author, and a frontispiece portrait). Miss Gladys Davidson’s “ Stories from the Operas”? is now issued in one complete volume, combining the three previous series of plots of the most popular grand operas performed in England during recent years (Laurie, 6s. net). Mr. J. Stanley Little contributed an article entitled “ Insurgent Women ”’ to the November issue of Hast and West. “A Manor Book of Ottery Saint Mary ”’ is edited by Mrs. Catherine Durning Whetham and her daughter Margaret, with a note on the history of the dependent manor of Cadhay, by Mr. W. C. D. Whetham, F.R.S. (Longmans, Green & Co.). “ The Early Weights and Measures of Man- kind,” by General Sir Charles Warren, G.C.M.G., K.C.B., F.R.S., R.E., is published by the Committee of the Palestine Exploration Fund. Mr. Herbert W. Smith has written “A Trip on _a Trader, or Holidays Afloat ” (Madgwick). The Clarendon Press publishes, under the title of ‘* Robert Bridges, Poet Laureate, Readings from his Poems,” a public lecture delivered in November last in the Examination Schools, Oxford, by Professor T. Herbert Warren, President of Magdalen College. In “ The Birthright of Grimaldi ” (Kegan Paul, 4s. 6d.), Mrs. Hope Huntley claims as the birthright of the animal exemption from torture, on the plea that the essence of its life is one with the human, however greatly it may differ in degree. The right of scientific experi- ment upon living animals is questioned from the moral standpoint only, quite irrespective of medical benefits believed to be acquired thereby. H.M. Queen Alexandra has been graciously pleased to accept a copy of this book. Mr. W. L. George’s new novel, ‘The Making of an Englishman,” will be published this month by Messrs. Constable in England, and Messrs. Dodd, Mead, in the United Statcs, Mr. Reginald E. Salwey’s novel, “ The Education of Oliver Hyde,” is being pub- lished by Digby, Long & Co. A new 2s. 6d. edition has appeared of Mrs. H. M. Watson’s ‘ When the King came South ” (Religious Tract Society). “Tom Kenyon, Schoolboy,” is the name of a story by Mrs. M. Harding Kelly (Religious Tract Society). The same author has brought out “ When ?” and ‘“‘ Then,” described respec- 100 FOLK-LORE. A Boox or Foix-Lore. By Rev. §. Barrxa-Govrp, M.A. Collins’ 6% x 44. 264 pp. (The Nation’s Library.) Clear Type Press. 1s. n. HISTORY. [mprriatisM AND Mr. GLADSTONE, 1876-1888. Compiled by R. H. GRETTON. 74 x 43. 120 pp. Bell. 1s. n, LITERARY. Joun MILLINGTON SYNGE AND THE Trish THEATRE. By Mavriczk Bovrenos. Demy 8vo. xvi-+ 338 pp. Buckram. With 16 full page illustrations by Joun B. Yrats, R.H.A., Jack B. Yuats, JAMES PATERSON, R.S.A., JoHN CURRIE and others. Constable & Co. Tur LIGHTER SIDE oF ENGLISH Lirz. By F. FRANKFORT Moore. With Illustrations in Colour by GEORGE BrLcHER. 84 x 5}. 284 pp. Foulis. 5s. n. Tur KIRRIEMUIR EDITION OF THE Works or J. M. BARRIE. Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s. the set. Reminiscent Gossip oF MEN AND Marrers. By JAMES Baker, F.R.G.S. 7} X 54. viii + 246 pp. Chap- man and Hall. 6s. MISCELLANEOUS. Ovr Weér. A Collection of Sketches of Life in the Canadian West. Illustrated with photographs. Thomas Murby & Co., 6, Bouverie Street, E.C. 6d. n. NATURAL HISTORY. Wiup Anmats at Homr. By ERNEST THoMsoN SETON. 8} X Bh. xvi+ 224 pp. Hodder and Stoughton. 6s. n. Tas BopLey Heap Naturat History. By EK. D. CuMINe. With Illustrations by J. A. SHEPHERD. Vol. Il. British Birds. Passeres. 6} x 5. 122 pp. Lane. 2s. n. POETRY. Tue Porms oF Francois VILLON. Translated by H. Dz VERE STACPOOLE. 9 X 6}. xii + 300 pp. Hutchin- son. POLITICS. Waranp THE Workers. By Norman ANGELL. 7% X 5. 63 pp. The National Labour Press. ls. REPRINTS. A Selection from Irish Poetry. By 93 x 6}. xxvi + 160 pp. Sidg- 1s. 6d. n. THe Witp Harp. KATHARINE TYNAN. wick and Jackson. A Century or Paropy anp Inrration. Edited by Water JERRoLD and R. M. Lxeonarp. 7 x 5. xv + 429 pp. Humphrey Milford. 1s. 6d. n. Tas Hitts or Home. By L. Macuzan Watt. With the Pentland Essays of Robert Lovis STEVENSON. 8} x 5}. 259 pp. Foulis. 5s. n. SCIENCE. “ Wuo’s Wuxo IN Science” (International). Edited by H. H. Srepnenson. 9} x 6. 667 pp. J. and A. Churchill. 10s. n. ContTINvrry, THE PRESIDENTIAL ADDRESS TO THE British Association, Brruincuam, MCMXIII. By Sm OLrver Loven. Printed in full, and supplemented by Explana- tory Notes. 7} x 5. 118 pp. Dent. Is. n. SOCIOLOGY. Conruictinc pears! Two Sips oF THE Woman's Quzstion. By B. L. Hurcuis. 73 X 5. vii + 83 pp. Murby. ls. 6d. n. THE AUTHOR. THEOLOGY. LIanration pz Jesus Curist. Introduction par Mer. BR. H. Benson. 64 x 4. xiii +374 pp. (Collection if Gallia.) Paris: Georges Cres et Cie. London: Dent. i Fo ols. n. Atte bem ya ao ee Raver. A Womay’s Wrxter my Arrica. By Mrs. CHARLOTTE 0) Cameron. Demy 8vo. Printed throughout on art % paper, with 155 illustrations. 403 pp. Stanley Paul | & Co. 183. 6d. n. Tun GuipE To SouUTH AND East Arrica. For the use of Tourists, Sportsmen, Invalids, and Settlers. Edited basit annually by A. SAMLER BRowN and G. Gorpon Brown, ue F.RB.G.S., for the Union Castle Mail Steamship Company. a Twentieth edition, 1914. 74 x 4}. liv + 695 pp. a: Sampson, Low. ————_0 <> —_____ LITERARY, DRAMATIC, AND MUSICAL shi NOTES. —— E are asked by the executive officers of the Alfred Russel Wallace Memorial Fund to state that, if a sufficient sum can be raised, the following memorials to the late Dr. A. R. Wallace are proposed: (1) A medallion to be offered to the Dean and Chapter of Westminster Abbey ; (2) a portrait, for presentation to the Royal Society, to be painted by Mr. J. Seymour Lucas, R.A., to whom Dr. Wallace had, within the last few months of his life, consented to sit ; (3) a copy of the portrait for presentation to the nation ; and (4) a statue to be offered to the trustees of the British Museum for erection in the Natural History Museum. It is estimated that £3850 will cover all expenses connected with the portrait by Mr. Lucas, including a photogravure reproduction, signed by the artist, for each subscriber of one guinea and upwards ; and that an additional £750 will permit the scheme being carried out in its entirety. Subscriptions will be received and acknowledged by Professor R. Meldola, 6, Brunswick Square, London, W.C.; Professor KE. B. Poulton, Wykeham House, Oxford ; Sir Wm. Barrett, Kingstown, Co. Dublin ; and the Manager, Union of London & Smith’s Bank, Holborn Circus, London, E.C. Direct payments to the Manager will be the most convenient course. A. shilling pamphlet entitled “ National Principles and National Duty.” by the author of “National Revival,” with a preface by the Rt. Hon. the Earl of Selborne, K.G., has been issued by the Women’s Printing Society, Ltd., Brick Street, Piccadilly. A. Swedish translation of Mr. Francis. THE AUTHOR. Gribble’s “ Court of Christina of Sweden ”’ will be published by Messrs. Walstrom and Widstrand. Among the Fellowship Books published by Messrs. Batsford, at 2s. net, are “A Spark Divine,” a book for animal lovers, by Mr. R. C. Lehmann ; “* Romance,” by Mr. Ernest Rhys ; ** Friendship,” by Mr. Clifford Bax; ‘‘ The Joy of the Theatre,” by Mr. Gilbert Cannan : and “ The Country,” by Mr. Edward Thomas. A revised and cheaper edition of Mr. Frederick A. M. Spencer’s ‘‘ Meaning of Christianity ’’ has now appeared (Fisher Unwin, 2s. 6d. net). Viscount Esher, G.C,B., contributes a pre- face to Mrs. St. Clair Stobart’s ‘‘ War and Women from Experiences in the Balkans and Elsewhere ” (G. Bell & Sons, 3s. 6d. net). Mr. R. A. Scott-James’s ‘‘ Influence of the Press’ is published by Partridge & Co. at 3s. 6d. net. Mr. James Baker’s new work is ‘‘ Reminis- cent Gossip of Men and Matters” (Chapman & Hall, 6s.). Mr. A. R. Haig Brown, in “‘ My Game-Book,”’ deals not only with sport in Surrey, Sussex, Norfolk, ete., but also with early adventures at Charterhouse and later days at Lancing (Witherby, 5s. net). H.M. the Queen and H.M. Queen Alexandra have both been graciously pleased to accept copies of “ A Woman’s Winter in Africa,”’ of which the publishers are Messrs. Stanley Paul. ‘The author, Mrs. Charlotte Cameron, has been elected a Fellow of the Royal Geographical Society. Messrs. S. Paul announce the issue, in due course, of “‘ Napoleon in Exile at Elba” and “Napoleon in Exile at St. Helena,” by Mr. Norwood Young, who sails this month on his second trip to the two islands to complete his study of local Napoleonic history. Mr. A. M. Broadley will be responsible for the illustrations to the books. Mr. E. Pearse Wheatley’s ‘‘ Out West ”— according to the Times, “short and breezy descriptions of life in the Canadian West, illustrated with photographs ”—is published in paper covers at 6d., by Thomas Murby & Co. A volume on “ Practical Pathology, includ- ing Morbid Anatomy and Post’ Mortem Technique,” by Dr. James Miller, Assistant in Pathology to the Edinburgh Royal Infirmary, is shortly to be added to Messrs. Black’s Edinburgh Medical Series. Mr. Julius Price’s “‘ My Bohemian Days in Paris” was published on November 25 101 (T. Werner Laurie, 10s. 6d. net, with 82 drawings by the author, and a frontispiece portrait). Miss Gladys Davidson’s “ Stories from the Operas”? is now issued in one complete volume, combining the three previous series of plots of the most popular grand operas performed in England during recent years (Laurie, 6s. net). Mr. J. Stanley Little contributed an article entitled ‘‘ Insurgent Women ” to the November issue of Hast and West. “A Manor Book of Ottery Saint Mary ”’ is edited by Mrs. Catherine Durning Whetham and her daughter Margaret, with a note on the history of the dependent manor of Cadhay, by Mr. W. C. D. Whetham, F.R.S. (Longmans, Green & Co.). “The Early Weights and Measures of Man- kind,” by General Sir Charles Warren, G.C.M.G., K.C.B., F.R.S., R.E., is published by the Committee of the Palestine Exploration Fund. Mr. Herbert W. Smith has written “A Trip on a Trader, or Holidays Afloat” (Madegwick). The Clarendon Press publishes, under the title of “Robert Bridges, Poet Laureate, Readings from his Poems,” a public lecture delivered in November last in the Examination Schools, Oxford, by Professor T. Herbert Warren, President of Magdalen College. In “ The Birthright of Grimaldi ” (Kegan Paul, 4s. 6d.), Mrs. Hope Huntley claims as the birthright of the animal exemption from torture, on the plea that the essence of its life is one with the human, however greatly it may differ in degree. The right of scientific experi- ment upon living animals is questioned from the moral standpoint only, quite irrespective of medical benefits believed to be acquired thereby. H.M. Queen Alexandra has been graciously pleased to accept a copy of this book. Mr. W. L. George’s new novel, “The Making of an Englishman,” will be published this month by Messrs. Constable in England, and Messrs. Dodd, Mead, in the United States, Mr. Reginald E. Salwey’s novel, ‘“ The Education of Oliver Hyde,” is being pub- lished by Digby, Long & Co. A new 2s. 6d. edition has appeared of Mrs. H. M. Watson’s “When the King came South ” (Religious Tract Society). “Tom Kenyon, Schoolboy,” is the name of a story by Mrs. M. Harding Kelly (Religious Tract Society). The same author has brought out “ When ?” and “‘ Then,” described respec- 102 tively as a story of to-day and a tale of to- morrow (Marshall Brothers). Early in February will appear a new novel by Mr. Frederick Arthur, callec “The Great Attempt,” dealing with the aspirations and sufferings of the losing side in the political struggle which ended at the battle of Culloden (John Murray). Count Plunkett, K.C.H.S., has been elected an honorary member of the Danish Society “Det Kongelige Nordiske Oldskriftselskab,” better known throughout Europe as the Société Royale des Antiquaires du Nord. Mr. Herbert Flowerdew’s new romance, “Love and a Title,” will be published by Greening & Co. early in the year. The serial rights of Mr. Flowerdew’s latest sensational story, ‘“‘ The Motor Ku-klux,”’ have been pur- chased in America by the Frank A. Munsey Co., and in England by Messrs. Leng, of Sheffield, the latter of whom are also bringing out in their Weekly Telegraph series of novels “The Love of Women,” which has _ not hitherto appeared in book form. In addition to his short stories in Hulton’s Christmas Magazine and the Christmas number of the Weekly Telegraph, Mr. Flowerdew has com- plete stories to appear in the Red Magazine, the Novel Magazine, and Pearson's Weekly. Mr. Flowerdew’s last published novel, “ Mrs. Gray’s Past,” is being published serially in Germany, following the example of his “‘ Ways of Men,” ‘“ The Third Wife,” and “ The Villa Mystery.” E. Reid Matheson (Mrs. E. Midgley) has a new novel entitled ‘‘The Unconscious Quest,” of which the publishers are Sidgwick and Jackson. Messrs. Walter Jerrold and R. M. Leonard are the editors of ‘“‘ A Century of Parody and Imitation ” (Humphrey Milford, Oxford Uni- versity Press, 1s. 6d. net), in which they endeavour to provide a corpus of representa- tive parodies and imitations, beginning with ** Rejected Addresses’ in 1812 and coming down to the present era, though without including the work of any living writer. Miss Sheila Kaye-Smith has just brought out a volume of verse, partly ballads and partl lyrics (Erskine Macdonald, 2s. 6d.). The title is ‘‘ Willow’s Forge, and other Poems.” Messrs. John Richmond will publish early this year ‘“‘ Winged Thoughts,” a collection of representative poems from 1586 to 1914, dealing with birds, butterflies, and moths. The poems have been selected and arranged by Mrs. Irene Osgood and Mr. Horace Wyndham. Mr. Alex J. Philip has revised and brought THE AUTHOR. up to date the fourth edition of Greenwood’s “British Library Year Book,” to which the title is now given of ‘‘ The Libraries, Museums, and Art Galleries Year Book, 1914’ (Stanley Paul). “The Young Gordons in Canada,” by Mrs. Mary Bourchier Sandford, is published by the Religious Tract Society, uniform with other volumes in their Every Girl’s Bookshelf series (1s. 6d.). Miss Ethel M. Dell’s new novel is ‘“ The Rocks of Valpre ”’ (Fisher Unwin). Mr. W. Trego Webb, author of ‘“ Indian Lyrics,”’ ete., issues through Headley Brothers ‘By Silva’s Brook, or Songs of the Faith,” a collection of religious verse. The Rev. Henry Lansdell, D.D., is bringing out the fifth part of his work on ‘ Princess Aelfrida’s Charity ”’ (6d., or 7d. post free). The first part of a new illustrated quarterly, Ancient Egypt, edited by Professor Flinders Petrie, F.R.S., F.B.A., has just made its appearance, the price being 2s. per quarterly part, or 7s. yearly, post free. The publishers are Messrs. Macmillan and the British School of Archeology in Egypt. Miss Beatrice Chase will shortly have pub- lished by Mr. Herbert Jenkins, “* The Heart of the Moor ” the outcome of ten years’ residence on Dartmoor. Mr. Arnold Haultain, Goldwin Smith’s literary executor, is preparing a second series of his late chief’s letters, and asks us to be so kind as to say that he will be grateful to any friends of Goldwin Smith who would lend him, or send him, copies of any letters which the recipients think may or should be made public, other than those included in the first series (published last spring by Mr. Werner Laurie, of Clifford’s Inn). Anything addressed care of the Bank of Montreal, 47, Threadneedle Street, London, E.C., will be thankfully acknowledged. DRAMATIC. We much regret to have to record the death last month of Mr. Stanley Houghton, author of *‘ Hindle Wakes,” ‘‘ The Younger Genera- tion,” and other plays. He was only thirty- two years of age when he succumbed to disease of the lungs at Manchester, the town of his birth and the scene of his first introduc- tion to the dramatic public by Miss Horniman. At the Globe Theatre on December 6 was produced ‘‘ The Night Hawk,’ by Messrs. Lechmere, Worrall and Bernard Merivale. “Woman on her Own,” a version by Mrs. Bernard Shaw of Brieux’s “ La Femme THE AUTHOR. Seule,” was seen for the first time at the Woman’s Theatre (the Coronet, Notting Hill) on December 8. “In and Out,” a version by George Paston (Miss E. M. Symonds) of Béniére’s ‘ Papillon, dit Lyonnais le Juste,”” was produced at the Shaftesbury Theatre on December 16. Mr. Jerome K. Jerome’s ‘‘ Robina in Search of a Father” was produced at the Vaudeville Theatre on December 16. Mr. Winchell Smith’s four-act play, ‘“‘ The Fortune Hunter,’’ was produced at the Queen’s Theatre on December 17. “The Sleeping Beauty Re-awakened,” a children’s pantomime by Messrs. G. R. Sims and Arthur Collins, was produced at Drury Lane on Boxing Day. Among the plays revived by Mr. and Mrs. Granville Barker during their repertory season at the St. James’s Theatre, have been ‘‘ The Doctor’s Dilemma,” by Mr. G. Bernard Shaw, and “Nan” and “The Silver Box,” -by Mr. John Galsworthy. ** The Passing of the Third Floor Back ”’ was revived at the Coronet at the beginning of December, with “A Love Passage,” by Messrs. W. W. Jacobs and P. E. Hubbard, as the curtain-raiser. Sir Arthur Conan Doyle’s ‘‘ The Speckled Band ”’ was played at the Kennington Theatre on December 8. On Monday afternoons, December 1 and 8, dramatic recitations of Mr. John Masefield’s ** Everlasting Mercy ” were given at the Little Theatre by Mr. Alexander Watson. On December 19 an amateur performance was given at Felixstowe of a new one-act play by Mr. G. S. Layard, entitled “The Shirt of Nessus.”’ “Courtship, Ancient and Modern,” a two- scene sketch by Fanny Morris Wood, was produced for the first time at the Maidenhead Theatre on November 19. Miss Elizabeth Baker’s plays, ‘“‘ The Price of Thomas Scott ’’ (produced at Manchester in September last) and ‘‘ Miss Tassey,” have both been published in book form by Messrs. Sidgwick & Jackson. _ Mrs. Frances Helen Harris has brought out in book form ‘‘ Eight Plays for the School ”’ (Routledge & Sons). A play founded on Mr. Flowerdew’s novel, “The Realist,”’ is shortly to be produced at the Longacre Theatre, New York. “The Dramatic Author’s Companion,” by a Theatrical Manager’s Reader, has been pub- lished by Messrs. Mills & Boon. Mr. Arthur Bourchier contributes an introductory note. 103 PARIS NOTES. — + HE “Song Offerings,” by Rabindranath Tagore, have now been translated into French by André Gide and are published as ‘“‘ L’Offrande Lyrique.” The second volume of “Les Mceurs du Temps,” by Alfred Capus, is as entertaining as the first volume, published last year. The celebrated dramatic author is an optimist and a keen observer. With his never-failing good humour and delicate irony, he writes on all the questions of the day, shows up the weak points, indicates failings, and then passes on like a true philosopher. The whole volume is well worth reading. ** Les Etats-Unis et la France ”’ is the title of the third volume published by the Bzblio- theque du Comité France-Amérique. The book is written by ten different authors. M. E. Boutroux, the well-known philosopher, to whom Bergson owes so much, writes a chapter on French thought and American thought. M. James Hyde takes as his subject the historical intercourse between France and the United States from 1776 to 1913; M. Léon Bénédite, M. Louis Gillet, and M. Paul Bartlett write on painting, sculpture, and architecture. There are chapters on French and American society by M. Walter Berry; on public life, by Baron d’Estournelles de Constant; on the French and American ideal, by M. Baldwin. M. Hill and Moreton Fullerton write on politics and intercourse between the two nations in the future. There are about eighteen illustrations bearing on the history of art in the United States. ‘““Les Idées et les Hommes” is the title of the latest book by André Beaunier. Among the men he has chosen as subjects for his studies are Homére, Baudelaire, Edmund Gosse, and Gabriel Monod. ** Les Tribunaux pour Enfants,” by Clément Griffe. The subject of this book is one that is being studied with great interest in France. The idea has been put into practice and the results are excellent. M. René Gillouin has obtained the prize awarded by the Association des Critiques littéraires, for his ‘‘ Essais de Critique littéraire et philosophique.” “Du Terreur au Consulat ’’ is the title of a volume of romantic histories of the revolu- tionary days, by Ernest Daudet. We have had numbers of books on ‘“* Old Paris.”” We now have one on “ Le Nouveau Paris,” by Raymond Escholier. The sub- 104 title, “‘ La Vie artistique de la Cité Moderne - explains the object of the author. The preface is written by Gustave Geffroy. Camille Flammarion has just published his “ Annuaire Astronomique et Meétéorologique pour 1914.” It is only a small volume of 132 pages, but it is full of information. It gives us all the celestial phenomena for the year and many scientific notices, and it is also illustrated. : Any friends or admirers of George Gissing will be glad to hear that the scheme proposed some years ago, and headed by Madame Lardin de Musset, sister of Alfred de Musset, is being taken up once more. The idea was to have a fund for keeping flowers on the grave of the author of ‘“‘New Grub Street,’ who died in exile and was buried at St. Jean de Luz. Hitherto his grave has been tended entirely by French hands. For the tenth anniversary of his death, December 28, we have decided to accept the help of various French and American friends and, with Madame Lardin de Musset’s name at the head of our subscrip- tion list, organise a scheme which will ensure the tending of George Gissing’s grave in the future. At the Odéon ‘“‘ Rachel”? seems to have every chance of a long run. At the Théatre des Arts an excellent adaptation of Balzac’s ‘“‘ Kugénie Grandet ”’ is being played. “TInstitut de Beauté’ continues to be a success at the Variétés. Madame Sarah Bern- hardt has found in ‘“‘ Jeanne Doré”’ a play admirably suited to her. Auys HALLarp. “T?/Offrande Lyrique” (La Nouvelle Revue Francaise). “Les Meurs du Temps” (Grasset). “ Les Idées et les Hommes ”’ (Plon). “Les Tribunaux pour Enfants” (Fontenmoing). * Annuaire Astronomique et Météorologique pour 1914 ” (Flammarion). tt DRAMATIC RIGHTS. —_>—-. ROM time to time it is necessary to call the attention of authors to the extent of their rights. This is especially the case since the passing of the recent Act. Under this Act an author’s rights have been extended in various ways. The author of a play, for instance, has the right to convert it into a novel, the bookright in the play itself, the performing right, which includes the reproduction of the play on mechanical contrivances, either the cinematograph or the gramophone, and the translation rights. THE AUTHOR. The right of performance by itself is fre- quently divided up into many portions. There is the right of production in a West End London theatre, there is the right of production in the suburbs, in the provinces— this again may be sub-divided according to the size of the towns: the A list, the B list, the C list, and fit up—the right in the Colonies, the right in the United States and Canada, the amateur rights, and the rights in translation on the Continent. It is the ignorance of all these points and niceties that makes the author fall readily into the pitfalls laid for him either by the agent or the manager. The first essential for a dramatic author is production. He must, therefore, never be led away by financial consideration to grant a licence unless production is secured. If a manager asks for control over the provincial rights, he may have the option over them if production takes place within a specified time. The same rule must apply to the Colonial and United States rights. The author, in neglect of his best interests, often transfers rights to a manager and then finds that the manager has no intention of producing the play outside the walls of his own West End theatre. It is not only the novice who makes the mistake; there are others. When the situation is realised, as it often is by the requests coming from managers abroad or in the United States, the author can do nothing but wish that he had taken more pains to inquire what rights he had and how they ought to be controlled. There is, however, an increasing danger against which the young dramatic author must especially be warned. Some middlemen are springing up who are gambling with the work of the author’s brain ; they buy up his dramatic effort for a comfort- able sum in advance of a very small royalty. They are not producers themselves and have no intention of producing, but the author is deceived partly by the sum in advance and partly by the purchaser’s protestations. The purchaser then proceeds to market the work to the highest bidder. In consequence, it sometimes happens that there are as Many as three middlemen between the authors and the manager, each of whom is absorbing part of the profits that might have been the author's. It is necessary, therefore, to repeat that the first essential for a dramatic author is produc- tion. He should never lease out his property unless production is assured. aL NII ED PIII TRIESTE STI HGS NTE THE AUTHOR. U.S.A. LEGAL DECISION. ee (From the Authors’ League Bulletin, U.S.A.) HE case of Dam v. Kirk La Shelle Company decided in the United States Circuit Court of Appeals, Second Circuit, in January, 1910, is of such importance to writers for magazines and other periodicals as well as to publishers that it deserves careful attention. This case may be said to be the last important decision on the question of what protection the blanket copyright secured by a magazine pub- lisher, upon his magazine, affords the authors of the various stories, articles and poems contained init. The facts were briefly as follows :— Henry J. W. Dam wrote a story in 1898, called ** The Transmogrification of Dan.” In 1901 he sent the manuscript to the Ess. Ess. Publishing Company, a corporation publishing the Smart Set Magazine. The editor accepted the story and sent a cheque in return for $85, together with a receipt reading :— “Received of the Ess. Ess. Publishing Company $85 in full payment for story entitled ‘‘ The Transmogrification of Dan.” This Dam signed and mailed back to the editor. At no time did he have any interview with the editor or any correspondence bearing on the understanding with which the story was sold. The story came out in the Smart Set for September, 1901, and the particular number in question was copyrighted by the Ess. Ess. Publishing Company, in its own name, and bearing a notice which read :— “ Copyrighted, 1901, by Ess. Ess. Publishing Company.” No steps were taken by the magazine or by Dam to copyright the story separately from the magazine. Some time afterward Paul Armstrong wrote a play entitled ‘‘The Heir to the Hoorah,”’ which Dam claimed was founded on his story, “The Transmogrification of Dan.” The defen- dant, Kirk La Shelle Company, presented the play by arrangement with Paul Armstrong. On October 27, 1905, the Ess. Ess. Publishing Company assigned to Dam its copyright of the - number of the Smart Set in which is story appeared, in so far as it covered or protected his story, and all its interest in the story itself and any claim or demand which it might have for the infringement of the copy- right in question. In due course Dam sued for a preliminary injunetion against the defendant, and in his affidavit swore :— _““Thave not at any time parted with any right or interest in said literary work entitled 105 ‘The Transmogrification of Dan,’ except the right for publication thereof in said number of the Smart Set for September, 1901.” Later on, the complaint was amended so as to allege simply that Dam sold and assigned the story in question to the Ess. Ess. Publishing Company. Among other things in defence the Kirk La Shelle Company set up the claim that Dam’s original statement, sworn to in his complaint to the effect that he had not sold any of his rights in the story to the Smart Set, except the right of publication in the particular number in question, must be taken as true; and that it followed as a necessary consequence that the blanket copyright secured by the Ess. Ess. Publishing Company, on the particular issue of the magazine, only operated to afford such protection as the Publishing Company needed as publishers of the magazine, and did not operate to protect the rights which Dam retained, whatever they might have been, including the right of dramatisation which Dam claimed had been infringed and for which he asked an injunction. The Cireuit Court of Appeals found as a fact that Dam’s statement that he had parted with no right or interest in the story except that of serial publication was not the case, and (in spite of Dam’s original allegations to the contrary) that when he mailed the story to the Smart Set and the editor sent him a cheque for $85 this constituted an absolute sale without reserva- tions, and that the Ess. Ess. Publishing Com- pany thereby acquired all rights in the story, including the dramatic rights. This, in itself, would have been a decision of considerable importance, in view of the widely prevalent belief that when a magazine writer sends his product to a magazine, without an accompanying letter specifying the terms under which the story or article is offered, he is selling merely the serial rights thereto. But the Court in discussing the facts in general went somewhat beyond the precise point in issue and held that if it had been true that Dam had offered for sale and sold to the Ess. Ess. Pub- lishing Company only the right to print the story in serial form, that probably, as matter of law, the dramatic rights would never have been copyrighted at all, since it was a fundamental proposition that no one could copyright that which he did not own, and, if the Ess. Ess. Publishing Company had purchased only the serial rights in the story, the copyright upon the particular number of the Smart Set would have operated to protect only those serial rights, and that as Dem had taken no further 106 steps to protect or copyright the rights or interests in the story which he had reserved, and as the story had been published, there would have been an abandonment of it to the public and no protection for the dramatic rights at all. The opinion of the Court is reported in 176 Federal Reporter, page 902, and reads as follows :— “It is claimed, however, that such steps accomplished no more than to obtain such protection needed as publishers of the maga- zine. Assuming that Dam retained the dramatic rights to the story, there would be much force in this contention. In such a case we doubt very much whether the steps which the publisher took to copyright his magazine, especially in view of the form of the copyright notice, would have been sufficient to protect the dramatic rights.” After referring to the case of Mifflin v. Dutton (190 U. S. 265), the Court continued :— “In view of this decision by the Supreme Court, we think that had Dam retained the dramatic rights to his story, the entry of the magazine and the notice of copyright would have been insufficient to protect them. .. . In the case of the reservation of dramatic rights, in addition to the notice of the copy- right of the magazine, it may well be that it should appear in some distinct way that such reservation of such rights to the particular story is made for the benefit of the author. Indeed, it may be that the author should contemporaneously take out in his own name a copyright covering such rights.” The Court then proceeded to hold that in- asmuch as the Ess. Ess. Publishing Company had in fact acquired all rights to the story, the copyright which they secured on the particular number of the magazine in question did operate to protect all rights, including the dramatic rights; and that, since there had been a reassignment by the Ess. Ess. Publishing Com- pany to Dam of the dramatic rights, he could properly ask for an injunction and an account- ing, and they thereupon awarded to the com- plainant, who, at the time the decision was rendered, was the administratrix of Dam’s estate, the total profits received by the Kirk La Shelle Company from its production of the play. The case was not appealed to the Supreme Court, but has since been settled and, therefore, represents the law to-day, which may be stated as follows :— (a) The sale by an author of a story to a magazine, and the acceptance of a sum of money in full payment for the story, without THB AUTHOR. any further agreement, is in legal fact an absolute sale without reservation, carrying with it as an incident of ownership the exclusive right to dramatise the story. (b) The copyright of such magazine is sufficient to secure the copyright of the story published therein, and protects the right to dramatise it when the publisher is the owner of both the story and the dramatic rights. (c) (Dictum.) Where the owner of a story sells the same only for magazine or serial pub- lication the copyright of the magazine does not protect those rights which the author retains, unless he takes some independent steps to copyright them himself; and since the pub- lishing of the story in the magazine operates as an abandonment of such rights, if the story is thereafter dramatised by a third party the author can have no redress. The action, although a recent one, was brought under the former copyright law, but there would not seem to be anything in the present Act which would qualify or render less significant the decision. The attorney for the Authors’ League of America doubts seriously whether the dictum of the Court (c) is the view which will undoubtedly prevail if the point is eventually properly raised either before the Circuit Court of Appeals or the Supreme Court of the United States. He believes that this Court could have reached the same decision in the Dam case by another process of reasoning more consistent with the general understanding under which authors are accustomed to submit their manuscripts to editors and _ publishers. This he believes to be that, in default of any written or oral agreement between the parties, an editor or publisher of a magazine who pur- chases a manuscript does so on the implied understanding that he shall copyright the same and hold the copyright thereof in trust for the author, thus protecting not only the dramatic rights, but all other rights for the author’s benefit. If this be so, the author can compel a reassignment of the copyright to himself when necessary, such as Dam secured voluntarily from the Ess. Ess. Company. But, in any event, so long as this and similar matters remain in doubt, both authors and publishers should, for their own protection, agree on some system whereby the dramatic and all other rights are thoroughly safeguarded. This can be accomplished in either of two ways :— (a) The editor can copyright each story or article separately in the author’s name, printing at the bottom of the first page thereof a proper copyright notice, as follows :— Q 4 4 a a THE AUTHOR. ** Copyright, John Doe, 1913.” The author should then immediately on pub- lication mail ‘one copy of the magazine to the Registrar of Copyrights in Washington, in con- formity with the requirements of the present Act, enclosing the fee of one dollar. This is, perhaps, the simplest way, although it involves a separate registration of the magazine for each story or article so copyrighted. (6) Or the author can sell his story outright to the editor or publisher and safely reserve his equitable interests in the dramatic or other rights thereto by attaching to his manuscript a “‘ rider ” or slip somewhat as follows :— “This manuscript is submitted with the understanding that, if accepted for publication, the same shall be copyrighted by the publishers and all rights under said copyright (except that of magazine publication) shall be held in trust for the benefit of the writer or his assigns, and will be reassigned to him upon demand.” The writer believes that, under the present state of the law, only by one of the two methods outlined above can a magazine writer be sure that his rights will be properly protected. ARTHUR C. TRAIN, Attorney for Authors’ League of America. —_ 9 ROYALTIES ON GRAMOPHONE RECORDS. MoNnckKTON v. PaTuk FRERES PaTHEPHONE, LTD. ‘as was an appeal from the decision of Mr. Justice Phillimore relating to the. payment of royalties on gramophone records of the ‘‘ Mousmé Waltz,’’ which the plaintiff, Mr. Lionel Monckton, composed in 1911 before the new Copyright Acts came into operation. The defendants, who are manu- facturers and sellers of gramophone records, made records of the waltz in Belgium and imported them into England, as they were lawfully entitled to do before July 1, 1912, when the Act came into force; and since that date they had been selling the records without the plaintiff's consent and without paying him any royalties. It was in respect of the sale, after July 1, 1912, that the plaintiff brought the action, and claimed an account of the money received by the defendants from such sales, and an injunction to restrain them from making or selling any records without his consent. 107 Mr. Justice Phillimore decided that under section 19 of the Act, which provides for the payment of royalties on gramophone records, the defendants were not liable to pay royalties on records made before July 1, 1912, but that if they sold any records made after that date they would have to pay royalties by the purchase and affixing of stamps in accord- ance with the regulations of the Board of Trade. The plaintiff appealed against this decision and claimed that the defendants had infringed his copyright by selling after July 1, 1912, records made before that date without the payment of royalties. There was a cross appeal by the defendants, who alleged that the regulations of the Board of Trade as to the mode of payment of royalties were ultra vires, and that they could not be compelled to purchase and affix adhesive stamps to the records. The Court of Appeal reversed the decision of Mr. Justice Phillimore as to the exemption from payment of royalties, and held that on all records of the waltz sold by the defendants after July 1, 1912, the plaintiff would be entitled to royalties at the rate of 24 per cent. on the ordinary retail price ; and that the sale of the records without the plaintiff’s consent or the payment of royalties was an infringe- ment of the plaintiff’s copyright. In the course of his judgment Lord Justice Buckley said that the seller of a record autho- rises the use of the record, and such user is a performance of a musical work; and as copy- right includes the sole right to authorise a performance of the work, an improper sale of the record would constitute an infringement of the copyright. The right of the plaintiff, however, was qualified by the provisions in the Act relating to the payment of royalties, for if these were duly paid the sale of the records would not be an infringement. The argument advanced on behalf of the defendants had reference to section 24, and particularly the proviso (b), which gives pro- tection to any person who has incurred expense before July 26, 1910, in the reproduction of a work then lawfully made, unless he is paid compensation for his rights which were sub- sisting and valuable at that date. It is difficult, however, to understand how section 24. could afford any protection to the defendants upon the facts before the Court. There was no dispute as to the circumstances. The records made by the defendants were not made before the year 1911, when the waltz was composed, and the Court of Appeal held that 108 THE AUTHOR. the contention of the defendants could not be maintained. : The plaintiff, therefore, was entitled _to royalties unless the defendants could bring themselves within the exemption mentioned in section 19 (7) (0). : The provisions of section 19 as to the pay- ment of royalties may be generally stated as follows :— : : (A) On records of musical works published before July 1, 1912. (1) If records have been lawfully made before July 1, 1910, no royalties are pay- able on records sold before July 1, 1913. (2) If otherwise, royalties at 24 per cent. are payable. (B) On records of musical works published after July 1, 1912 :— (1) On sales prior to July 1, 1914, royalties at 24 per cent. : (2) On sales after July 1, 1914, royalties at 5 per cent. : As the defendants could not claim exemption under (A) (1), they became liable for the pay- ment of royalties under (A) (2), that is to say, at 24 per cent. so long as the copyright in the waltz continues. Upon the cross appeal Lord Justice Buckley in his judgment said that the question turned upon the meaning of the word “ securing ” in section 19 (b). Under that section the Board of Trade might make regulations prescribing the mode of payment of royalties requiring payment in advance or otherwise securing the payment of royalties.” If the word ‘securing’? meant doing some act by which the debt for royalties should become secured, as distinguished from an unsecured debt, the defendants were right; but if it meant ‘ensuring or rendering certain” the payment of royalties, then the defendants were wrong. The Board of Trade had made regulations whereby, unless it were otherwise agreed, royalties were payable by means of adhesive stamps purchased from the copy- right owner and affixed to the records. The royalties were very small amounts payable upon a large number of records, and there was obviously a great difficulty in ensuring that the debt created by the sale of each record should become known to and paid to the copy- right owner. In these circumstances the fair meaning of the word “securing’’ included ensuring or rendering certain the payment of the royalties. The regulations of the Board of Trade, therefore, were not ultra vires, and the cross appeal failed. Haroip Harpy, CARD INDEXING THE LITERARY MARKET. (From the ‘“‘ Editor,’’ U.S.A.) HERE are so many good things in “ The Literary Market ” that I must use every day that I have devised a card index system of classifying it. Not all of the informa- tion is pertinent to the material I write, so I file only those items in which I am interested. I use a three by five card index drawer and enter items under the following heads: Auto- mobiles, Boys and Girls, Crops, Dairying, Flowers, Horticulture, Household, Household Mechanics, Humour, Live Stock, Motor-cycles, Popular Mechanics, Poultry, Short Stories. There is a guide card for each subject, and the cards on which the information is entered are prepared like the following sample :— Humour. Browning’s Magazine, 16, Cooper Square, N.Y. Short burlesques and narrative humour. 100 to 500 words. Jokes. 1 cent a word on acceptance. When I have a humorous article to sell, I look over the cards marked ‘‘ Humour ”’ and decide which market is most promising. Supplementing the index is a file of all the papers in which I am interested. As soon as T learn of a new paper that offers a market for the kind of material I write, I send for a sample and file it with the other papers of like nature. Unless I am very familiar with the paper I look it over carefully before submitting anything to it that differs from something I have sold it previously. I have something over 200 papers in my files. In addition to the subject index I have a graveyard—an index in which papers are filed alphabetically by name. These are only those papers that have suspended publication. It is sometimes important to know that these are no longer published. Joun Y. Brary. —_—_‘_ oo MAGAZINE CONTENTS. eee BriTIsH. The Exclusiveness of Journalists. By G. K. Chesterton. Religious Drama. By W. L. George. Our Conventional Press. By Scriptor. Dramatists of To-day : III. John Masefield ; IV. Stan- ley Houghton. ConTEMPORARY. The Ballad—English and Scotch. By E. R. Montague. Literary Supplement: Saint Nicholas. +i THE AUTHOR. HOW TO USE THE SOCIETY. —— 1, VERY member has a right toask for and to receive EK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any apecial reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society, 2, Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination, 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- jars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The q. Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. —~ > WARNINGS TO THE PRODUCERS OF BOOKS. —_1—~<——_ ERE are a few standing rules to be observed in an agreement, There are four methods of dealing with literary property :— I, Selling it Outright. This is sometimes satisfactory, if a proper price can be 109 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society, Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights, (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. <> —____—_ WARNINGS TO DRAMATIC AUTHORS. ae EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2, 1t is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory, An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, 110 (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvyance of percentages. A fixed date on or before which the play should be performed. : (c.) Sale of performing right or of a licence to perform, on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case, 4, Plays in one act are often sold outright, but it is tetter to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10, An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. pe ge REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. _— haar typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant, One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s, 6d. per act. THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author's fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. REE AG a Se WARNINGS TO MUSICAL COMPOSERS. oe ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ———__+—>—_e—____—_- STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble. Se THE READING BRANCH. ae EMBERS will greatly assist the Society in this Mi branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —_—_—__.-<—e___ REMITTANCES. _—— The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only. ESE Su THE AUTHOR. COLLECTION BUREAU. —_—~—+ HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland : : A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs Pogson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. ——-—-e—— AUSTRALIAN CoPyRIGHT REGISTRATION. Ir is very important that the attention of dramatic authors should be called to the clauses in the Australian Copyright Act, 1912, dealing with summary proceedings and regis- tration. This Act was printed as a supplement to the April number of The Author, and gives some very powerful Summary Remedies, but the advantages to be gained by the special remedies provided under Sections 15, 16, and 17, can only be taken by those whose copyright is registered. Under the Act registration is optional. All those dramatists who have had their works infringed in the Colonies know how exceedingly difficult it is to stop an infringement in a distant country. Indeed, it is almost impossible to do so if a civil action has to be taken against the manager of a travelling company. Under the United States Act, where criminal proceedings are allowed, great advance has been made in stopping infringements, in the different States, and the same advance will, no doubt, take place through the summary pro- iit ceedings allowed under the Australian Act ; but it is essential, in order that dramatists may obtain the full value of the powers given them, that they should register their plays. We advise all dramatists, therefore, without delay, to take steps to see that their works are regis- tered in due course under the Australian Act in that country. AUSTRALIAN Boox NOovreEs. A MEMBER of the Society has been kind enough to forward some notes on the sale of books in Australia. He has taken the trouble to make certain pointed inquiries from Australian booksellers, and finds the complaint which has been put before the Society in past numbers of The Author has been amply con- firmed, namely, that the American publisher is much more enterprising and pliable and is willing to meet the Australian bookseller on better terms and is altogether a better man of business than the English publisher. He informs us that one or two publishers in England show some enterprise, but the majority do not do so. In Melbourne it appears that novels are mostly in vogue, and that, outside novels, the more important books are difficult to get and in many cases cannot be secured without much delay. This is no doubt a good deal the fault of the publisher, as the Australian bookseller seems willing to take the more expensive books for a moderate sale could he secure them readily. In the Melbourne lending libraries, just as in the English libraries, there is a certain amount of censorship. Of novels the most popular are certainly not the best written, but the advan- tage of cheaper cables will probably bring about a readier sale. A bookseller in Sydney, how- ever, one of the largest in Australia, does not welcome the cheaper cables as it would encourage the smaller firms, but the author and the public will, of course, welcome the increasing competition. Enquiry at the minor shops both in Australia and New Zealand, confirms the same points. That there is a ready sale for novels if the English publisher would only take advantage of that sale; that the American publisher has taken advantage of it, and is doing good business. Finally, a point of interest to dramatic authors was noticed; that several English playwrights have agents and that the piracy in Australia has almost died out. 112 THE AUTHOR. AGENTS’ CLAUSES IN PUBLISHERS’ AGREEMENTS, Ir has become necessary to mention once again the danger that may result from the insertion of the agency clause in an agreement between a publisher and an author, that is the clause enabling the agent to collect, to give valid receipts and sometimes even to have the control when disputes arise. This is, to use a legal phrase, an authority coupled with an interest, and cannot be cancelled as between the author and the publisher. Even the best agents in London are in the habit of inserting the clause in publishers’ agreements, and to this we very strongly object. If, how- ever, the agent, who is supposed to be acting on behalf of the author—not only draws the author’s attention to the fact that he is insert- ing this clause, but explains to him fully the dangers of the clause when it is inserted, and if when the full explanation has been laid before the author the author is still willing to sign the agreement, then nothing can be said against the agent or his methods of doing business ; but if he inserts the clause without calling the author’s attention specially to it, or if he does call the author’s attention to it, doing so in an off-hand manner, then he is acting unfairly by the author, and without due sense of the responsibilities of his position as author’s agent. We do not desire to use any stronger term as to his conduct, but think it essential that the author should be warned of the posi- tion. U.S.A. Ricuts. WE are reprinting from the Bulletin of the Author’s League of America a case which was tried some time ago, because the points then settled have been raised again in an important case which Mr. Jack London is carrying through the American Courts. A short state- ment of this appeared in the November issue of The Author. It is as well that members of the Society should understand some of the dangers which may be ahead of them as far as the United States copyright law is concerned, in order that, in the future, they may be able to safeguard themselves. REGISTRATION AT WASHINGTON, THE secretary has had a courteous reply from the registrar of copyrights at Washington, who has forwarded to him not only the circulars issued from the library with regard to the filing of dramatic pieces, but also copies of the forms which it is necessary to fill up. The registrar has also kindly forwarded samples of the other forms, and the Society will be ready to supply members should they wish to have them for the purposes of registration. The Society is deeply indebted to Mr. Solberg for his kindness. REMAINDER SALES. Durinc the last two or three months some serious questions have arisen with regard to remainder sales. In one or two agreements dealing with the publication of expensive books —from 15s. to 30s.—no clause has been in- serted covering the right of the publisher to sell remainders. In the cases referred to the publishers have remaindered the books without any notice to the authors. As no clause has been inserted in the agreements with regard to remainder sales, or the amount of royalty to be paid on such sales, a very difficult position is the result. Under the agreement the publisher would be bound to pay a certain percentage on the full published price. Under the usual clause for the sale of remainders the publisher generally pays a certain percentage on the net amount received. It is difficult to know what the legal decision would be if the author should bring an action for the full royalty on the published price. He would have to show that his damage amounted to that sum; whereas a publisher might maintain that, as the book was not selling, his damage really amounted only to the sum paid as a percentage on the remainder sales. We put the matter forward as a warning to authors. In almost every agreement there is a clause which deals with remainders; if there is no such clause, then we think, as a matter of courtesy, quite apart from the right, the publisher should give the author notice before he effects a sale. It would be interesting to take a case into court where a remainder sale had been made without any clause lying in the agreement dealing with the matter, in order to test the author's rights. Perhaps some. day such a case may be tried. CANON SHEEHAN MEMorRIAL. Ir has been proposed that a memorial should be set up in Doneraile, to Canon Sheehan, who died recently, and the secretary of the THE AUTHOR. fund has written to the Society of Authors to enquire whether any member of the Society would be willing to subscribe. Canon Sheehan must be well known to the members of the Society as the writer of a large number of books and novels. He was a member of the Society for many years, and has been a warm supporter of the Society throughout his membership. The patrons of the fund are the following :— The Right Hon. Lord Castletown, of Upper Ossory. The Right Hon. Alderman O’Shea, Lord Mayor of Cork. Sir John Arnott, Bart. Sir Bertram Windle, President University College, Cork. Colonel Grove White. Langley Brasier-Creagh, M.C.C. Lieutenant-Colonel Cuming. Captain Nichols. Should any member desire to subscribe, subscriptions should be sent to Rev. Br. P. A. Mulhall, Hon. Secretary, Doneraile. 1 COMMITTEE ELECTION. 4 N pursuance of Article 19 of the Articles of I Association of the Society, the committee give notice that the election of members of the Committee of Management will be pro- ceeded with in the following manner :— (1) One-third of the members of the present Committee of Management retire from office in accordance with Article 17. (2) The names of the retiring members are:— Sir Alfred Bateman, W. W. Jacobs, Stanley Leathes, Aylmer Maude. (3) The date fixed by the committee up to which nominations by the subscribing members of candidates for clection to the new committee may be made is January 31. (4) The committee nominate the following candidates, being subscribing members of the Society, to fill the vacancies caused by the retirement of one-third of the committee, according to the constitution :— Sir Alfred Bateman, W. W. Jacobs, Stanley Leathes, Aylmer Maude. The committee remind the members that, under Article 19 of the amended Articles of Association ‘‘ any two subscribing members of 1138 the Society may nominate one or more sub- scribing members other than themselves, not exceeding the number of vacancies to be filled up, by notice in writing sent to the secretary, accompanied by a letter signed by the candi- date or candidates expressing willingness to accept the duties of the post. The complete list of candidates will be printed in the March issue of The Author. —_———+ >_> —___——_- THE PENSION FUND COMMITTEE. pe N order to give members of the Society, I should they desire to appoint a fresh member to the Pension Fund Committee, full time to act, it has been the custom to place in The Author a complete statement of the method of election under the scheme for administration of the Pension Fund. Under that scheme the committee is composed of three members elected by the committee of the Society, three members elected by the Society at the general meeting, and the chairman of the Society for the time being ew officio. The three members elected by the Society are Mr. Owen Seaman, Mr. M. H. Spielmann, and Mrs. Alec Tweedie. This year Mrs. Alec Tweedie retires under the scheme and submits her name for re-election. The members have, however, power to put forward other names under clause 9, which runs as follows :— “ Any candidate for election to the Pension Fund Com- mittee by the members of the society (not being a retiring member of such committee) shall be nominated in writing to the secretary at least three weeks prior to the general meeting at which such candidate isto be proposed, and the nomination of each such candidate shall be subscribed by at least three members of the society. A list of the names of the candidates so nominated shall be sent to the members of the society, with the annual report of the managing committee, and those candidates obtaining the most votes at the general meeting shall be elected to serve on the Pension Fund Committee.” In case any member should desire to refer to the list of members he can do so if he gives notice to the secretary, or if he prefers he can forward the name of his proposed candidate or candidates and the secretary will inform him if they are members. It will be as well, therefore, should any mem- ber desire to put forward a candidate, to take the matter within his immediate considera- tion. The general mecting of the Society is usually held in March. It is desirable that all nominations should be in the hands of the secre tary before January 31. 114 M. ANATOLE FRANCE IN LONDON. —— + ANATOLE FRANCE has been on a visit to London during the past month and on December 10, a dinner was given in his honour at the Savoy Hotel. Lord Redesdale presided at the dinner, among those present at which were the Earl of Cromer, Viscount Goschen, Mrs. Humphry Ward, Mr. H. G. Wells, Miss Marie Corelli, Mr. Alfred Sutro, Mr. Israel Zangwill, Mr. W. J. Locke, Mr. John Galsworthy, Madame Sarah Grand, Mr. C. Lewis Hind, Mr. Jerome K. Jerome, Mr. W. W. Jacobs, Sir Frederick Pollock, Mr. T. P. O'Connor, M.P., Sir D. Mackenzie Wallace and Sir James Yoxall, M.P. Apologies for. inability to attend were sent by Mr. Asquith, Mr. Balfour, and Mr. Thomas Hardy. The chairman, in proposing the toast of the guest of the evening, said that he might have referred to him as one who has distinguished himself in many capacities, one who was an antiquary, a scholar, a man of science, an artist ; but he preferred to speak of him in a capacity which included all those qualifications, the capacity of an illustrious novelist. The novel was the champagne of prose literature— and it was a Yorkshire parson, Sterne, who invented the novel, as it exists to-day. He hoped he would not be charged with boasting if he weleomed M. France to the home of the novel. M. France, in the course of his reply, said that it was fitting the chairman should have spoken of the novel, both because he was the admirable writer who had made known in Europe the heroic tales of Japan, and because he was an Englishman. During two centuries English writers had produced masterpieces in this genre. Need he recall the names of Richardson and Fielding, Swift and Defoe, Seott, Dickens, Thackeray, George Eliot ? There he pulled up, in order not to confer on the living a premature apotheosis! England was the native home of the novel, as was Normandy of the apple or Valencia of the orange. ‘Why? That question could be answered only in a large volume or in a single word. He would answer it in a word. The novel was in its nature intimate, cordial, and homely, and the spirit of the Englishman was homely, intimate, and cordial. What was infinitely precious to him as their guest, he gontinued, was the opportunity which was given to him now to express his respectful and tender affection for England, and to pay THE AUTHOR. homage to all there who represented the essential English genius, to all of them who, after a long series of robust generations, conveyed the vast and profound spirit of Shakespeare and Bacon. In this English genius there was a vigorous continuity which provoked wonder and compelled admiration. Its gravity, wedded to a perfect good humour, its happy combination of realism with a sublime idealism, its patient effort after justice, its virile energy and constancy in virtue, made it a perpetual homage to human liberty and human dignity. It had won the esteem of the whole world and had nowhere been better known nor more esteemed than in France. ———_+— + —_—___ UNITED STATES NOTES. —— HERE still continues to be discussion about the relative quantity and quality of books produced in the United States ; and the: Publishers’ Weekly, in whose columns the matter has been amply debated, has recently expressed the hope that ‘‘ the much- abused slogan ‘ fewer and better books’ is at last being heard.” Figures do not, indeed, support the idea that the output of books (of all kinds) is decreasing at the moment, since the Fall Announcement List shows an increase in titles of 5 per cent. over last year’s—itself nearly 29 per cent. larger than that of 1911. But it is thought that, on the whole, there will prove to have been a numerical decline in book-production for two years past, accom- panied by an improvement in quality in the non-fiction class. One Boston publisher has ventured on the opinion that the ery ought now to be changed to ‘‘ more and better books.” It is noteworthy that the publishers profess the most vivid interest in the question. The authors are comparatively silent. Biographical works have been unusually numerous since I last wrote. First place may be given to ex-President Roosevelt’s and Admiral Dewey’s autobiographies. Then there are Senator H. Cabot Lodge’s “ Early Memories ” ; Amelia Barr’s ‘“ All the Days of My Life”; Mrs. John A. Logan’s ‘‘ Reminis- cences of a Soldier’s Wife ’? ; and F. T. Martin’s “Things I Remember.” ‘Harrison Gray Otis”’ is portrayed by S. E. Morrison, a descendant. W.J. Johnson writes of “ Lincoln the Christian,” Dr. W. Elliot Griffis of “‘ Hep- burn of Japan,’’ Caroline Ticknor of ‘‘ Haw- thorne and his Publisher.’’ W. E. Ford edits THE AUTHOR. “The Writings of John Quincey Adams,” Frederick Bancroft ‘‘The Speeches, Corre- spondence, and Political Papers of Carl Schurz,’ and Sara Norton and M. A. de Wolfe Howe, conjointly, ‘‘ The Letters of Charles Eliot Norton.” Among the historical works are Senator J. H. Lewis’s ‘‘ Two Great Republics—Rome and the United States’; J. Spencer Bassett’s “‘ Short History of the United States”; G. L. Rives’s “‘The United States and Mexico, 1821-1848’; Rear-Admiral Fiske’s ‘‘ War Time in Manila”; J. A. Le Roy’s “ The Americans in the Philippines’; R. M. John- ston’s ‘ Bull Run: Its Strategy and Tactics ” ; and R. F. Guardia’s ‘‘ Discovery and Conquest of Costa Rica.” Two notable Anglo-American books are Senator Lodge’s “‘One Hundred Years of Peace’’; and Mr. Whitelaw Reid’s ‘“* American and English Studies.” Ex-President Taft has a work to his credit— “Popular Government: Its Essence, its Permanence, and its Perils.” Somewhat similar in the suggestion of its title is H. C. Emery’s ‘‘ The Politician, the Party, and the People.”’ Political also are ‘‘ The Theory of Social Revolution,’ by Brooks Adams ; ‘‘ The Monroe Doctrine, an Obsolete Shibboleth,” by H. Bingham ; and “‘ A Preface to Politics,”’ by Walter Lippmann. The feminist question is considered in ‘‘Sex Antagonism,” by W. Heape; ‘‘ Woman in Science,” by H. J. Mozens; and “A Survey of the Woman Problem,” by Rosa Mayreder. “ Present Forces in Negro Progress,” is by Dr. W. D. Weatherford. C. O. Gill and G. Pinchot discuss ‘‘ The Country Church: Its Decline and the Remedy.” Professor W. G. Bleyer is the author of “Newspaper Writing and Editing,” and Pro- fessor F. P. Graves of ‘‘ A History of Education in Modern Times.” Literature and art do not claim a long list of recent books. Among them, however, is ex-President Roosevelt’s “‘ History as Litera- ture, and other Essays.” ‘“‘ The Book of the Epic,” is by H. A. Guerber ; ‘‘ Art and Common Sense,” by Royal Cortissoz; ‘‘ London in English Literature,” by P. H. Boynton. In “The Wallet of Time,’’ William Winter deals with the American stage between 1791 and 1812, while Dr. R. E. Burton writes about ‘* The New American Drama.”’ Travel books and the like are fairly numerous. “The Panama Gateway,’ by J. B. Bishop ; “The Panama Canal,” by Earle Harrison ; “The Story of the Panama Canal,” by Logan 115 Marshall ; and “‘ Pacific Shores from Panama,” by E. C. Peixotto, all derive their inspiration from one source. Home is dealt with in R. H. Schauffler’s ‘‘ Romantic America,”’ Caroline Richards’s ‘‘ Village Life in America (1852- 72), and Belmore Brown’s ‘‘ Conquest of Mount McKinley.” P. J. Eder, with ‘‘ Colom- bia,” and D. R. Williams, with ‘“‘ The Odyssey of the Philippine Commission,” go further afield; and further still, Theodore Dreiser’s ** A Traveler Abroad,’ C.S. Oleott’s ‘‘ Country of Sir Walter Scott,” and A. H. Exner’s ** Japan as I Saw It.” By exercising a discrimination,, which .may not be entirely just, it is possible to reduce the army of new novels to reasonable dimensions. Undoubtedly the most popular of the autumn volumes were Gene Stratton-Porter’s ‘‘ Laddie”’ and Rex Beach’s ‘“‘ The Iron Trail.’ The best sellers’ lists have also included ‘‘ The Way Home,” by Basil King; ‘A Fool and his Money,” by G. B. McCutcheon; “ Otherwise Phyllis,’ by Meredith Nicholson; ‘The Business of Life,” by R. W. Chambers ; “ The Lady and the Pirate,” by Emerson Hough ; and ‘“‘ The White Linen Nurse,”’ by Eleanor Hallowell Abbott. Richard Harding Davis’s new novel is ‘‘The Lost Road”; Payne Erskine’s ‘“‘ The Eye of Dread ”’ ; R. W. Kauff- mann’s ‘‘ The Spider’s Web ”; G. R. Chester’s “Wallingford and Blackie Daw”; Kate Douglas Wiggin’s ‘‘ The Story of Waitstill Baxter”; L. J. Vance’s “ Joan Thursday ”’ ; Ridgewell Cullum’s “‘ The Twins of Suffering Creek’; Edith Wharton’s “‘ The Custom of the Country’; Stewart Edward White’s ** Gold ” ; F. H. Spearman’s ‘“‘ Merrilie Dawes ” Harriet Hobson’s “‘ Sis Within ’?; and Harold Bell Wright’s ‘‘The Eyes of the World.” Margaret Deland has brought out “ Partners ” ; Samuel Blythe, ‘‘ The Price of Place” ; Anne Elliott, ‘‘ The Memoirs of Mimosa ”’ ; Marjorie Patterson, ‘‘ The Dust of the Road”; David Potter, “‘ The Streak’; Anne Wharton, “A Rose of Old Quebec’’; Laura E. Richards, “The Little Master’?; Mrs. Corra Harris, “In Search of a Husband’; Will Levington Comfort, ‘‘Down among Men”; Harold MacGrath, ‘‘ Deuces Wild’; Mary Johnston, ‘Hagar’; Gouverneur Morris, “If You Touch Them They Vanish”; J. B. Ellis, ‘“‘TLahoma’’; and W. M. Harvey and J. C. Harvey, ‘“‘The Hills o’ Hampshire.” Mrs. R. C. Sheffield’s novel, ‘‘ The Golden Hollow,” sprang into immediate fame owing to an attempt by the lady’s husband to prevent its publication, on the ground that he was libelled in it ! Finally, mention must not be omitted of two posthumous works of fiction—Myrtle Reed’s “Threads of Grey and Gold,” and Vaughan Kester’s ‘‘ The Hand of the Mighty, and other stories.” : The obituary of the past half-year contains many names of writers, though perhaps the majority of them are but little known in England. In June, too late for inclusion in the last issue of these notes, occurred the deaths of Lucius Harwood Foote, a poet who was once U.S. Minister to Korea; of the Rev. Dr. C. A. Briggs, hero of a Presbyterian heresy-trial eleven years ago, and a prolific religious writer ; of M. M. Muhleman, author of a number of financial works; of T. A. Janvier, editor, novelist, ete., and friend of Frédéric Mistral ; of the Rev. E. G. Murphy, a southern philan- thropist ; and of Judge T. M. Norwood, ex- Confederate and Senator. Early in July died Mrs. Mary Harrison Seymour, a writer of children’s books. Miss Nell Speed, another worker in the same line, followed her at the beginning of August. Professor J. C. Coney, of Princeton University, died on July 25. September saw the deaths of Professor A. G. Newcomer ; of the Kentuckian, R. T. Durrett ; of the Rev. Dr. James Orr; and of Eliakum Zunser, the Yiddish poet. In October died Stanley Waterlow; Stephen Jenkins; the Rev. Dr. J. I. Mombert; Professor C. F. Richardson ; Mrs. Sara Andrew Schafer; W. Garrott Brown; Mrs. M. B. Crowninshield, widow of the Admiral; and Reuben Gold Thwaites, of Wisconsin University. Price Collier died on November 8, when on a visit to the Baltic. The writings of the last named are, of course, as well known in the Old World as in the New. Puitie WALSH. —————p-~<¢—___ ARTISTS, CRITICS, AND EXHIBITIONS. —-— + A” interesting article in a recent issue of The Author on artists and critics prompts me to offer a few remarks on the subject; my excuse being that I have been writing about art for more years than I care to recall, and that during that time I have had considerable opportunity, not merely of thinking about the vexed question of the legitimate limits and province of art criticism, but what is more to the point, of learning from all sorts and conditions of artists, their views thereon. 116 THE AUTHOR. I would like to epitomise, as briefly as possible, these views with which, I confess, I have a large measure of sympathy. Artists generally hold, as your contributor hints, that it is absurd, speaking generally, to suppose that one man can be competent to tackle every phase of artistic thought and expression : every school of art. They hold that the critic is lacking, commonly, in catholicity of taste, and that his knowledge of painting and ~ sculpture is necessarily limited, in a technical sense and in other regards. In most cases the critic has a strong bias toward a particular school of painting, so that he is apt to judge everything that comes under his review from the standpoint of its approximation to, or deviation from, the preconceived standard he has set up in his mind, The literary man is in a much happier case in regard to the newspaper judgment of his work, because, in the first place, his critic is another literary man and consequently knows something about the technical difficulties of the literary vehicle of expression. Moreover, as your contributor remarks, the editor sees that a book coming to him for review is sent out to the critic who has made, or is supposed to have made, a special study of the subject treated in that particular book. Editors know that such and such a reviewer on their list is incompetent to judge, say, a theological work, though he may be trusted not to make a fool of himself in dealing with a treatise on the arts and crafts. Artists maintain that the language of art is art, and that although Ruskin and others have tried to translate it, put it into words, that is to say, it remains a thing apart, to be understood fully by the practitioners of art only. A writer can only tell you what is wrong with a picture, whereas he should he able both to point out a fault and tell you how to correct it. If a critic should tell a writer that his book is full of split infinitives; that the meaning is often obscured by the too free and too com- plicated use of parenthesis, that its facts are faulty; its opinions based on insecure or fallacious grounds ; its style loose, or what not, he has not only pointed out definite faults, but in doing so has suggested remedies. The assumption is that the literary critic knows how to write well enough to improve the book he criticises, and this he either proves or the reverse by the quality of his own literary style and the character of his criticism; whereas an art critic is not called upon to prove his power to improve a picture in writing about it. THE AUTHOR. 117 In view of these and cognate considerations, it is held by artists that they are to be pardoned if they look upon art criticism generally in the light of “notices,” rather than as a guide to aid and correct performance. Conse- quently, it is not unnatural that when a notice becomes offensive they commonly resent it. ' If a painter should come into another painter’s studio and say bluntly, ‘‘ That arm’s too long,”’ or ‘‘ That nose is too short,” indicat- ing the alteration necessitated with a piece of chalk, he is in fair way to prove himself right or wrong; the matter can be determined one way or the other. The like applies to much more subtile criticisms. Whereas, when a critic arbitrarily declares that a picture is ‘too degraded in tone,” that it lacks distinc- tion, that the artist needs to take lessons in perspective, that his colour gradations are in defiance of truth, or too truthful to be beautiful, and so forth, he merely makes assertions upon which no onus of proof rests. To come from the general to the particular. It is undeniable that mixed exhibitions in London and other great cities are, generally speaking, arranged with the design to attract attention, to draw the town, so to speak; to express and take advantage of any new theory that may have ‘“‘ caught on.” The result is that pictures not painted with these aims are fairly certain to be overlooked by the critic whose one preoccupation frequently is to make “copy.” So that in recent days, truth to nature no longer counts, and the indirect result is that too many artists, rather than run the risk, amounting almost to a certainty, of being left behind, throw nature and truth overboard. They become frantically eager to be in the movement, to assert their “individuality ”’ and so secure notice. To-day, moreover, pictures are more and more regarded as mere wall decorations, and this being so any new convention pleases for the moment, so long, that is to say, as the particular scheme of colour and design is in the mode. To this scheme pictures must accord. The result is lament- able for the landscape painter ; for what does or can the average fashionable Londoner know about the country, which he merely resorts to in the holiday-maker’s spirit? As the town continually increases its boundaries, this must be more and more the spirit in which the country is regarded and tolerated. Despite the fact that motors take Londoners from centre to centre, their view of the country must be merely panoramic, and their apprecia- tion of it must become increasingly super- ficial and artificial.* The real life and soul of nature, the real meaning of the countryman’s life and habit of |thought become less and less understood. Hence, if a landscape painter in any case is to attract a wide public his work must become more and more decorative and conventional: it must be painted to supply a@ want. The time has already arrived, speaking in the social sense, when London exists solely for those who follow fashion and resort to it to be tickled with the latest novelty. Its exhibitions of pictures must, if they are to pay their way, conform to the inexorable necessity of tickling the palates of the groundlings. Consequently the true artist is returning to that happier and far more gracious state when exhibitions and critics were factors outside his considera- tion. He is becoming content to paint for those few whom the good God gives him; for appreciative folk of his own neighbourhood, folk familiar with and loving the scenes he depicts. He works, as all great artists of old worked, to please those with whom he comes into direct contact, leaving his fame now and hereafter, in a more extended sense, to take care of itself. The artists who have arrived at this sensible and dignified resolve are much happier in themselves and in their work than those to whom exhibitions and newspaper notices are necessities. Jas. STANLEY LITTLE. ——_——_ + —~>—__+-—______—__ WHO’S WHO, 1914.* eg 2 HO’S Who” is so well known as hardly to stand in need of recom- ‘ mendation. There is in any year very little to be said about this valuable annual except that it has again grown larger, and will so be more helpful than heretofore. We have only to remark that the new volume maintains its traditional level, which is giving it the highest praise that can be bestowed upon it. ae WHO'S WHO YEAR-BOOK FOR 1914—15.¢ ne N a few words contained in his preface, the editor of ‘‘ Who’s Who” very justly draws attention to the assistance which all possessors of that work will derive from this * “Who's Who, 1914.” Sixty-sixth year of Issue. London: Adam and Charles Black. + ‘“Who’s Who Year-Book for 1914—15.” London : Adam and Charles Black. 118 fellow-volume, the ‘‘ Who’s Who Year-Book.”’ The commodious alphabetical arrangement of the larger volume necessarily precludes any grouping of the vast amount of information which it contains. This grouping of infor- mation is, at the same time, indispensable when a name has to be sought; and 1s immediately provided by the exhaustive indexes under various headings presented in the ‘‘ Year-Book.’’ We therefore entirely agree with the editor that “it can be truly said that no one who does not spend an extra shilling on the lesser work can reap the full advantage of the larger one.’”’” Among new tables included for the first time in the present edition are: A list of the Heads of Universities, of General Officers and Admirals on the Active List, of Premiers of Colonies, and Members of Royal Commissions now sitting. While recom- mending the work generally, we must add that it is one likely to be particularly useful to journalists as well as to other literary men. ——_+ + —___ THE WRITERS’ AND ARTISTS’ YEAR- BOOK.* 1 S there any occasion to say that ‘‘ The Writers’ and Artists’ Year-Book ”’ ought to be in the hands of every author? We hope that there is not, for no manual of equal value exists, whilst its price puts it within the easy reach of all. Among the new features of the volume of 1914 are an article on cinema- play writing by an expert, a detailed list of cinema companies and their requirements, and an article on press photography. In addition to this the book has been this year greatly enlarged by the inclusion of fresh matter; whilst a last but most happily invented novelty is, at the end of the volume, the provision of blank pages, duly ruled, on which authors may record where MSS. are sent and when, and with what results. The conve- nience of this will be instantly apparent to all contributors to periodicals, and ought alone widely to increase the popularity of this valuable little book. * “The Writers’ and Artists’ Year-Book, 1914,” Iondon: am and Charles Black. THE AUTHOR. **BOOK PRICES CURRENT.” * oo HE numbers of Book Prices Current lying aL before us complete the twenty-seventh volume; and record the sales from March 18 to August 1, 1918. We learn from the preface that the auction season has been ‘*one of the busiest on record, as well as one of the most successful.”” The total amount realised, in more than sixty high-class sales, has closely approached £200,000, a sum exceed- ing any previously on record for a corresponding period; whilst the average sum realised throughout the season has been £5 Os. 7d. ; also the highest on record; 1911, 1912, previously the highest average recorded, gave an average of £5 Os. 2d. This remarkable record has not been due to the Huth sale alone. During the last two years a very large number of rare and valuable books have come into the auction rooms, and they have fetched there higher prices than at any previous date. On the other hand, other books, of value, but not such as are sought by the book collector have sold for sums considerably smaller than they fetched a fewyears ago. Here the scholar, as distinct from the book collector enjoys an advantage, and may hope to purchase volumes required for working purposes at somewhat - diminished prices. The editor of Book Prices Current speaks of the impression that ‘“ all sorts and conditions of owners desire to dispose of their possessions as quickly as possible ’’ as an. “‘ illusion,”” but we must confess to wishing that we could be quite sure of that ; or even sure that authors at least paid as much attention as their calling demands to the possession of books—and to reading them. A depreciation in the value of books that are not collectors’ books has a sinister appearance of being of one piece with a good many other phenomena of “the advance of education,” or what at present passes for such. We have, unfortunately, space for picking out only a very few plums from the widely interesting details of the new numbers of this always entertaining periodical. Those who like to read of strange books, of the most varied description, should turn to the pages recording the sale (April 3, 4, Sotheby) of the © first portion of a book-lover’s library. Authors are likely to be particularly interested in such lots as (April 3, Hodgson) Meredith ‘‘ Ordeal of Richard Feverel,”’ first edition, 8 vols., original cloth, 1859, £8 15s. The same price * “ Book Prices Current,” Vol. XXVII., Nos. 4 and 5, 1913. 2s London : -Elliot Stock. te het Sg a ES THE AUTHOR. 119 was paid (April 23, Sotheby) for two works by Gissing (“Workers in the Dawn,” “ The Unelassed’’), both similarly first editions in three volumes in the original cloth. Very striking were the prices fetched at the sale of the Browning Collections (May 2, MSS. ; May 5—7, printed books, Sotheby). Particu- larly the prices paid for the MSS., should be noted. Every one of them would be worth quotation if we had space ;_ but we can record here only such things as pairs of small manu- script note-books selling for £33, £50, and £52 ; and the autograph of “* Sonnets from the Portu- guese” for £1,130. The printed books also fetched quite fancy prices on account of ownership, autographs and manuscript notes. Eleven volumes of the Tauchnitz classics sold for £24. On June 2 Messrs. Sotheby began the sale of the fourth portion of the Huth library. It will be needless to say that, as on previous occasions, no notice could possibly do justice to the rarities offered for sale. Mr. Bram Stoker’s Library was sold by Sotheby on July 7 and 8. The original MSS. of “ Personal Reminiscences of Henry Irving ”’ sold for £1 4s. THE PUBLISHING TRADE FROM WITHIN.* ——_— + HIS is really an American book, though it comes to us from an English house ; and it is solely of the transatlantic conditions of the book trade that it treats. The author, it must be added, writes from the publisher’s point of view, and fails to perceive a good many things which are conspicuous from the view- point of this Society. He writes, for instance, as if 10 per cent. were the royalty fixed by the laws of nature, and does not seem-to see the abandonment of those costly advertising methods which, in America at all events, once afforded some justification for the doctrine warrants the appropriation to the writer of a larger share of the returns. Nor does he take sound views of the functions of literary agents; and, indeed, it is not quite clear what his views on that branch of the subject really are. On one and the same page he writes that the agent “‘ is often a beneficence to publisher as well as author,” and that, ‘depending equally upon author and publisher for his livelihood, he is always at odds with one _ * “The Publisher,” by Robert Sterling Yard. Constable. 4s, 6d. net. of them.’ Why either publisher or author should always be ‘‘ at odds” with one who is labouring successfully for his advantage we have some difficulty in understanding ;_ but, perhaps, the key to the mystery is contained in the following sentence :— ‘** It is only when slack business or exces- sive zeal drives him into forcing royalties or luring authors from their natural publishers in order to win a commission by placing them with others that he becomes the devil.” The implication here seems to be that the agent is all right as long as he does no work for his commission beyond the packing up of parcels, and that, when he does any other work, he does it, not in the interest of his client, but in the interest of the new firm to which he allures his client, and is entitled to be, and commonly is, paid a commission by that firm for his services. That is a view of literary agency against which we have often had occa- sion to protest. In England, at all events, it is illegal as well as immoral; and it is doubly important to emphasise its impropriety when we find a publisher’s representative writing as if he thought it a legitimate proceeding, offensive to no one except the publisher who suffered by it. Still, though we often disagree with Mr. Yard, we are glad to have read his book. It is desirable that the author should know what is in the publisher’s mind; and Mr. Yard not only tells him this, but tells it in a light and entertaining manner, and with a real enthusiasm for literature as well as for success. —__+.—_o—._ “PICTURES” AND PICTURE-PLAYS.* ag does not, at first sight, seem to be much that concerns authors, as authors, in the subject which gives its title to Mr. Talbot’s book. Nevertheless, even those who are not attracted by the idea that they may read therein something about the practical side of the art or industry which provides us with ‘“‘ the pictures’? on every vacant spot where it is possible to erect a ‘* palace ’’—even those may turn with interest to the eighteenth chapter of the book and see what Mr. Talbot has to say about picture- * ‘ Practical Cinematography and its Applications,” by Frederick A. Talbot. London: Wm. Heinemann, 120 plays and the writing of them. The vogue of the picture-palace, he points out, has created a new profession ; and, while at the start the public was not exacting as to the quality of the drama shown upon the screen, content with the mere novelty of the exhibition, now the state of affairs is quite different. Better fare, stronger plots (coupled with improved mount- ing and acting) are demanded, and the un- known struggling dramatist, foiled hitherto by the lack of enterprise on the part of the theatrical managers, has a golden opportunity. Mr. Talbot speaks enthusiastically :— To-day the embryo dramatist never bestows a thought upon writing for the stage ; the cinematograph will absorb all that he can produce, and as rapidly as he can complete it. No longer need a budding genius starve unknown and unappreciated in a garret. If his work possesses any merit the cinematograph will turn it to profitable account. About 300 picture-plays are placed upon the world’s market every week, and consequently the consumption of plots is enormous. What is more important from the author’s point of view is the expanding nature of this market, where supply cannot keep pace with demand, and the proportionate improvement that is manifest in the scale of remuneration. Ten years ago a plot seldom fetched more than five shillings ; to-day the same material will command anything between £5 and £50. In this field of activity reputation counts for nothing. The play, and the play only, is the thing. We could quote much more, but it is un- necessary, to show what a boon Mr. Talbot considers that the development of cinemato- graphy has bestowed upon the author with dramatic talent. We must add that he finds the British producing firms lagging behind the times, though signs of awakening are becoming evident, and one or two of the most pro- gressive establishments now pay up to £10 for a play. Further, we are told that so much is the standard of excellence rising that ‘‘ the highest work only now stands a chance of being accepted.’ It must not, therefore, be thought that anyone can write a picture-play, nor must we trust the “ advertisements freely inserted in the various periodicals offering to teach the art of writing plays for the cinemato- graph and to submit the plots to the various producers in the manner of a literary agency.” The author should submit his work directly to the producer and deal with him alone, while the art of writing cannot be taught by schools, but can only be acquired by experience. In a way the title of the chapter, “‘ How to write photo-plays,” is misleading. Mr. Talbot is not so foolish as to attempt to supply the place of the experience which he declares essential. Tis chapter, however, is suggestive, and gives additional value to a book which can be thoroughly commended on other grounds. THE AUTHOR. A large number of illustrations accompany the text, showing both the apparatus by which moving-pictures are taken and some most instructive results. -_- A MODERN ENGLISH DICTIONARY,* y VERY dictionary must be written from a special view-point. Even Sir J. A. H. Murray’s world-famed production, ex- haustive as it is, cannot contain everything. In a dictionary the general get-up is a matter of vital importance. It must not be too large, it must not be too heavy, the printing must be clear, the paper good. In these essentials the ‘Modern English Dictionary’? must be commended. One feature is a series of glossaries con- taining comprehensive lists of technical terms referring to certain sports. These lists are compiled by such well-known authorities as Lord Hawke on cricket, James Brady on golf, Claude Grahame White on aviation, and J. E. Raphael on Rugby football. We are not so satisfied with the illustrations. It is really an impossible thing to illustrate a dictionary, and though the examples of aero- planes may give to the reader of 1913 some interest, yet the examples of marine engines, p. 284, seem to be quite hopeless, and unable to suggest anything even to the mind of an engineer, certainly nothing to the lay mind. The coloured illustrations also are not very satisfactory. The standard cattle, p. 158, to give but one example, afford little real infor- mation to those who search the dictionary for knowledge on the subject. The illustrations in a dictionary are bound to be so limited that it were better to omit them. For the dictionary itself, as far as it has been possible to peruse it, there is nothing but com- mendation. Indeed, the names of the editorial contributors on the front page, Sir James Yoxhall, Professor Gollanez, Professor Walter Rippmann, Henry R. Tedder, H. J. L. J. Masse, at once carry conviction that the work has been satisfactorily done. There are, in addi- tion to the glossaries, some useful appendices. The book should prove of value to those who. want a dictionary which attempts to bring the outstanding interests of life into its compass. * “The British Empire Universities Modern English Dictionary.” Published by the Syndicate Publishing Company, 41, Southampton Row, W.C. CORRESPONDENCE. + * Onxy.” I. Sr1r,—It was high time that protest should be made against the misplacement of “ only.” My books are crammed with marginal cor- rections of examples; to cull them would fill columns. But I will give only one, and that from Lord Morley’s “ Diderot” (Vol. L., ii., p- 77), ‘‘ He only speaks as one brooding,” etc. A writer in the current number of 7. P.’s Weekly flatters Lord Morley by imitation, ‘when he says of a bookseller that “* of twenty novels submitted to him he only ordered two.” Yours faithfully, Epwarp CLopp. II. Sir,—Your last issues contain letters in which exception is taken to such sentences as “the tide had only turned two hours before,” ‘“* T shall now only add three remarks for your consideration,” ete. So far from being a ‘* vulgar error,” this throwing forward of the ‘only ” is a natural and instinctive action of the mind by which the hearer is warned as early as possible of the nature of the statement asa whole. Of possibilities of various degrees, a minor one is to be put forward as the predi- cate. A colour and a force is thus often given to what would be otherwise a mere correct verbal statement. If a man asks me to give him a book I have in my hand, I reply: “I bought it only yesterday,” I am giving him a formal verbally correct piece of information. But if I say: “I only bought it yesterday,” I am also making a protest. The “only” represents my chief emotion and must come out at once. Personally, I prefer living language to dead formalism. Yours obediently, Louis ZANGWILL. Boox Covers. S1r,—I should like to utter a protest—I fear a futile protest, for vulgarity is the order of the day—against the paper covers, not only with startling but with misleading pictures on them which even respectable publishers give to the books they issue. Has the author any centrol over these? Reviews had _ lately attracted me to a certain book but I was inclined to think I must have been mistaken THE AUTHOR. 121 as to its character when I saw the wrapper. The pictorial decoration, however, proved to be a gross exaggeration of an incident in the novel—a noble book. The dodge, in order to attract readers who would not be in sympathy with the contents, was like to alienate those who would be. It struck me as being bad business as well as insulting to the writer. Faithfully yours, IsosEL Fitzroy Hecur. THE LATE Dr. ALFRED RussEL WALLACE. Dear S1r,—The family of the late Dr. Alfred Russel Wallace having invited me to arrange and edit a volume of letters and reminiscences, they would be thankful if those of your readers who have letters or reminiscences would kindly send them to me for this purpose. The letters would be safely and promptly returned. Will provincial, American, colonial and foreign newspapers kindly republish this letter. Yours faithfully, JAMES MARCHANT. BROWNING RELICs. Dear Srr,—Will you kindly permit me to interest some of the readers of The Author in the following facts ? It has been my privilege to purchase the wonderful oak bookcase of that great poet— and great man—Robert Browning. My object in doing so was to save it to our own land, as there was imminent danger of its leaving the country. I wish to give any and every lover of Browning’s memory and poetry, an oppor- tunity of subscribing his or her coin, as he or she is able, towards the £250 required to secure the bookcase a permanent resting place in England as a national heirloom. I am told that it would easily fetch from two to three thousand pounds from America. But that, of course, is unthinkable to fellow- countrymen and women of the Brownings. The insignificant sum of £250 should be easily forthcoming within the three months for which the offer remains open, if each sympathiser will contribute his or her coin promptly and endeavour to interest others. Would it not be a shame and a national disgrace were we to permit this precious relic to go abroad ? The bookcase is of fine old carved oak, gathered together by the poct himself, as he wandered about Italy. Some of it is fifteenth 122 THE AUTHOR. century oak; other pieces are of early sixteenth and seventeenth centuries. The bookcase is 11 feet high by 7 feet broad. It stood in the drawing room at Casa Guidi, and later in Browning’s London home. It is mentioned in Mrs. Browning’s letters to Miss Mitford, July 4, 1848. And there is a very’ interesting allusion to it in “ Bishop Blougram’s Apology,” which, if read in con- junction with Mrs. Browning’s letter, sheds a very pretty light on a personal matter in the Brownings’ history. Many of the poet’s MSS. must have been locked up in the fine cupboard at the base of the bookecase—probably ‘“‘ The Little Yellow Book” itself found here a_ resting-place. If any of your readers would care to see the bookease, I should be glad to send them permits to view it, which, thanks to the kind- ness and hospitality of Mr. J. R. Thomas, is now housed in the Georgian Galleries belong- ing to that gentleman, and situated at 10, King Street, St. James’s, S.W. I am, dear sir, faithfully yours, (Mrs.) E. M. Story. Orchard House, Whelton Road, Twickenham. Dear Srr,—I am suffering from a dis- agreeable emotion—regret for having tried to do a kind action for my fellow authors. I have just received the following letter :— *“DEar Mapam,—Acting on the sugges- tion in your letter in The Author dated September 16, I directed my publisher to send a copy. of my (name of book) to Monsieur Paul Louis Hervier, 28, Rue de Beaumont, Bourges, France. He has not acknowledged the book, nor taken any notice whatever of a second application asking him to do so—to return the book— or give the review for which purpose now so long ago it was sent. To my thinking, such conduct reflects discreditably on the recom- mendation, or . . . A brief acknowledgment would have met the need—one cannot afford to give books away in this way. I shall feel obliged if you will bring the omission to his notice, as my pen fails to have any effect.” “Yours truly,” ee o> The ellipsis represents a libellous suggestion which The Author would not print, I do not know when the book referred to was published, but my letter appeared in October’s Author, and La Nouvelle Revue is published only twice each month; so, even if the book was sent to the French editor immediately, but four numbers have made their appearance since. I am writing to Monsieur Hervier, but not quite in the way my correspondent suggests. I am writing to apologise for a compatriot, and to express the hope that he will not be disgusted with his work of helping with a kind and clever brain the English authors whose books are sent to him. By the way, this lady and her publisher have evidently had the unique experience of having every ‘“‘review copy” noticed gor ** acknowledged ”’—wonderful ! Yours truly, Maup ANNESLEY. ADVERTISEMENTS. Srr,—It frequently is the misfortune of those who read the daily papers to find after wading through half a column of chatty gossip that it all ends in advertisement—a recommen- dation to buy some patent medicine, or to dine at some special restaurant. All this is bad enough; but it is my desire to call the attention of my fellow members to an editorial liberty that has been taken twice to my know- ledge and, probably, much more often. The editor of a young magazine—the name can be obtained from the secretary—altered the locale of a short story he had bought by changing the name of one well-known restaurant inserted by the author to that of another whose advertisement he held. The matter would have been of less import- ance if only the description, somewhat detailed of the former, applied to the latter. It did not. Interested by this little incident I forgot myself so far as to purchase another copy of the magazine some months later. There I found the heroine “* daintily throwing away the end of her cigarette.”” I immediately turned to the advertisement pages and found ’s cigarettes being advertised. If the author desires to advertise some special abnormity, let him do so. his taste or his art. But it is not fair that he should be at the mercy of the editor. I should like very much to see an action brought. What damages would the British jury award, I wonder. Yours truly, AGGRIEVED. I do not admire . 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. 24 Issue 04 (January 1914) Subject The topic of the resource The Author, Vol. 24 Issue 04 (January 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-01-01-The-Author-24-4 publications The Author https://historysoa.com/files/original/5/534/1913-12-01-The-Author-24-3.pdf 1246dc6d44868a99b20c2d6f30860911 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-12-01 Volume 24 Issue 3 Pages Page range in volume 63–92 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19131201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Butbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. Vor. XXIV.—No. 3. DECEMBER 1, 1913. [PRIcE SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. ge NOTICES. 4 | ae the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be. made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. ——_—_——_——_+—_—___—_ THE SOCIETY’S FUNDS. —— ++ ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other “9 64 matter closely connected with the work of the Society. . : 8 (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. ————__+—>—_+—___—_ THE PENSION FUND. — N January, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £16 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. £8. dk: Bocsl Loans. 2.6.0.6 boss chien 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ............ 250 0 0 Egyptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Cape of Good Hope 34% Inscribed StOCk = 0.6, 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock .... 228 0 0 New Zealand 34% Stock ....... 247 9 6 Irish Land 23% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 1927—57 ..1......5.... 438 2 4 Jamaica 34% Stock, 1919—49 .. 18218 6 Mauritius 4% 1987 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ...... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- dinary Stock ,........ 0... -. 282 0 0 THE AUTHOR. Nominal Value £ sd. $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........... 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .........+. 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ............ 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue... 80 0 0 PENSION FUND. + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from January 8, 1913. It does not include either donations given prior to January, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. April 8, Caulfield-Stoker, T. . ; June 12, Wimperis, Arthur . : June 16, Ballantyne, J. W. June 16, Thorold, Rupert Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. : ; : Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry : Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, E. A. . Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Novy. 7, Lang, Mrs. John Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton OR et Or MOCO COOOHO OOO OHOHOM coceoococooscoosooooooOF® OM Or Or OL OT OLS Or OLS Donations. 19138. April 2, Daniel, E. H. . April 2, Hain, H.M. . : : April 7, Taylor, Miss Susette M. . April 7, Harding, Newman . . April 9, Strachey, Miss Amabel_ . April 10, Aspinall, Algernon . ecocoeooo Arana oooooom THE AUTHOR. DH RON OOOO OO ON DN & et OO Or OTe ee April 15, Craig, Gordon : . April, Robbins, Miss Alice . . June 12, Peel, Mrs. . : June 13, Barlow, Miss Hilaré . June 13, Kynnersley, E. M. Sneyd. July 5, Williams, Robert . : July 11, Broadbent, D. R. . : July 22, Cameron, Mrs. Charlotte . Sept. 29, Peacock, Mrs. F. M. : Sept. 30, Healy, Wallis : : Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetskoy, The Princess Oct. 27, Frankish, Harold : Oct. 30, Rossman, Miss . : Nov. 3, Holland, Theodore Nov. 3, Steane, Bruce ‘ Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elvington, Miss Helen Noy. 10, Waterbury, Mrs. _ -_ MOSS SOSOSHOMNON HEH COCO Eh pat SmMASSSSCORSOARGCOCCOCOOOCCO® —— a ComPpLETE List or ANNUAL SUBSCRIBERS. Ir is the custom of the Committee of Management of the Society to publish, once a year, the full list of subscribers to the Pension Fund. Owing to an oversight, the list was not published in the October issue. As from time to time members of the Society complain that the list doesn’t contain the names of many well-known authors, the Committee desire to point out that when the Fund was started and since its foundation, there have been many liberal donations by well-known authors, which donations have been chronicled from time to time in these columns. It does not follow, therefore, that because an author’s name is not down as an annual subscriber, that he has not on previous occasions been a liberal donor. i} AMonocnononkKH aoe. Abbott, The Rev. E. Acland, Mrs. C. D. Allen, Mrs. Grant . Anderson, Arthur Andrews, Miss C. C. Annesley, Miss M. Anonymous . Anonymous Armstrong, Frances Arnold, Mrs. J. O. Askew, Claude Avery, Harold. ; . : Baden-Powell, Miss ; : > Bagnall, Miss L. T. : _ — —_ ecaccoooaococo® ecoeoorSoorooerth Baker, E. A. : Baldwin, Mrs. Alfred _. Ballantyne, J. W. Banks, Mrs. M. M. Barne, Miss M. C. Barnett, P. A. Barrie, Sir J. M. Barrington, Mrs. R. Bashford, H. H. Beale, Lady . : Bedford, Miss Jessie Begbie, Harold _. Bell, Lady . . Benecke, Miss Ida Benjamin, Lewis . Bennett, Arnold . Berkeley, Mrs. F.R. Blaikley, Miss Editha L. Bland, J.O.P. . : Bland, Mrs. Nesbit Blow, Frederick Bolton, Miss Anna Bond, R. Warwick Bosanquet, E. F. . Bowen, Miss Marjorie Bradshaw, Percy... Brandon, Miss D. . Breakell, Miss Mary 5 Brend, C. Cunningham . Brinton, Selwyn Brodhurst, Spencer Broster, Miss D. K. Brown, R. Grant . Buchanan, Miss Meriel . Buckley, Reginald Budgen, Miss ; Bungey, E. Newton Burmester, Miss F. Burton, J. B. : Caillard, Miss E. M. Caine, William Calderon, George . Cannan, Gilbert Capes, Bernard Capes, Mrs. . : Carlyle, ‘Rev. A. J. Carr, Miss M. E. . : Caulfield, Kathleen M. . Caulfield-Stoker, T. ‘Channon, Mrs. Frances . Chase, Mr. and Mrs. L. N. - Chesterton, G. K. Child, Harold H. . Clifford, Lady Clifton, Mrs. Clodd, Edward . Clough, Miss B. A. . — SMSMSSSSSSSSSSSSOHSSOHMSSSSSSSSSOS OOH SH SCOOC OO OmMHHN HOS O OOOO CO OHOHm bt — _ ht SCOTKM NOH OCOAAAANAonaan _ Aonra1onn ee cooorocso o> Or MoooeoresoesooooacooacsososooSoOAaSoSoOORaSASSOAS OOOO OOOO ONO SOC OSC CSO O® 66 THE AUTHOR. Q Q SS SSS SO SS SBS OO SB OS SOS SSS SSS SSS SSSOSOAMSS SS SSS SSS SSOSSSSSSO.S S* jul aooocooooooeocoooscooaoooooosoooscooeoeoe: Freshfield, Douglas Fuller, Sir Bamfylde Galsworthy, John Garvice, Charles Gay, Mrs. Florence Geddes, Mrs, George, W. L. Gibb, A. : Gibson, Frank ; Gidley, Miss.E. C.. Giles, Miss Edith J. F. Gilliat, The Rev. E. Gilson, Capt. Charles Glenconner, Lady Gonne, Capt, C. Gosse, Edmund Graham, Capt. Harry Graves, A. P. : Greig, James Gribble, Francis Grier, Miss Julia M. Griffin, Miss V. C. Grogan, W. E. Guthrie, Anstey Haggard, Mrs. Hain, H. M. Halford, F. M. Hamilton, Henry . Hands, Mrs. Morris : Hannay, The Rey. Canon J. O. mos ooo eH oreo HH oo oro & Oe Oe Cohen, Mrs. Herbert ; Collier, The Hon. John . Colquhoun, A. R. Cooke, W. B. Cooper, Miss Marjorie Cotesworth, Miss L. E. Coulton, G. G. : Cox, Miss M. Roalfe Cromartie, Countess of . Crommelin, Miss May Crozier, Dr. J. Beattie Cuming, E. D. Curwen, Miss Maud Dailley, R. H. ; Dale, Miss Nellie . Darbishire, Otto . Davy, Mrs. E. M.. Dawson, Forbes Dawson, Warrington De Brath, Stanley De Morgan, William Desborough, The Lerd . Dillon, Mrs. . Dixon, A. F. Dixon, Miss H. M. Dixon, W. Scarth Dobson, Austin Drake, Maurice F. Drummond, Miss F. : Dummelow, Rev. J. R.. Dunsany, The Lord Harland, Mrs. Durand, Ralph —. Harraden, Miss B. Durand, The Right Hon. Sir Henzy Harris, Miss Jessie Mortimer . Harrison, Austin . Diiring, Mrs. Harrison, Mrs. Darent . Edgington, Miss May Haultain, Arnold . Ellis, Miss M. A. Hawkes-Cornock, Mrs. . é Escott, T. H. S. Hawkins, A. Hope : j ia Esmond, H. Vv. . Heath, Miss E. : : Eyre-Matcham, Mrs. Heath, Miss H. Fagan, J. B. Heath, Sidney Felkin, A.L. Hecht, Mrs. Arthur Felkin, The Hon. Mrs. Hedgecock, FOAL : Fenwick, Miss Sik. Heming, Lieut.-Col. D. : Festing, Miss Henderson, R. W. Wright . Fiamingo, Carlo. . Henley, Mrs. Z Field, The Rev. Claude . Hepburn Thomas Fieldhouse, Arthur Hills, Mrs. M. : Fitzgerald, Colin . Hitchens, Robert . Fitzgerald, Mrs. E. A. Hitchings, F. W. . Fleming, Mrs. A. D. Hollins, Miss D. Forbes, Lady Helen Holme, Miss. ‘at So one ooNneooc: _ —_ Oe = ON OF oOo Meer OOC OCC OCC OF OOrHSCOCOCSOHOFSOmK fon — ee o OunNnouwraww1c OS 1S Ct cCoocooconow bo Gt Or Or OTN OUD Or et Rt eR Or Or COMNSCOCCOCOCOHHONOHOSOSOOSOHOCONH OMI fool Oo fml ood Ho _ CSOmMeOMNMOoOUNorFonannadauH — oroooooowmoororossooooorewownecore _ Oe WOOO O OW OO RY Orr Or © Or Or COMKCNH NH OOOO SCORMRFrOUMSoOOC oF cosoceosoacooaososeooscsessesce Forrest, Sir G. W. 2 Holmes, Miss E. - Forrester, J. Cliffe 5 Hood, Miss Agnes J acomb 1 : Forster, R. H. 1 Hughes-Gibb, “Mrs. ‘ e Fox, A. Dd. : 5 Hutchinson, Rev. H. N. Francis, René 10 Hutton, Edward . : HOC. Inkster, C. L Jackson, €.S: James, Henry James, Miss S. Boucher Jane, i. Cecil Jerome, Jerome K. Jessup, A. E. Jones, Henry Arthur Jones, W. Braunston Keene, Mrs. Kelly, W. P. : Kennaway, Miss E. Kenny, Mrs. L. M. Stacpoole . Kersey; W.H. . . : Kilmarnock, The Lord . Kupling, Rudyard Kitcat, Mrs. Lambe, J. Laurence Larden, Walter Larken, E. P. Laurance, Lionel . Laws, T. C. . : Lee, Rev. Albert . Letts, Miss W. M. : Lewis, The Rev. Arthur. Lewis, T. C. : Liddle, S Lincoln, C. . Lion, Leon M. : Little, Mrs. Archibald Locke, W. J. Longe, Miss Julia . Lueas, E. V. Macdonald, Greville Mackenzie, Miss H. Macnamara, Margaret Macnaughton-Jones, Dr. H. Macpherson, J. F.. ; MacRitchie, David Madison, Miss G. R. Malcolm, Mrs. Ian Malet, Lucas : Mann, Mrs. Mary E. Maquarie, Arthur . Marchmont, A. W. Markino, Yoshio Marks, Mrs. M.. . Marriott, Charles . Martin, Miss Violet Masefield, John E. Matheson, Miss Annie McCormick, E. B. Meredith, Mark Middlemas, Miss Jean Miller, Mrs. . Miniken, Miss B. M. M. THE AUTHOR. HOSCCOSHH OSHS OONSCOSSOOOHHONNOSSOOH OOOO OOCOHH UMS OCOO OO OHH MOHNOOH me _ od bot bee bh ht _ ee low MOOSCNSCAMOAH TH SON SOLO OTH OOOO OTOH RK OOOUN OOOH HK OMEN OO pen ouaunnotroonr cocooscoossoooaesesosessesescosesssoescsesessooscosoosceososeosooacoesoosescsoosoeo® Moffat, ‘Miss B. Montgomery, Miss K. i Montresor, Miss F. F. Morton, Michael Mulliken, Mrs. : Murdock, W. G. Barn. M. W. : Narramore, William Nembhard, Miss M. Newton, Miss A. M. Nicholls, F. C. Niven, Frederick . Northeote, The Rev. H O’Brien, Rev. G. E. : O’Donnell, Miss Petronella Orezy, Baroness : Osgood, Irene Owen, Charles : Pakington, Hon. Mary . Parr, Miss O. K. . ‘ Parry, Sir Hubert Paull, H. M. Pearce, John Pearson, Mrs. Conny Pendered, Miss M. L. Pettigrew, W. F. . Phillipps-Wolley, C. Phillpotts, Eden Phipson, Miss Emma Pickthall, M. W. Pinero, Sir Arthur Plunkett, G. N., Count . Pollock, Miss E. . : Pollock, The Right Frederick, P.C. . : Pope, Miss Jessie . Portman, Lionel Prelooker, ad: Prideaux, Miss S. T. Probert, W. S. Pryor, Francis Punshon, E. R. Rawlings, Burford Rees, Miss R. : Reynolds, Mrs. Baillie Reynolds, Mrs. Fred Rhys, Ernest : Richardson, Mrs. A. Riley, Miss Josephine Rittenberg, Max Roberts, D. G. Roberts, Morley Roe, Mrs. Harcourt Romanes, Mrs. Ropes, A. R. Rorison, Miss E. ‘Rossetti, W. M. _ SeOMNocoKooneoocorooooreooceooooooroorroch Hon. Ceormrococooocoooooorw oe eH eH OH OHM a _ _ HOSS OH SON O&O & Or Or Ot OS HH Ot OS & OF Or OF OU OU Ot OU et Or ts —_ Lal — te 7 oS _ AoAanraoanrnawie ake Onc uae Sete aaEKtoce oD J eoococeocoooacecsooooooroo Sceooaecsoeseoooscsesesescosaceoosseesescoooe 68 Rotherstein, A. D. Rumble, Mrs. Russell, G. H. Rutter, Frank Sabatini, Raphael Saies, Mrs. . : Salmond, Mrs. . Salter, Miss E. K. Salway, Reginald . Sanders, Miss E. K. Schwartz, Prof. E. H. Scott, G. Forrester Scott, Mrs. C. Seaman, Owen Sedgwick, Prof. A. Sedgwick, W. : 2 Selincourt, Mrs. Basil de Sergeant, Miss Constance Seton-Karr, H. W. Sharp, Miss E. Shaw, Fred G. Shaw, Mrs. Bernard Shepherd, George H. Shera, Miss B. M. Sherwood, Miss A. Shiers-Mason, Mrs. Shipley, Miss Mary Simpson, Miss Gaynor . Simpson, W. J. . Sinclair, Miss Edith Sinclair, Miss May Skrine, Mrs. J. H.. Skrine, Rev. J. H. Slaughter, Miss F. Smith, Bertram Smythe, A. . Snell, Miss Olive Somers, John : : Somerville, Miss E. Ck. . Speed, Lancelot Spens, A. B. Spiers, Victor : Sproston, Samuel, Junr. Spurrell, Herbert . ‘ Stanton, Miss H. M. E. . Stawell, Mrs. R. : Stayton, Frank Stein, Sir M. Aurel Steveni, W. Barnes : Stewart, J. C. McDougal Stockley, Mrs. ‘ ‘ Stott, M. D. : Sturt, Geo... ; Sullivan, Herbert . Summers, J. ‘ ‘ Sutherland, The Duchess of Sutro, Alfred. THE AUTHOR. £ 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 0 0 0 i 0 3 0 0 0 0 0 0 0 0 2 0 1 0 5 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1 0 1 0 2 2 ~D f= or Or OF OF O OF OT OL OL OL GT OTT Or O & Ore Or or Ore I — eH or or O Or Or OF 01 O OF OD ON SO Or Or Or Or _ _ DD Oe Oe SO Orr O OVS OV Q oo eee Seo esses ooaccoesssasoosoosssoosessonecs** Taylor, Mrs. Basil. Tearle, Christian . ; Teixeira-de-Mattos, Alex Tharp, Robt. C. . : Thomson, Lieut.-Col. J.. Thurston, E. Temple Todd, Miss Margaret, M.D. Todhunter, Dr. J. : Toynbee, Paget Toynbee, William Travers, Miss Rosalind . Trench, Herbert Trevelyan, G. M. . Trevor, Major P. . Truman, Miss Olivia Tuckett, F. F. : Turner, G. F. é Turner, Reginald . Tuttiett, Miss M. G. Twycross, Miss M. Tyrrell, Miss Eleanor Underdown, Miss E. Vachell, H. A. Vacher, Francis Vernede, R. E.. . Von Holst, Gustav Voynich, Mrs. E.L. . Waldstein, Sir Charles . Walkley, T. . ; : Walshe, Douglas . Ward, Mrs. Humphry. Ward, The Rev. F. W. Orde . Warden, Miss Gertrude . Watt, A. P.. Z : Weaver, Mrs. Baillie Weston, Miss J. L. Westrup, Miss M. . Weyman, Stanley J. Wheelhouse, Mrs. . : Whishaw, Mrs. Bernhard Whiteing, Richard Willard, Mrs. ‘ Williams, W. Wynn Wills, The Rev. Freeman Wilton, Margaret W. Wimperis,.Arthur Winchelsea, The Countess of . Woods, Miss Mary A.. Worsley, Miss A. . Wright, E. Fondi . Wynne, Miss May Yolland, Miss E. . Young, Ernest OK HMOOH NOH OH HOH OOCOOOHOHHUSOON SH (oer oocooee cero osc oueceroeoso aw put Ce OnNwon oy, _ a Me HOM OT HH OAH OM O OUMNH S _ ~ bt et NOAA TNOM AHH ODMAMOMMOH AMON & a ee esc e seco o coe o ooo sooooosoosesoSSssoeeee** THE AUTHOR. COMMITTEE NOTES. aed HE Committee of Management held their November meeting on Monday, Novem- ber 8, at 1, Central Buildings, Tothill Street. After the reading of the minutes of the previous meeting, the committee proceeded with the election of members and associates. They are glad to record the election of thirty- eight members and associates. The full list appears elsewhere. The total elections for the year number 315. The committee accepted, with regret, three resignations. The solicitors reported on the cases passing through their hands during the month. In a ease of breach of agreement by a pub- lisher, the matter had been settled when the solicitors of the Society had given notice of an injunction. In the second case, against the proprietor of a magazine, the amount and costs paid into court had been accepted, and the matter was ended satisfactorily for the author. In two claims against a music publisher, the accounts had been delivered and the moneys paid. In a case against a magazine, an agreed sum had been paid and handed over to the author. There were two very small cases in which arrangements had been made for pay- ment by instalments. This statement will show that many of the cases open from the former month have now been closed. The solicitor reported on a serious question which had been mentioned at the former meeting, where a publisher had refused facilities for vouching his accounts. The publisher had 2 since withdrawn his objection, and the solicitor VE was instructed to see that the accounts were 'y duly vouched. Two cases were reported in ‘+ which no final decision had been arrived at. One related to the infringement of authors’ rights in America, and the other dealt with the rights of publication in England. The solicitor explained that it was necessary to wait for fuller information before any practical decision could be come to, and the matters were accordingly adjourned to the next meeting. A dispute between a member of the Society and her publisher respecting the publication of a book was fully discussed by the committee. The solicitor explained the details. The committee regretted that it was impossible to take any further steps than those which had already been taken, and instructed the solicitor that the member concerned should be informed of this decision. The last case mentioned by the solicitors was a dispute between author and 69 publisher as to the fulfilment of a contract commissioned by the publisher. After full consideration of the evidence, the committee decided it was not possible to proceed further, as it appeared that the author had no ground of action. The secretary then reported one or two cases in his hands. He stated that an action for infringement of dramatic copyright in Winnipeg had_ been settled, and the author had offered to pay the Society’s expenses. The committee thanked the author for his generous acknowledgement of the Society’s work by the offer that he had made. A serious question of alleged infringement of dramatic copyright came before the committee, and after due considera- tion it was decided to give the member all possible assistance and to guarantee a sum towards counsel’s fees on certain conditions laid down by the committee. The next four eases related to complaints in America and Canada. In the first, against a dramatic agent, the secretary was empowered, if he did not receive satisfaction, to place the matter into the hands of the Society’s American lawyers. The second, against an American magazine for breach of an author’s rights, it was decided to place into the hands of the Society’s Ameri- can lawyers immediately. In the third case the secretary reported that a_ satisfactory arrangement had been made by the American publishers for the payment of the debt by instalments each month, which arrangement had been accepted by the author. In the fourth case—against a Canadian publisher— the secretary was instructed to place the matter in the hands of the Society’s lawyers in Toronto, A case against an English publisher con- cerning an agreement was discussed at full length, and the committee decided to instruct the Society’s lawyers to proceed, as it appeared to them that the agreement was wholly unfair and unreasonable. The secretary reported that, during the past month, on the authority of the chairman, an important case had been placed before counsel with reference to dramatic contracts, cinematograph rights, and international law. The committee confirmed the action taken. Another case, referring to the infringement of rights in Australia was deferred for further consideration. Counsel’s opinion bearing on a difficult question of mechanical rights in Germany was placed before the committee. As that opinion was in favour of the member, it was decided to accept counsel’s advice and to commence action. 70 Lastly, the secretary was instructed to write to a publisher with reference to the alleged publication of an author’s books contrary to an existing agreement, and to ask for an exX- planation from the publisher. The committee then proceeded to consider the question of the appointment of their nominees for the committee election at the end of the year. The names will appear in The Author in accordance with the Articles of Association. : The secretary reported on the question of the appointment of nominees to mect the Societies of Composers with a view to obtaining their adhesion to the Society of Authors. At the suggestion of the Composers’ Sub-Com- mittee, Mr. Cecil Forsyth was elected a delegate, and Mr. Stanley Leathes was suggested as a second delegate to accompany Mr. Forsyth. Failing him, the secretary was instructed, in conjunction with the chairman, to choose some other member, and when the delegates had been finally settled to make arrangements to meet the Society of British Composers or any other Society acting for composers. The proposals put forward by the com- mittee in the matter of the banning of books by the libraries and referred back to that body next came forward for consideration. Mr. Maurice Hewlett kindly attended, and put before the committee one or two important points. The matter was then discussed at great length, and all the points raised by the Council were fully considered. The committee decided, after careful deliberation, to abandon the proposal which had been made to call a conference, as such proposals appeared con- trary to the desires and wishes of the Council of the Society. A draft circular respecting the Collection Bureau, which the committee propose to issue, was left for settlement between the chairman and the secretary. It will be sent to all members of the Society in due course. A royalty agreement was finally settled, subject to one small question which it was decided to refer to the solicitors of the Society. The agreement is now ready for those members who desire a copy. The question of the dinner guests was left to the chairman and ‘secretary. A proposition to bring the Society’s work to the notice of the younger members of the pro- fession was considered, and the secretary was instructed to make arrangements with a view to obtaining their names and addresses if ossible. The Publishers’ Association drew the atten- THER AUTHOR. tion of the committee to the Copyright Bill now before the Indian Legislative Council, with special reference to the Clause dealing with translation rights. It was decided to act with the Publishers’ Association, with a view to strengthening the rights of translators, and, if possible, to obtain for authors the same rights over their translation as are enjoyed under the Berne Convention. Certain letters from members were placed before the committee and the secretary was instructed to answer those that required answering. Two matters—loans to authors on contracts, and the International Gathering of Authors at San Francisco, 1915—were adjourned to the next meeting. The committee thanked Miss Annesley Kenealy for a donation of £1 1s. towards the Capital Fund of the Society. DRAMATIC SuB-COMMITTEE. A MEETING of the Dramatic Sub-Committee was held at the offices of the Society on Friday, November 21, at three o’clock. After reading the minutes certain dramatic cages were considered. In the first case the secretary reported the action the Committee of Management had taken on the sub- committee’s recommendation, and he was instructed to try to obtain further witnesses for the plaintiff. Consideration of the second case—an infringement of copyright—was adjourned as the report necessary to lay before the sub-committee had not been received by the secretary. The third case, which raised the question of cinematograph reproduction, was fully discussed, but the sub-committee considered that, at present, any action would be premature, as the member concerned had no clear evidence to lay before the sub- committee that action had been taken against; him. The sub-committee decided to re- consider the case should the member’s fears be realised that his rights were being challenged. The question of providing powers of attor- ney in favour of lawyers in foreign countries to assist the Society in stopping infringements, which had been raised at the former meeting, was discussed, and it was decided, with the approval of the Committee of Management, to obtain powers of attorney which could be sent out with a carefully worded covering letter conveying the information that the . powers were not to be acted upon until cabled instructions were given from the Society’s office. THE AUTHOR. 71 The secretary placed before the sub-com- mittee an agreement which had been submitted to certain members of the Society, and it was decided, with the approval of the Committee of Management, that an article should be published in The Author on the terms of this agreement. The sub-committee regretted that the delegates from the Dramatic Clubs Association were unable to attend the meeting, but they discussed the resolutions that had been submitted to them, and the secretary was instructed to draft and to forward a reply. As the sub-committee understood from the Society of West End Managers that it was impossible to call a meeting at the present time, owing to the absence of Sir George Alexander, one of the delegates, the matter was adjourned pending the receipt of a further communication from the Society. The secretary was instructed to write to the members of the sub-committee in regard to the election of the sub-committee for 1914. The sub-committee decided to appoint their nominees at the December meeting to be held on the 19th of that month. ES OPES Composers’ Sup-CoMMITTEE. Tue November meeting of the Composers’ Sub-Committee was held at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster, S.W. After reading the minutes of the pre- vious meeting, the secretary reported that the Committee of Management had confirmed the appointment of Mr. Cecil Forsyth as a delegate to meet the Society of British Com- posers with a view to conferring with that Society as to the best means of drawing into the Society of Authors, Composers not members of any existing Societies. He reported also that the Committee of Management had appointed Mr. Stanley Leathes to act with Mr. Forsyth, and that Mr. Leathes had expressed his willingness to serve. It was decided that the two delegates should meet at the Society’s office in order to discuss the preliminary steps to be taken. The sub-committee then considered a para- graph to be inserted in the papers calling the attention of composers to the work the Society was willing to undertake on their behalf, and inviting them to join its ranks. Mr. Forsyth agreed to draft the paragraph according to the sub-committee’s wishes. It was decided that the paragraph, when drafted, should be sent to all the members of the sub-committee, and, when finally approved, inserted in the papers. Letters from the Ammre and _ the Société des Auteurs et Compositeurs, referring to the collection of mechanical instrument fees, were read. The consideration of the letter from the Ammre was adjourned. It was decided to accept the invitation contained in the letter from the Société des Auteurs et Compositeurs to send a representative to discuss the matter with the secretary of that Society, in the event of enquiries which the Society of Authors had already instituted producing no satisfactory result. The attention of the sub-committee having been called to the fact that stamps affixed to records under the Mechanical Instrument Clauses of the Copyright Act very often fell off the records when in the hands of the retailers, it was decided to collect all possible evidence on the matter, and to bring it to the notice of the Board of Trade. The prospectus of the Copyright Protection Society was considered by the sub-committee, The secretary was instructed to draft an article dealing with the Prospectus and to submit it to the members at their next meeting, when the article, as well as the position of composers in relation to that Society, would be re-discussed. A letter from Mr. J. B. McEwen was received by the sub-committee, in which Mr. McEwen regretted he was forced to resign owing to his inability to attend the meetings. The resigna- tion was accepted with regret. pep Cases. THE even roll of cases goes on from month to month. In spite of the monotony of the proceeding, they are chronicled in order that members may see the steady work the Society continues to perform on their behalf. To some, this chronicle may appear of little importance, but this is not so; all members should have an opportunity of seeing that the work is carefully and accurately attended to. The cases during the past month in the secretary’s hands number twenty-one, and there has been a considerable increase. in the number of those in foreign countries. We chronicle five claims for the return of MSS. ; one of these lies in the United States, another in South Africa. It has not, of course, been possible to complete these two within the month. In two other cases, the MSS. have been returned and forwarded to the authors. In the final case, as the Society could not responsible f all of which have Following this for money ; into the han on agreements. considerable amoun negotiations are being referring to t by degrees, as t on fixed dates. Bagley, Miss L. . Bentley, Edmund Cleri- ‘ Bridges, Robert . Burdett, Osbert . Calthrop, Dion Clayton Carter, Huntly . THE AUTHOR. in the courtesy of a reply, formal notice es to the lier that he would be held or any wrongful use of the MSS. There have been three claims for accounts, been successfully dealt with. there have been six claims f these have been transferred ds of the Society’s solicitors ; one has been settled and the money has been forwarded to the author ; so far that a definite date has been fixed for payment, and the last ha to the office. : There have been two claims for accounts and money, one of these lies in the United States, the other has been satisfactorily ended. estions arising copyright are bei one has been settled s only recently come from infringements of ng dealt with. One in Austria is in course of negotiation. It is hoped that the remaining one in England will be settled shortly. There were three cases arising from disputes These involve necessarily a t of correspondence, and carried on in two cases, while the third has only recently come to hand. The cases from former months are being closed up. One with a literary agent he return of MSS. is being settled he agent has to call in the MSS. that have been sent out to editors. There will be no difficulty. There is a claim for money from the United States, and this is being settled by payments Two instalments have already A third case dealing with a dispute over an agreement is still in the course of negotiation. The remaining cases have been settled, save those which had to be transferred to the Society’s lawyers. —— 4 — November Elections. Bagenol, Miss Violet E. Benekerry, Carlow, Ireland. Rock Bank, Whaley Bridge. 28, Lymington Road N.W Chilswell, Oxford. Shotwick, Vernon Road, Bushey, Herts. 7, Oakwood Court, Kensington, W..: Waverton Street, Mayfair. Clarke, Madame Emilie Down, W. Oliphant Elrington, Helen Foy, Slieve. Garland, A. P. Grogan, Gerald Hadath, Gunby, M.A. -Hemmerde, Hendley, Mrs. (I. E. Dawson) Hill, Walter (Adelphos) Howell, T. Francis Lancaster, G. B. Lang, Mrs. John Lauzerte Raymond Lawson, Lucy S. . Lounsbery, G. Constant Lulham, P. Habberton Mackenzie, Compton Nellen, Amy E. . Norton, Robert Doug- Peterson, Miss Margaret Roberts, Helen C. Robertson, H. R. Russell, E. 8. Sarmento, Vicomte de Steane, Bruce 24, Biddulph Man- sions, Maida Vale, W. Elmcroft, Gilling- ham, Dorset. 6, Eaton Square Monkstown, Co, Dublin. 70, Danecroft Road Herne Hill, S.E. Toorvagh, St. An- drews, N.B. 12, Hallam Street, W. 4, Loudoun Road, N.W. Trafalgar House, Leeds. 22, Stafford Terrace, Kensington, W. C/o. Bank of New Zealand, London. 2, Salisbury Road, Edinburgh. 14, St. James’s Place, S.W. 254, Albion Road, Stoke Newington, N. 18, Rue Boissonade, Paris. 11, Prince Albert Street, Brigh- ton. La Caterola, Capri, Italy. 9, Clifton Road, Brighton. Argyll House, Chel- sea. 3, Markham Square, Chelsea, S.W. Tudor Lodge, Wor- thing, Sussex. 1, Steele’s Studios, N.W. Bryan’s Ground, Presteign, Rads. Lisbon. ‘Prospect House,” Sundridge, Seven- _ oaks Kent. THE AUTHOR. Taylor, G. R. Stirling . 1, Pump Court, Temple, E.C. Spondon, Derby. Volta House, Wind- mill Hill, Hamp- stead, N.W. Minsmere, Dunwich, Suffolk. Topham, Miss Anne ., Wanklyn, William Mce- Connel. Webb, W. Trego. ee BOOKS PUBLISHED BY MEMBERS. While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. . ART. Tue Art or Borricenii1. An Essay in Pictorial Criticism. By Laurence Bixyon. 144 x 104. 167 pp. Twenty- three Plates. Macmillan. £12 12s. n. Tue Arts anp Crarts or INDIA AND CEYLON. By Ananpa K. Coomaraswamy. 8 x 53. 252 pp. Foulis, 6s. n. BIOGRAPHY. Lapy Hester LucySrannorn. By ¥.Hamer. 9} x 6} 348 pp. Cassell. 15s. n. A Book or Ducuzsszs. By Auice E. Rossrys. Melrose. 10s. 6d. n. Tae Lire or Firorence Nicutincatz. By E. T. Coox. Two Vols. 9 x 53. xxxi.+507+ 510 pp. Mac- millan. 30s. n. Twenty-Five YEARS’ REMINISCENCES. Tynan (Mrs. H. A. Hinkson). 9 x 53. 355 pp. Smith, Elder. 10s. 6d. n. My. ReEcotuections aND REFLECTIONS. Written and Illustrated by Yosuto Marxrno. 73 x 5. 262 pp. Chatto and Windus. 6s. n. Tax Beavtirut Lapy Craven. The Original Memoirs of Elizabeth Baroness Craven, afterwards Margravine of Anspach and Bayreuth and Princess Berkeley of the Holy Roman Empire (1750—1828). Edited by A. M. Broapiey and Lewis Metvitte. Two Vols. 8} x 5h. exliii. + 141 + 306 pp. Lane. 25s. n. ANDREW Jamuson, LoRD ARDWALL. By J. Bucwan. 7% Xx 5. 155 pp. Blackwood. 38. 6d. n. Tau Story or THE NorTHuMBRIAN SAINTS. By Exiza- Birth W. Grierson. 8 x 6. 131 pp. Mowbray. 28. 6d. n. Gotpwin Smita. His Life and Opinions. By A. Havt- TAIN. 9 X 52. 304 pp. Werner Laurie. 18s. n. Ganrie, Harvey’s Marornaia. Collected and Edited by G. C. Moorr Smrru. 94 x 6. xvi. + 327 pp. Shakespeare Head Press. 16s. n. Curistins or DENMARK. Duchess of Milan and Lorraine, 1522—1590. By Juria Cartwricut (Mrs. Ady). 9 x 5}. 562 pp. Murray. 18s, n. BOOKS FOR THE YOUNG; Warty: A Wurtz Pupry. By Mrs. Ernest AMES. 8 x 8. Duckworth. 1s. n. Studies in Personality. 9 x 54. 339 pp. By KatHARINE 73 Boy Kryes anp Grrt QuEENs. By H. E. Marswaup 83 x 53. 467 pp. Grafton. 5s. n. THE Bree Story AND Ts TEACHING FOR CHILDREN. By Baroness Frepa Dr Kwnoop. 82 x 64. 392 pp. Dent. 6s. n. THE WIND IN THE WILLows. By Kenneruo GRAHAME, Illustrated by G. P. 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Illustrated by Jules Guérin. 268 pp. Hodder and Stoughton. 25s. n. Prepmont. By Esrenia Canztani and ELEANOR RHODE. With fifty reproductions of Pictures and many Drawings by Esretna Canzrani. 114 x 9. 204 pp. Chatto and Windus. 21s. n. A Winter in Invi. Light Impressions of its Cities, Constantinople. 10% x 7. Peoples and Customs. By A. B. SPENS. 72 x 5. 302 pp. Stanley Paul. 6s. n. eo LITERARY, DRAMATIC, AND MUSICAL NOTES. — + — N November 14 a new edition was pub- lished of Mr. Rudyard Kipling’s “‘ Just So Stories,” with twelve plates in colours by Mr. Joseph M. Gleeson, in addition to the author’s original black-and-white illus- trations. The publishers were Messrs. Macmillan & Co. Mr. Edward Arnold is publishing a new and revised edition of Mr. Laurence Binyon’s “ Painting in the Far East,” in the preparation of which the author has been able to utilise a THE AUTHOR. variety of new sources of information, while a fuller and more representative selection of illustrations is now possible. Mr. Binyon has also brought out, through Messrs. Macmillan, a work entitled “‘ The Art of Botticelli: an Essay in Interpretation ’’—a quarto volume with twenty-three collotype reproductions in colour and, as frontispiece, an original etching by Mr. Muirhead Bone. Of “ The Art of Botticelli” only 275 copies are being issued, and the price is £12 12s. net. Mr. Douglas Ainslie’s “‘ Philosophy of the Practical: Economic and Ethic,” the forth- coming publication of which was announced in the October Author, appeared on November 4 (Macmillan). It is the second part of his translation from the Italian philosopher, Benedetto Croce. M. Maurice Bourgeois’s ‘‘ John Millington Synge and the Irish Theatre ” was issued on October 29 by Messrs. Constable in Great Britain, and by the Macmillan Co. in_the United States. It has sixteen full-page illus- trations by John B. Yeats, R.H.A., Jack B. Yeats, James Paterson, R.S.A., John Currie, and others, and the price is 7s. 6d. net. “The Western Rebellion of 1549” is the title of an account of the insurrections in Devonshire and Cornwall in the reign of Edward VI., by Frances Rose-Troup, E.R. Hist. S. (Smith Elder, 14s. net). Mrs. A. M. W. Stirling’s ‘‘ Macdonald of the Isles ” was published on November 25 (John Murray, 12s. net). Mr. W. H. Koebel is the author of the history of South America in Messrs. Black’s “ Making of the Nations ”’ series. Lady Dunbar is bringing out a book called “The Chow-Chow,” dealing with that breed of dog from the point of view of one who has had long and intimate acquaintance with its habits (Pitman). Mr. and Mrs. Aylmer Maude edit a new edition of Tolstoy’s ‘“ Plays,’’ which contains for the first time all the six plays written by Tolstoy, including the posthumous ones (Constable, 5s. net). Mrs. Willoughby Hodgson’s ‘‘ Old English China,” with sixteen coloured plates and sixty-four half-tone illustrations from photo- graphs, is published by Messrs. G. Bell & Sons at 25s. net. Her Majesty the Queen has been graciously pleased to accept a copy of Mrs. Charlotte Cameron’s travel-book ‘* A Woman’s Winter in Africa’ (Stanley Paul). . In connection with the new cinematograph film ‘“‘ Sixty Years a Queen,’’ which portrays THE AUTHOR. 77 the reign of Queen Victoria, Messrs. Stanley Paul & Co. published on November 10 a volume consisting of an account of the Queen’s reign specially written by Miss May Wynne, illustrated with fifty-five photographs taken from the film. The price is 1s. net. The first number of Mackirdy’s Weekly is to be published on the third Saturday of the New Year, January 24. The moving spirit of this new weekly is Mrs. Mackirdy, née Olive Christian Malvery, author of ‘The Soul Market.” Mrs. Irene Osgood publishes, through the firm of John Richmond, ‘‘ Where Pharaoh Dreams,” with illustrations by W. Gordon Mein. The same firm has issued ‘“‘ The Irene Osgood Thought Book ” and ‘“ An Anthology of Verse of Butterflies, Birds, and other W inged Things,” compiled by Irene Osgood and Horace Wyndham. Mrs. Edghill’s “‘ Is it Well with the Child ? ” —a book for mothers and for speakers to mothers—is published, with an introduction by the Bishop of Edinburgh, by Messrs. Wells, Gardner, Darton & Co. His Majesty the King has been graciously pleased to accept a copy of Mr. C. E. Gouldsbury’s new book, “ Tiger Land,” now in its second edition (Chapman & Hall). Mr. Rafael Sabatini’s “Life of Cesare Borgia ”’ is one of the first volumes of Messrs. Stanley Paul’s new Essex Library, a series which is to include ‘‘ recently published works that have attracted special attention as dealing authoritatively with subjects of serious in- terest,” and is to be issued, with illustrations, at a price convenient to all purses. Major P. T. Godsal brings out his ‘‘ Woden’s, Grim’s, and Offa’s Dykes,” through Messrs. Harrison & Sons. A map illustrating the conquest of the Dee valley accompanies the pamphlet. Mr. John B. C. Kershaw, F.I.C., is the author of a book on “ Electro-Thermal Methods of fron and Steel Production,” to which Professor Fleming, F.R.S., contributes an introduction (Constable, 8s. 6d. net). Messrs. Sidgwick and Jackson published last month a new novel called ‘* The Unconscious Quest,” by E. Reid Matheson. The scene of the story is laid in Egypt. The Burlington Magazine for October and November contains an article by Ethel Ross Barker, entitled ‘‘ The Symbolism of Certain Catacomb Frescoes.”’ Miss Gladys Davidson has out a volume of original stories about birds, fully illustrated (David Nutt, 2s. 6d.). Mrs. C. Irwin Smart has a serial running in The Lady, entitled ‘The Long Lane.” She was the author of the “ Novel in a Nutshell ” in the Sketch of August 13. Mrs. Edith Wharton’s new novel is “The Custom of the Country,” of which Messrs. Macmillan are the publishers. The same firm has issued Mr. James Stephens’s new volume of fiction, “ Here are Ladies.” Wet Magic,” by E. Nesbit, author of “ The Treasure Seekers,” is published by Mr. Werner Laurie. H.M. the Queen has been graciously pleased to accept a copy of “ Weeds,”’ by Miss Olave Potter and Mr. Douglas Sladen.—A new 7s. 6d. edition is appearing of Mr. Sladen’s “‘ Oriental Cairo” (Hurst & Blackett). Messrs. Alston Rivers publish Miss Leslie Moore’s “The Peacock Feather”; and Mrs. Steuart Erskine’s “The Ring of Necessity.” Messrs. Duckworth & Co. have published “The Happy-Go-Lucky Morgans,” a story in the essay manner, by Mr. Edward Thomas ; and Mr. George Bourne’s volume of village studies, ‘‘ Lucy Bettesworth.”’ Mabel King’s ‘‘ The People of Ebenezer,” thirteen stories reprinted from The United Methodist, is published by Messrs. Drummond of Stirling, price 1s. The same author will have two serials appearing shortly, “‘ A Modern Midas,” in The British Messenger, and “‘ The Work God Gave Her,” in Wings, the organ of the Woman’s Total Abstinence Society. Mr. Albert Dorrington’s novel, ‘‘ The Radium Terrors,” has just finished its serial publication in the well-known Spanish journal La Ilustra- cion Artistica. The illustrations were by A. C. Michael. Two books by the same author, “The Half-God” and ‘‘A South Sea Buc- caneer,” will appear in a German edition early in 1914, “The Tale of a Shipwreck, a Brownie, and a Baby; and other Stories ” is Miss Amy Hale Rankin’s book for children (Cornish Bros., Birmingham, 1s. net, illustrated). Miss Caecilia Moore’s novel, ‘‘ The Shadow of the Dragon,” is published by Messrs. Chapman & Hall. Miss Theodora Wilson-Wilson is publishing with Messrs. Blackie two books for children, one entitled ‘‘ Cousins in Camp ”’ (2s. 6d.), and the other a series of ‘‘ Stories from the Bible,” illustrated in colour by Arthur A. Dixon (8s. 6d.). She has also sold a children’s story to Messrs. Nelson & Son for publication next year. In the spring The Christian Age will serialise 78 one of her novels entitled “A Navvy from King’s.” Mrs. T. P. O’Connor’s story, “ Little Thank You,” has a novel feature in the end-papers, which take the form of music and reproduce Little Thank You’s lullaby, “ Captain Kidd,” written and composed by Mr. Frederick Norton, composer of “ Pinkie and the Fairies.” Charlotte Mansfield’s story, ‘The Girl and the Gods,” is to be reissued by Messrs. Greening & Co. in their new Shilling Net series. The Westminster Review for November contained a poem by Mr. Alfred Smythe entitled “The Sentinel.’”” There was also a poem by Mr. Smythe, called ‘* A Yarn of the River,” in the Poetry Review. Mr. Erskine MacDonald is publishing at once in a shilling Christmas booklet, an “ Anthology of Little Poems,” compiled by E. Crosby-Heath, and including a_ critical essay. The same publisher has brought out “* Dreams of Arcady,” by Octavia Gregory, author of “The Garden Enclosed.” Mr. Erskine MacDonald further announces that he is publishing a poetic drama, “ The Master,” by Mr. W. G. Hole, with an intro- duction by Stephen Phillips, at 2s. 6d. net ; and Miss Maude Goldring’s new novel, ‘* The Wonder Year,”’ which deals with the effect of modern thought on country life. “ June ” is the title of the first poem, which gives its name to the book of verse by Miss Cicely Marshall, published by Arthur Stockwell. Jean Roberts, author of ‘‘ Musings on the Magnificat,’ etc, has out a new volume, entitled ‘‘ Hope: and Other Verses” (A. R. Mowbray, ls. 6d. net). ““Songs Satanic and Celestial,” by Mr. Lewis Spence, is published by Mr. Elkin Mathews at 1s. net (cloth, 1s. 6d. net). Mr. K. C. Spiers brings out in one volume his play, ‘‘ The Soul of a Doll,” and a number of poems, of which “ The Madness of Lancelot ”’ and two of the lyrics appeared originally in the Fortnightly Review. Messrs. Chapman & Hall publish the book at 2s. 6d. net. Miss Nora C. Usher issues, under the title of ‘‘ Swallow-Flights,”’ a collection of thirty- seven of her poems, some of which have appeared in The Queen, Chambers’s Journal, ete. The price is 1s., or 1s. 1}d., post free. _ “ Lone Age Epics,” by Mr. James Saunders, is published by Whitehead Bros., Wolver- hampton, at 2s. net. THE AUTHOR. DRAMATIC. Mr. Bernard Shaw’s ‘‘ Great Catherine ’’ was produced at the Vaudeville Theatre for the first time on November 18. On November 21 Mr. Thomas Hardy’s ‘‘ The Three Wayfarers,” originally seen at Terry’s Theatre in 1898, was revived as a curtain-raiser before Mr. G. K. Chesterton’s ‘‘ Magic” at the Little Theatre. Sir J. M. Barrie’s “Quality Street” was revived at the Duke of York’s Theatre on November 25. It is announced that a new three-act play by Mr. Israel Zangwill, entitled «Plaster Saints,” will be produced at a West end theatre early in the New Year. Mr. Bernard Shaw’s ‘‘ Doctors’ Dilemma,” and Mr. John Galsworthy’s ‘Silver Box,” are among the plays which Mr. and Mrs. Granville Barker are to revive before the end of their repertory season just commencing at the St. James’s Theatre. M. Maurice Bourgeois’s French version of Synge’s ‘‘ Playboy of the Western World ”’ is being performed at the Théatre Antoine by M. Lugné-Poe’s Théatre Subventionné. The title of the play in French is “‘ Le Baladin du Monde Occidental.” Among the five one-act pieces produced by the Leverton Players at the Court Theatre, on the afternoon of November 21, was “‘ England Expects,” by Mr. F. Leonard A Gibbs, to which the Navy League has extended its patronage. ———__+——_+—___—_ PARIS NOTES. + o HRETIENNE ” is the title of the new novel by Madame Adam (Juliette Lamber), whose salon has been the favourite rendezvous of the Parisian literary and political élite for very many years. Madame Adam’s own evolution has been shown by her recently published memoirs. Years ago she wrote her novel * Paienne,”’ and this present volume is a fitting epilogue to the former novel. The key to ‘“‘ Le Roman Merveilleux ” by the late Pierre de Coulevain is given by the author in her preface. ‘“ The Wonderful Romance,” she says, “‘ is not one of those that the human brain produces. It is the romance which the Divine Powers are elaboratirig in the depths of the Infinite. It is the romance which we are all living, from morning to night THE AUTHOR. and from night to morning; the one in which we are the heroes and the martyrs. It is the romance of this earth of ours. . Thanks to my age, I now find myself on the boundary line of two worlds. My impressions on leav- ing the one world, and my intuitions with regard to the world beyond, may, thanks to their absolute sincerity, have some value. . . .” This author’s works have had phenomenal success in France, and have been translated into nine languages. “Sur la Branche”’ i is now in its 179th edition. The present -y volume has been awaited with impatience |. for the last three years and was completed | just two months before the author’s death. : The book now published in volume form by ) Camille Piton, entitled ‘‘ Le Costume Civil en | France,” will be invaluable to artists. It » contains over 700 illustrations from authentic sources. ‘“‘ Napoléonette ” is quite a new departure ot for Gyp. It is a kind of historical novel, in *. which the author allows herself plenty of ~{- latitude as regards local colour, probability, etc. -| Napoléonette is a girl who has been brought up by her military father as a boy. She has accompanied her father everywhere and is quite at home on the battle-fields. Napoleon is her god-father and she is a devoted admirer of ‘‘ The Emperor.” Her father is killed and she is compelled to accept the hospitality of her aunt and uncle, who hold high office at the Tuileries Palace under Louis XVIII. The description of Napoléonette’s various escapades and of her friendship with the king is highly entertaining, but the dialogue is distinctly in twentieth century style. ‘Pour l’Empereur”’ (Pages d’histoire na- tionale) is the title of Frédéric Masson’s latest volume. The volume treats of events from 1796 to 1821. The second volume of “Souvenirs” by Ch. de Freycinet has just been published. It takes in the years 1878 to 1893, and treats, among other subjects, of the Resignation of Marshal MacMahon, of the death of Gambetta, Boulangism, the Egyptian question, etc. The first volume of these Souvenirs takes in the years from 1848 to 1898. “Henri Rochefort (1831-19138) ” by Camille Ducray gives some idea of the agitated life of the celebrated journalist and _ politician about whom so much has been written. Ernest La Jeunesse has written the preface. At the Variétés, Alfred Capus is having his customary success with his new play “L’ Institut de Beauté.” It is distinctly amusing, and, as usual with this author, the > FD ets a ey gh br spate Nah la fa E > 79 piece is the result of shrewd observation and great knowledge of life. Mr. Philip Carr’s idea to start a_ Little English Theatre in Paris, bringing over English plays and English artistes once a month, is welcomed by the French as well as by the English and American colonies. Two meetings have been held and a large number of sub- scribers has been the result. “ Chrétienne.” (Plon.) “ Le Costume Civil en France.’’ (Flammarion.) “ Napoléonette.” (Calmann-Lévy.)} “ Pour ’Empereur.”’ (Ollendorff.) “Souvenirs.” (Delagrave. ) “ Henri Rochefort (1831-1913).” (L’Edition Moderne.) —___—__+—<>—_—______ CORELLI v. GRAY. —~<— EFORE the Master of the Rolls, Lord Justice Swinfen Eady and _ Lord Justice Phillimore; this was an appeal by the defendant from an order by Mr. Justice Sargant, granting an injunction: re- straining him from performing a play called “The People’s King,” which the plaintiff claimed was an infringement of the copyright in her novel “‘ Temporal Power.” In his judgment given in the lower court Mr. Justice Sargant took the view that the similarities in the play and the book were not due to coincidence, but must be taken to have resulted from appropriation or copying by the defendant from the plaintiff. The Master of the Rolls in the course of his judgment expressed his concurrence with the judgment of Mr. Justice Sargant, stating that he thought they must approach the case on the footing that the defendant Gray had the plaintiff's book either under his eyes or in his memory when he wrote the sketch. Dealing with a possible suggestion that the matter alleged to have been taken from the plaintiff's book was not matter which could be held to be the subject of copyright, his Lordship stated that when, as in the present case, it appeared that not merely one or two stock incidents, but that a number of such incidents had been taken, it would be an unreasonable view of the law to say that the plaintiff was not entitled to succeed. The new copyright law gave protection not merely to the form of words in a novel but to the situations contained in it. In this case, however, his Lordship did not accept the view that the situations were stock situations : some of them were distinctly original. 80 The Lord Justices delivered judgments to the same effect, and the appeal was dismissed with costs. ————“7——o—___—_ UNITED STATES LAW. —-—~o—+ N interesting matter touching the A validity of copyright in the United States is being at present heard in the courts of that country. We are informed that there is little probability of the case being decided before the expiration of seven or eight months, but as the facts must of necessity be of great interest to English as well as to American authors, it may be as well to put forward some details. Mr. Jack London entered into a contract with the Balboa Amusement Co., of Los Angeles, California, by which that company acquired the right to produce in moving pictures all of Mr. London’s past work and all his work up to and including 1915. In that contract there was a clause providing that the contract should be forfeited if the company took no steps to fulfil their part before a fixed date. This they failed to do, and Mr. London declared the contract forfeited. In spite of forfeiture, the company proceeded to produce in moving-picture form his novel entitled ““The Sea Wolf,” and Mr. London thereupon brought suit in Los Angeles against the company in the Federal Court of that district, for breach of contract and infringement of his copyright. His next step was to apply for a preliminary injunction. Upon the hearing of this application, the defence has been set up on the suggestion of the lawyers—copyright specialists—that Mr. London’s copyright is invalid, that his work, having appeared in magazine form, is thereby dedicated to the public so far as subsequent rights are concerned. This defence appears to be based upon the case of Dam v. Kirk La Shelle Company, which indirectly, apparently laid down the doctrine that, if an author sells his serial rights in his story to a magazine, reserving to himself all other rights, and the magazine copyrights the issues, that is, the magazine rights, then all other rights must be unprotected and aban- doned to the public. It is also claimed that the copyright notices in some of Mr. London’s books are insufficient, and misleading, and that, therefore, the books are not properly copy- righted. Mr. London’s preliminary application for an injunction was denied, after the court had heard the objections advanced against THE AUTHOR. his copyright on the ground that Mr. London has insufficiently established his ownership. The court, however, granted permission to Mr. London to renew his application after he had obtained more definite information about his copyrights. Ifthe theory is upheld that the publication in a magazine in America only covers the editor’s rights, the position — : is very serious, both to American and English authors, as it would leave those authors that publish in serial form absolutely unprotected, and book publishers would have no rights in their books whatsoever. It does not appear probable, after a careful reading of the Act, that this theory can be maintained. The second point of the defence, namely, the inadequacy of the copyright notices calls for special comment. It has always been the case when any technicalities are required under i” U a copyright law, that the first point at which — | ser the defendants strike is the technical defi- — We are glad to think that in the © present English Act, technicalities have been ~ abandoned, but the position is still very serious — in the United States, and we trust that Mr. — Jack London will not lose his copyrights owing _ ciencies. to these deficiencies. The former question is by far the most : i ah important. Technical difficulties can be over- come with care, but legal difficulties can only be overcome by an amendment to the Act. - We wait with anxiety to hear the final result If it should go against Mr. — of the action. London, the American Copyright Act migh almost, as far as the writers in magazines ar concerned, be torn up. 9 MAGAZINE CONTENTS. te British REVIEW. Dramatists of To-day. I. H. Granville II. John Galsworthy. By Edward Storer. Leeds Musical Festival. By Sir Home Gordon, Bart. CoNTEMPORARY. Christina Rossetti. By George Lowther. Poetry in Drama. By William Poél. ' 6 a Child and Education in Shakespeare. By Hubert rd. Barker. EneuisH REVIEW. Art in America. By Aleister Crowley. Editorial Amenities. By The Editor. FoRTNIGHTLY. A Literary Cham and His Court. By T. H.-S. Escott. Trish Dramatists and Their Countrymen. By H. M. Walbrook. An Apostle of Melodrama. By George Paston. Sees 3% on b Ba THE AUTHOR. 81 HOW TO USE THE SOCIETY. — 1, VERY member has a right toask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel's opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors, Therefore, do not scruple to use the Society. 8. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7. Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £4 1s. per annum, or £10 10s. for life membership. 2 WARNINGS TO THE PRODUCERS OF BOOKS. et ERE are a few standing rules to be observed in an agreement, There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. (to Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. ae well bind yourself for the future to any one solicitor or octor | III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production, (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. —__—_t_>e_—_ WARNINGS TO DRAMATIC AUTHORS. 8 EVER sign an agreement without submitting it to the N Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, 82 (>.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. : (c.) Sale of performing right or of a licence to perform on the basis of royalties (‘.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (6.) apply also in this case. 4. Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5, Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘'hey should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should-remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —_——$_-——e—__ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. eo ne typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subj ( ject to the same rules, with the exception that a pl ill at the price of 22. 6d. per act. Ve cee eee ie THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. ee RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, de equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. —————_+—~>——_—__ WARNINGS TO MUSICAL COMPOSERS. er Ss ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the twe tights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ae STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, — THE READING BRANCH. a EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, ——-—>— REMITTANCES. — The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Taio of London and Smiths Bank, Chancery Lane, or be sent by registered letter only. . Bt THE AUTHOR. 83 COLLECTION BUREAU. + <4 HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland ; . A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany . Mrs PoeGson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. PUBLISHERS’ AGENTS. Ir is the practice of certain agents to act both for publishers and authors. In many of these cases, there is no attempt at conceal- ment from the author. Indeed, the agents, not infrequently, boast that the author’s chances of a market are increased by the fact that the publisher is also a client of them. As agent of the publisher, the literary agent claims to have unique opportunities of placing the works of his authors. This is the excuse invariably made by the agent who is found in the service of two masters. Here is a possible example. The publisher comes to his agent and asks him, say, to find a writer to undertake work for a series which he, the publisher, is issuing. The agent has on his books an author who is quite capable of undertaking the work, but, in many cases, the author is given no opportunity, the agent preferring to use the offer in order to attract another writer—not on his books—to place his literary work in the agent’s hands. Having succeeded in drawing in the new writer, that writer, when the next opportunity “of placing the works of his authors ” occurs, is forgotten, while the agent goes in search of the fresh client. But the real objection to the agent acting for the publisher and the author is not merely that the author seldom gains anything by the process, but that it is impossible, however honest and straightforward the agent may be, for him to act fairly to both parties. If the agent does his duty to the author, his second principal, the publisher, must suffer. If the publisher’s interests are looked after, then the author suffers. In a recent case brought to the notice of the Society, a literary agent refused to take any payment from the author, stating that he, the agent, was paid by the publisher. If every literary agent acted in this way, we should not so much object to the position, so long as the agent made his position clear before attempting to advise the author; but we should still have to warn authors against the danger of treating with publishers’ agents— especially if the author were paying for the production of his book. In such a case it is almost inevitable that the publisher’s estimate would be increased by the amount which the agent would receive. UNITED STATES Dramatic RIGHTS. SomME time ago we printed in The Author instructions from the Library of Congress, Washington, as to the filing of copies for registration (1) when a dramatic work is for sale in the U.S.A.; (2) when it is not for sale. The registrar was kind enough when the notice was printed to forward a number of copies for the benefit of members of the Society, and whenever a requisition is made, a copy is handed out. Mr. Maquarie, a member of the Society, has drawn attention to the fact that it might be useful not only to have the forms of instructions from the registrar at this office, but also the actual forms under which various works are registered ; as he has received a number from Washington, he has kindly deposited them at the offices of the Society. The secretary has written to the registrar on the matter, and it is hoped that in future a good: supply will be ready to hand. _Piays AND THE Ricut TO TITLE. Wirth reference to this article which appeared! in last month’s Author, one of the members has, 84 been kind enough to draw attention to the fact that in 1910, “The Stage Cyclopedia of Plays,” containing an alphabetical list of 50,000 play-titles, was published, and that in addition, every year “‘ The Stage Year Book ’ publishes an alphabetical list of pieces pro- duced in all the principal foreign countries as well as in England and America. It would appear, therefore, that with a little research it would not be difficult for dramatists to avoid trespassing on the property of other dramatists as regards the question of title. We hope this information may be of use to members of the Society. ———_———1—< > —_—- THE DINNER. eo YHE annual dinner of the Society of Authors was held at the Criterion Restaurant on Thursday, November 27, Mr. H. Hesketh Prichard, the chairman, presiding over a gathering of about 250 members and friends. The guest of the evening, Field-Marshal the Karl Roberts, V.C., K.G., ete., sat on the chairman’s right, and the others seated at the high table were Mrs. Humphry Ward, Mr. Anthony Hope Hawkins, Lady Elizabeth Hesketh Prichard, Miss Marie Corelli, Major Lewin, R.A., Mr. and Mrs. Reginald Smith, Mr. and Mrs. P. W. Everett, Sir George Forrest, K.C.1E., Sir Donald Mackenzie Wallace, K.C.V.O., Mr. W. W. Jacobs, Lady Florence Bourke, Mr. Ernest Davies, Mr. Thomas Marlowe, Sir James and Lady A. C. Wilson, General Wilson, C.B., D.S.O., and Mrs. Wilson, Mr. A. Cherry Garrard, Mrs. Jopling Rowe, Mr. and Mrs. Temple Thurston, Major-General and Mrs. Saward, Mr. and Mrs. Charles Garvice, Mr. R. D. Blumenfeld, and the Rev. P. H. Ditchfield. At the seven lower tables Mr. E. W. Hornung, Mr. Francis Gribble, Dr. S. Squire Sprigge, Sir Arthur Conan Doyle, Sir Frederick Hewett, Mr. Phillips Oppenheim, and Mr. G. H. Thring presided. At the conclusion of the dinner the usual loyal toasts were given by the chairman, who then rose again to propose the health of ‘‘ The Society of Authors.” He drew attention to the fact that their numbers were increasing, and there were now 2,500 members and associates. Last year 345 had joined the Society, and this year, so far, 338, so that there were hopes of breaking the record. He would like to mention one or two points about their progress apart from numbers. Their THE AUTHOR. relations with publishers and editors were excellent. It was noteworthy that this year one publisher, having a dispute with an author, had offered to submit the case to the committee of the Society, which showed in what estima- tion he held the Society’s sense of fairness. Things had changed since the days of George Borrow. ‘‘ What, do you eat meat, sir?” asked the publisher then. ‘‘ Yes,” said the author. ‘‘ You should eat bread !’’ was the reply. There had been a round-table conference this year between the committee and_ the editors in connection with the question of the prompter payment for magazine articles, and most of the editors had agreed to a resolution that payment should be made on acceptance or within six months’ time. Then there was the matter of the library censorship. The committee had heard several schemes proposed, but none of them promised great success. He regretted that the sugges- tion of a round-table conference between delegates of the Publishers’ Association, the booksellers, the Library Association, and the Society, though brought up before the council, had been referred back for further considera- tion, and that therefore nothing had yet been done. A certain number of members wanted the question of the ban upon books to be taken up, but it was impossible for the Society to deal with individual cases. Its duty was to look at the question broadly, from the point of view of all its members. He, as chairman, had even been obliged to deny himself the pleasure of reading the censored books ! He mentioned that letters of regret at inability to be present had been received from Mr. Rudyard Kipling, Sir Rider Haggard, Mr. Owen Seaman, Mr. Egerton Castle, Mr. Gathorne Hardy, and Mr. Sydney Holland ; and that Lord Roberts had, during the dinner, received a telegram from Yorkshiremen gathered at Skipton Town Hall that evening, wishing him all success in his great patriotic work. : In conclusion, the chairman congratulated the Society on the possession of one of the best —if not the best—of secretaries in the world. Sir Arthur Conan Doyle then proposed the health of “The Guests.” It was a pleasant duty, he said, when they had with them so numerous and distinguished a company, among them Mr. Cherry Garrard, who was with the lamented Captain Scott in the Antarctic, and Mr. Reginald Smith, the publisher, who came to show that the lion could lie down with the lamb. There was, however, one guest who, THE AUTHOR. short of Royalty, must always take the first place in any gathering of their countrymen, the first, not only in rank and in distinction, but in the grateful love and veneration of Englishmen. The qualities of Earl Roberts were well known. He had given in youth the strength of his right arm to his country, in middle life the genius of his generalship, and in later years the matured wisdom of his whole life. Now that he had earned his rest, he had thrown it aside and embarked on a most difficult and arduous task for purely unselfish and patriotic motives—a campaign in which, whether they agreed with him or not, they must admit there had been a dignity and restraint and moderation of utterance which was an example for all time. Since, at the age of 19, he joined the Indian Army, his life might be looked on, if one could visualise it, as a sort of cinematograph proces- sion of British history. There was first the Indian Mutiny; then the Afghan War; and they all had seen his work in South Africa— work not only as a soldier, but as a statesman and diplomatist. Lord Roberts had had a great deal to do with the reconciliation of South Africa. The speaker himself well recalled how, when he was in Bloemfontein, they were not 's . allowed to loot the villas of the Boers around them. Those houses would have made nice little cribs, and at the time they chafed at the prohibition, but as he looked back he saw how at every point of that great crisis Lord Roberts prevented just those things that would have left a rankling feeling which might have retarded the reconciliation of the two races. As an author, it might be said of Lord Roberts that his ‘‘ Forty-one Years in India ”’ was an unique record. His style was that of aman of action. The book was an index of its writer’s thoughts, so infused throughout with gallantry, fine spirit, and patriotism that all who had sons must be glad that they could read such a book as that. Earl Roberts, rising to respond, said that he was highly honoured by being invited to become the guest of the Society, and it was a great pleasure to him to find himself weleomed by such a distinguished gathering of men and women. His own claim to be an author was very small, and he could not imagine himself being in the slightest degree representative of literature. He was nearly sixty years of age -when the idea entered his head that he might some day at his leisure write an account of his Indian experiences. The idea was suggested to him, while walking on the Maidan at Cal- eutta, by a friend to whom he had been talking of the Mutiny and the second Afghan War. 85 He had never kept a regular diary, and he had no record of events except what he put down in letters to his father and mother in the Indian Mutiny, and later to his wife. He had not, therefore, at the time, responded to the invita- tion to write a book. But not long after that his service in India came to an end, and he had to bid farewell to a country in which he had spent forty-one most interesting and happy years. It was a sad parting, not only because of the innumerable friends he left behind, but because it looked as if his career as a soldier was coming to an end—a thought which was most distressing to any soldier. It was with a heavy heart that he left the land that he had learned to love so well. When he arrived in England he found himself unemployed for a considerable time, and as the days hung rather heavily on his hands he bethought himself of theidea which his friend in Calcutta had put before him. Looking over his letters he found that they were more numerous and more comprehensive than he had expected, and it seemed that the task of writing his life would, perhaps not be so formidable. His wife, who had been with him for thirty-three of his forty-one years in India, was blessed, like himself, with a good memory, and was able to help him. He there- fore set to work to produce the book to which he supposed he must attribute the honour they had paid him that evening. In spite of his small claim to that honour, he returned his sincere thanks, and was much touched by the way in which they had received him. He had not intended to say more; but the chairman had called upon him that evening as he was dressing for the dinner and had told him that he hoped he would not confine him- self in his speech to the returning of thanks. So, though he had previously not the slightest idea of talking—especially on a festive occa- sion like this—about a subject in which they knew him to be deeply interested, he would endeavour briefly to explain to them and place before them what he thought was the remedy for the danger in which this country stood. He hoped that those who were opposed to his views would not object to his expressing these now. It was difficult to begin and difficult to end. But they had as a starting-point the report of the deputation which waited on Mr. Asquith the day before. That clearly showed the opinion of those men who had spent four or five years working very hard to make the Territorial Force a success. It was greatly to their honour and credit though the majority of those men were not of the same political 86 opinions as Lord Haldane and the Government. They had worked for it as if it had been their own child. He himself had even at_ times expostulated with them. He had said: “I can hardly conceive why you should take the trouble to support a Force with which you have nothing to do at the start. You have certainly carried out this duty in a manly manner, but are you quite right in supporting a Force which you yourselves know can never be of any use?” They had read what the deputation said before Mr. Asquith the day before—how they had pointed out that the Territorial Force which now existed was of no use. They asked that some more money might be given them. It was a very difficult thing indeed for men to forego their pleasure, to give up their time, and wear out their boots and clothes for the public good, although the numbers who came forward were comparatively few, and, as Mr. Asquith said, the burden was not equally borne. But the remedy which they proposed was not sufficient. More money would not do what was required. More money might possibly fill up the number of officers and men that Lord Haldane laid down, but it would not make them efficient. If they doubled or trebled the money that was given, and doubled or trebled the number of men who came forward, those men would not be of the slightest use in war unless they were trained as soldiers. He would tell all those among them who did not agree with what he was saying that, if they were patriots, if they loved their country and desired it to remain the great country that it was, and if they desired to maintain the integrity of that great country, they should not trust to men who were not trained to fight. Untrained men were no better than a body of schoolboys. Panic would spread among them on the shortest notice. They could not be trusted, no matter what their individual courage might be, to fight a trained enemy unless they too were trained. He could give them many instances of what could be done by a very few trained soldiers, men who believed in their own skill with their arms and who trusted their comrades alongside them, or even at great distances apart. Fighting in modern days was quite a different thing from what it was even in the days of the Crimean War, the Indian Mutiny, or the Peninsular War. The first battle he was in was under the walls of Delhi. At that time they were in close order, touching each other in fact. The non-commissioned officers and men were shoulder to shoulder, and the firing commenced, as at Waterloo, at forty or THE AUTHOR. fifty yards’ distance.~On the Heights of Abraham, Wolfe did not give the word until the French were within forty yards. Now they came within the fire-zone at 2,000 yards, and from that time until he came to close quarters every man was going along, not in close order, nor constantly advancing, but lying down to take cover, getting up again, and so on. The strain on each individual soldier, knowing every moment that he was being fired at, was enormous, and could only be borne by trained men. He would defy the whole of the Ministry and the Army council to assert that untrained could fight against trained men in modern times, and unless the country insisted on some system being devised by which the men, however few in numbers, could be properly trained, and by which, they could be made to have confidence in their comrades, and more particularly reliance on their officers, the Territorial Force might just as well be disbanded. One could always trust trained men, if only a few thousand in number, to hold their own against hundreds of thousands. He had him- self felt no anxiety lest defeat should occur in Afghanistan, because he knew that his men could be trusted. They never showed the least sign of alarm at the hordes around them. He remembered four or five days’ hard fighting among the hills once, when he could not see into the valley beyond the highest hill in front of them. He signalled to the officer in charge of the outpost on the height, asking for the number of the enemy in the valley, and the answer came back by signal—it was in the days long before the field telephone—* They are like Epsom on Derby Day!” He had with him only 6,000 or 7,000 men, but those few were perfectly willing to stand up against any num- ber, because they had been properly trained. This was the necessary point, which he wanted the country to realise. For defence we want trained men, who can be trusted to hold their own against any number. Mr. E. W. Hornung gave the toast of “‘ The Chairman.” He had accepted the task pro- posed to him by Mr. Thring, he said, with a certain indecent alacrity, because his old friend, Mr. Hesketh-Prichard, was a man who re- commended himself to them all in various and romantic ways. He recalled the first story he had read in Cornhill, years ago, over the signa- ture of E. and H. Heron, and how he had been told that it was from the pen of “‘ a young giant who writes in collaboration with his mother ”— a fact in itself sufficient to impress the heart. Then he had played on cricket fields terrorised os THE AUTHOR. 87 by the prowess of a certain fast bowler—their chairman. Then again, there was a mighty hunter ; and it was in this capacity that Mr. Hesketh Prichard was most famous to-day. He wondered whether he would be able as chair- man of the Society, to add to his trophies of the hunt the scalp of one wicked publisher; but perhaps that would not be considered hand- some enough to figure among the antlers and heads. The chairman replied briefly, thanking Mr. Hornung for the kind way in which he had proposed his health. However long he lived, he said, no honour would ever befall him equal to that of sitting next to Lord Roberts that night. After the speeches had come to an end, the members and their guests moved to the adjoin- ing room for the conversazione, at which a num- ber of members of the Society were present who had not taken part in the dinner. ee THE NOBEL PRIZE. ABINDRANATH TAGORE, who has R lately been awarded the Nobel prize for literature, came to England in the summer of 1912, and, at Mr. William Rothen- stein’s suggestion, translated during the voyage some of his lyrics into English. During the summer he worked hard at these, and the result was the book which he called “‘Gitanjali”’ (Song Offerings), of which a small edition was published by the India Society in November. This was received with a chorus of approval, and Messrs. Macmillan published a second edition last spring which has gone through several impressions. The ‘‘ Gardener,”’ a col- lection of love poems dating from an earlier period, appeared this autumn, as well as some lectures entitled ‘“‘ Sadhana,” which Mr. Tagore had delivered at the Caxton Hall. <A book of child’s poems, ‘‘ The Crescent Moon,” with illustrations, has just appeared. Mr. Tagore comes of a literary and artistic family who have lived for generations in Calcutta. He has for many years been recognised as the foremost poet of Bengal, perhaps of India. His advice is eagerly sought and followed by many of his fellow- countrymen. He superintends, and himself largely supports, at Bolpur, in Bengal, a school which has made a name for itself as turning out boys of strong character. He has returned there now to his home at Shantiniketan (the abode of peace), a little tired after a most interesting year of foreign travel, and not altogether sorry to be at rest again. COPYRIGHT AND ‘‘THE LADY.” —+—<—9 ie the May issue of The Author in the current year an article was printed under the above title setting out a form of receipt issued from the office of The Lady. A special covering letter from the editor was sent with the receipt. The following is a reprint of the letter and the form of the receipt :— 39 and 40, BepForpD STREET, Srranp, W.C. March 13, 1913. Dear Mapam,—The manager has requested me to send you the enclosed for your signature. The idea, so I understand, is to save contributors the trouble of sending him a special form of acknowledgment on receipt of each cheque. Once the enclosed has been signed, the endorse- ment on the cheque will be the only receipt required by the manager. Yours truly, Tue Epiror. [ENCLOSURE] To the Proprietor of ‘‘ The Lady’’ Newspaper. In consideration of your publishing in your newspaper or purchasing any article or drawing written or made by me, I hereby assign and transfer to you the original and the copy therein and also agree to assign and transfer to you the original of and the copyright in all future articles and drawings written or made by me which may hereafter be purchased by you or published in your newspaper. Signature Date There is really no need to pass fresh comment. Those who know will only need to be reminded. Those who do not know can easily refer to the article. The proprietor of The Lady has now taken a fresh line, perhaps as a result of that article. It may be that many contributors reading the article altered the receipt and’ cashed whatever cheque they may have received. But it is of the utmost importance to set before members and others the newer methods which the proprietary of The Lady has adopted. On the back of the cheques runs the following story :— Received from the Proprietors of The Lady newspaper the sum written on the face of this cheque in payment for my contributions or drawings and copyright thereof published in The Lady newspaper up to and including the issue dated ; Signature The signature is intended to be an indorsement of the cheque as well as a receipt for the amount. 88 Under the Copyright Act, 1911, any assign- ment of copyright must be in writing. Whether the endorsement of the cheque amounts to such an assignment in writing the proprietors of The Lady must find out for themselves. But it is a fair deduction to make that they intend it to be so. On other occasions articles have appeared in The Author explaining this insidious method adopted by proprietors of magazines to obtain rights from authors.* Sometimes, where the contract has been completed before publication, these rights have never been conveyed. Sometimes they were never intended to be conveyed. What is the reason that editors and pro- prietors cannot deal in a more reasonable and businesslike spirit with their contributors ? Why cannot they say before they print the article (a stereotyped letter is all that is required): The editor accepts the article at the price of £ per thousand words, subject to the transfer of all the copyright ? Or why cannot they, if they desire to print the article, and have no time to communicate with the author, claim only that which it is in the mind of the author to give, and which is the only real value to themselves—the first serial use ? The answer is plain. No author when sending an article to a monthly or weekly paper intends to sell the copyright. Nor does the editor or proprietor desire to use the article except in one issue of the magazine. If in exceptional cases he should desire more, then he should state so before and not after pub- lication. It would seem, therefore, that he endeavours to obtain control of the copyright only in order that, sitting as a dog in the manger, he may obtain a return of part of the moneys from the author should the author desire to republish in other form. This position, from the author’s standpoint, is very serious, especially if he is a technical writer, or happens to have specialised in any subject. The position is unfair to the author and a great hardship, because, as a rule, the bankers have directions not to cash the cheque if the endorsement is altered. The author, in many cases, either being in need of the money or being unwilling to offend the editor signs the document. If all authors refused to sign these endorse- * June, 1913. THE AUTHOR. ments, however trivial the amount in dispute, the matter would be remedied almost immedi- ately, but in many cases, when the article is of ephemeral value, it is not worth the author’s while, and in other cases an author may not care to appear in a county court. The solution of the difficulty lies, however, to a great extent in the author’s hand. He must send a formal letter—keeping a copy— with his article stating exactly what he is willing to licence—generally first serial use in a ‘“‘mentioned” magazine. If, then, the article is published without further reference to the author it will be held to be published on the terms of his letter of which the editor has had notice. If, then, the cheque is sent with the endorsement referred to it would be as well to return the cheque at once and, if the editor disputes the position, to take immediate action by placing the case before the Committee of Management of the Society. ———————_1—-1+—_—_—_ PENS, PAST AND PRESENT. oe (Reprinted by kind permission of the Family Herald.) HE earliest kind of pen known is that used by the ancients—a style of bone or metal, with which letters were sketched on a_ tablet covered with wax. When the use of coloured liquids was adopted, a reed took the place of the bodkin, giving place afterwards to the quill. Egypt was famous for the most beautiful reeds ; there were fine reeds to be obtained near Cnidus, in Caria, Asia Minor ; the marshes of Persia also furnished a good supply. They grew to the height of a man, and were filled with a pith which could be removed when dry, so as to allow of a point being cut. Had the old Greeks known of goose quills they might perhaps have dedicated the goose instead of the owl to Minerva. ‘There is indeed a portrait of Aristotle in a manuscript in the Vienna Library, showing him with a book and quill before him, but the manuscript was not written until 1457, and the writer drew largely on his imagination. But the use of the quill seems to date from not earlier than the sixth century. It is related that Theodoric, King of the Ostrogoths, could not learn to write four letters at the bottom of his edicts, so four letters were cut out for him in a plate of gold, which was laid on the paper, and he traced out the letters with a quill. The Emperor Justin used a plate of wood, but his case was so much worse that one of his secretaries had to guide his hand. The oldest certain account is, however, that of St. Isidore, who died A.D. 636, wherein he mentions reeds and feathers. THE AUTHOR. 89 In the same century St. Aldhelm, the English pioneer of Latin verse, wrote a small poem on a quill pen. The gospel manuscripts of the ninth century depict the evangelists with quills in their hands. When the Romans were in what is known to-day as the Netherlands they are said to have paid special attention to the catching of geese ; an old poet said that this was because they could not get Egyptian reeds and wanted to procure goose quills, but Pliny says that it was because they wanted to eat roast goose and lie on feather beds. REEDS AND QUILLS. Reeds and quills were both used in the eighth century in the French diplomatic documents, while the papal Acts and those of the synods were written with reeds until much later. The monks used reeds for text and initials, while they preferred quills for smaller writing. Johann Reuchlin, a great light in the Reformation and Renaissance, was so severely attacked and persecuted that he had to flee for safety, leaving all his writing materials behind him; a letter is extant in which he asks a friend, Porkheimer, to send him some good paper, pen-knives, and peacock feathers. His letter of acknowledgment says :— . “J asked you for peacock feathers for writing ; you have presented me with the choicest swan quills, and, that nothing might be wanting to your friendly offices, you sent also reeds from the Nile, or, a8 | rather think, from Cnidus—more easy for writing—and the most excellent paper-knives.” Reuchlin sent three of these reeds to Erasmus, who writes full of gratitude for such a desirable present, saying that such is the most acceptable gift possible, adding the request that if Reuchlin has any more he will send some to a mutual friend in England, with a hint that more would be welcome sent to himself. _ For some reason writing quills were very scarce in Vienna in 1433; Ambrosius Traversarius, a monk of Carmaldule, sent a bunch of quills to his brother from Vienna, saying :— _ “They are not the best, but such as I received im a present. Show the whole bunch to friend Nicholas that he may choose a quill ; for they are éven scarcer in this city than in Florence.” The feathers of various birds have been used for pens, but in this respect the goose has always been the main contributor to literature. The swan, crow, eagle, owl, hawk, turkey, and peacock have all supplied the pen market to some extent. Swan quills are better and more costly than goose quills, while those of the crow are more suitable for fine lines. The only useful feathers of the goose are the five on the outer part of the wing, and of these the Second and third are the best. Quills from the left wing are more suitable than those of the right wing, because they curve outwards and away from the writer. How QUILLS ARE PREPARED. Preference is always given to quills secured in the spring from living birds, but those taken from dead geese, especially if fattened, are comparatively worthless. The quills are greasy and covered with little pellicles of skin ; this is removed by heating them in a fine sand-bath to one hundred and thirty to one hundred and eighty degrees Fahrenheit. They are then scraped, and while they are still soft and hot can be stamped with designs and names. Care must be taken that they are finished hard and elastic. Joseph Bramab, the lock inventor, in 1809, made and patented a machine for manufacturing quill nibs ; the barrel of the quill was slit into three or four parts and then cut across into two, three, four, and even five lengths. The nibs were used in a holder something similar to the present holder. Dickens, it will be remembered, speaks of the time when quill feathers were cut and cut again by the writer ; Miss Squeers, in her anxiety to see the new usher of Dotheboys Hall, enters the schoolroom on the pretext of wanting her pen mended. Nine years after Bramah’s patent Charles Watt obtained a patent for gilding nibs, thereby antici- patiug the gold pen. But in 1822 a step further was made; Hawkins and Mordan patented the application of horn and tortoiseshell to the forma- tion of nibs, making the points durable by impress- ing them into small pieces of diamond and ruby ; another part of the process was lapping a small piece of thin sheet gold over the tip of the tortoise- shell, and there were other ways of hardening the point. Merauic PEns. Metallic pens appear to have been slightly known to the Romans, but it is certain that they were not in use, nor were they at all common until after the meeting of the British Association at Birmingham in 1839. A steel pen was made and sold in London in 1803, but it cost five shillings, and was not a success. Bryan Donkin brought out another metallic pen in 1808. Doctor Priestley had had a steel pen made at the end of the previous century by a manufacturer of split-rings, named Harrison, who was eventually associated with Sir Josiah Mason in the industry ; but it was not until after Perry’s invention in 1830 and Gillott’s in 1831 that pen-making became a paying industry. — Pens were made of silver, zinc, German silver, aluminium, and aluminium bronze. Doctor Wollaston, the celebrated physicist, whose advice was so useful to Herschel, used the first gold iridium-tipped pe on record. 90 Joseph Bramah again was in the forefront with his fountain-pen. He had several designs ; one was a tube of soft silver that could be pressed to allow a flow to the nib, and another was a tube with a piston sliding down the ink-barrel. John Scheffer, in 1819, made a pen with a button, which the writer pressed when he wanted more ink at the nib.’ The Americans were the pioneers of stylo- graphs, with iridium points, but Birmingham took and retains the lead for good ordinary pens. A few words on the actual making will not be out of place. The finest quality of cast steel in rolled sheets is used, this being the product of Swedish charcoal iron. The sheets are cut into strips and then tempered in a furnace before being pickled in weak sulphuric acid to remove the oxidised scale. The strips are again rolled, and then cut, stamped, and embossed by band fly- presses with the trade-mark and perforated. Until pow the embryo pen is flat; next follows the rounding into a semi-circular shape. After once more being heated the pens are plunged into oil and then polished by mixing with sand in rotating cylinders. Small emery-wheels then grind the point, and the slit from the perfora- tion to the tip is made ; on this depends the whole perfection of the pen, the desired flexibility being a sine quad non. ‘The surface of the pen is then coloured in a revolving cylinder over a charcoal fire, and finally varnished with a solution of shellac. And the result is—a pen at less than a farthing infinitely superior to one formerly sold at five shillings. A. Kirxuam HaMILton. >< THE REAL “MOTHER DAMNABLE.” N a case in the law-courts some months ago the allegation was made—though it was contradicted at the time and has since been strongly denied—that Roman Catholics, or at least members of the Jesuit order, sometimes speak of the Church of England as ‘¢ Qld Mother Damnable.”’ (A correspondent in the Observer claims that ‘‘ the epithet was first brought into prominence, if not actually invented, by one of the early Tractarian seceders to Rome, and a friend of Newman’s, namely, the Rev. John Pye, who married a daughter of Bishop Samuel Wilberforce ”’.) It would be curious if the name were ever used in this connection, for it once had very different, and by no means religious, associa- tions. Whether one is justified in speaking of a real Mother Damnable is perhaps open to THE AUTHOR. dispute ; but, at any rate, there is a traditional personage who bears the stigma of the title and lingers on as a faint memory in a far from romantic quarter of London as we now know it. Near the end of the eighteenth century that industrious combination of author, print- collector, and print-seller, James Caulfield, published his “ Portraits, Memoirs, and Characters of Remarkable Persons from the Reign of Edward the Third to the Revolution.” To this work we owe some details, of doubtful authenticity, concerning the career of ‘‘ Beau ” Feilding, for a brief while the second husband of Barbara Villiers, Duchess of Cleveland. Another of the memoirs deals with Mother Damunable. ‘“Of the shrew thus denominated,” says Caulfield, ‘‘ whose real name has not reached posterity, nothing farther is known than the following lines annexed to her portrait— ‘London, printed in the year 1676 ’—inform us. ... It is perhaps not unreasonable to conjecture that she might be the original Mother Red Cap and kept the public-house near Kentish Town, known for a century past by the sign of her head ; in rivalship of which a Mother Black Cap appeared nearly opposite : which ale-houses were, within these few years, almost the only dwellings on that spot, now covered with extensive piles of building.” We may for the present leave the lines quoted by Caulfield, while we follow the identification suggested by him. This is supported by a statement in a valuable and entertaining collection of reminiscences called ‘““A Book for a Rainy Day.’ The author, John Thomas Smith, up to his death in 1833, keeper of the prints and drawings in the British Museum, preserved in this much antiquarian information which might otherwise have been lost. Writing of the year 1778, he mentions the Mother Red Cap, “‘a house of no small terror to travellers in former times,’’ and adds : “Tt has been stated that Mother Red Cap was the ‘ Mother Damnable’ of Kentish Town in early days; and that it was at her house the notorious ‘Moll Cutpurse,’ the highway- woman of the time of Oliver Cromwell, dismounted and frequently lodged.” Those who go to Camden Town nowadays by the Underground Railway may see “ The Mother Red Cap” over against the station, at the corner of the Camden Road. There is nothing ancient, however, about the house to-day, except its name. It was rebuilt in the late eighteenth century, according to J. a: Smith. An old gentleman with whom the present writer is acquainted remembers it fifty She THE AUTHOR. 91 years ago, when it was one of the most picturesque inns in the London neighbourhood, celebrated for its old ale and Welsh rarebits, with a parlour where every seat was conse- erated to a regular customer, and with a paved space in front which could accommodate thirty or forty coaches. Since then it has_ been rebuilt at least once, and it is now almost aggressively modern. In this respect it is at least in harmony with its surroundings ; for, where once highwaymen resorted, the chief danger to life at the present day arises from the unceasing streams of motor-omnibuses and trams which run in all directions. Of the ““Mother Black Cap” there is no _ trace, although two public-houses—the authorities have been prodigal with licences hereabouts— may be described as standing nearly opposite. It is a rather strange coincidence that a newspaper of 1776, mentioned in Besant’s Survey of London, states that the space facing the ‘“‘Mother Red Cap” was at one time designed for a second Tyburn. This is sugges- tive of the black cap, it must be admitted. Another of the community of witches is obviously the heroine of a pantomime produced at the Sans Pareil Theatre in the Strand in March, 1809—‘‘ Mother White Cap, or Hey up the Chimney !”’ But she was perhaps only a parody of her red and black sisters. There appears to be little local tradition of Mother Red Cap surviving in Camden Town, beyond that she was “‘ a witch-sort-of-thing.”’ Mother Damnable’s portrait, reproduced by Caulfield, is an unpleasing representation of an old hag kneeling down by her grate, in a much soiled or patched skirt and shawl, stick in hand, with a spilt pot of ale and a clay pipe on the floor behind her, while on the wall hangs a scutcheon with a black and a white cat sus- pended by their tails. In the modern ‘‘ Mother Red Cap ”’ a picture presents the dame quite otherwise, as only of middle age, in a red dress and a red hat with peaked crown. Across it is pasted the legend, “Champagne, 6d. a glass’?! But it is red wine which stands in a decanter at her side, and a glass of it is in her hand. The story, though its origin is difficult to trace, is that Mother Red Cap, or Damnable, was a brickmaker’s daughter in Kentish Town, very wild in her girlhood—like Mary Frith, alias Moll Cutpurse, according to her earliest biographer, “‘a very tomrig or rumpscuttle,”’ “delighting only in boys’ play and pastime, not minding or companying with the girls ””— who, when she grew up followed Marlborough’s army to the wars, and ended by becoming a witch, as well as an inn-keeper, and being carried off by the Devil. The verses saved from oblivion by Caulfield are plainly directed against an unpopular landlady and do not allude to any traffic with the Black Art. They run as follows :— *Y° have often seen (from Oxford tippling house) Th’ effigies of Shipton-faced Mother Louse, Whose petty pranks (though some they might excel) With this old trot’s ne’er galloped parallel. *Tis Mother Damnable! that monstrous thing, Unmatched by Mackbeth’s wayward women’s ring, For cursing, scolding, fuming, flinging fire I’th face of madam, lord, knight, cit, gent, squire : Who (when but ruffled into the least pet) Will cellar door-key into pocket get. Then no more ale: and now the fray begins ! *Ware heads, wigs, hoods, scarfs, shoulders, sides, and shins ! While these dried bones, in a Westphalian bag, (Through th’ wrinkled weasan of her shapeless crag) Sends forth such dismal shrieks and uncouth noise As fills the town with din, the streets with boys ; Which makes some think this fierce she-dragon fell Yan scarce be matched by any this side hell. So famed, both far and near, is the renown Of Mother Damnable, of Kentish Town. Wherefore this symbol of the cats we’ll give her, Because, so curst, a dog would not dwell with her.” “Mother Louse,” it may be noted, is described in another of Caulfield’s memoirs as the keeper of an ale-house near Oxford, called Louse Hall. She was ‘ well known to the gentlemen of that university, who called her Mother Louse, and a portrait of her was engraved from the life by David Loggan, engraver to the University and friend of Antony Wood. It represents her with a ruff, which she was said to be the last woman in England to wear. Oddly, the picture of Mother Red Cap in the modern house gives her a ruff about her neck. Probably there is no reason to doubt the existence, once upon a time, of these two shrewish landladies. George Savile, Marquess of Halifax, speaks, in his essay upon the choice of Parliament-men, of ‘“‘a wet popularity ” as a frail title to fame. An alehouse-keeper, on the other hand, *“ Who (when but ruffled into the least pet) Will cellar door-key into pocket get— Then no more ale,” was sure of a dry unpopularity, which, embalmed in verse, might last centuries when there was a collector about with Caulficld’s love for the quaint. Puitre W. SERGEANT. —_——_1— THE AUTHOR. MR. GOSSE’S ESSAYS.* eae HE second volume of Mr. Gosse’s collected essays will be welcomed alike by those who made the ac- quaintance of these particular essays when they first appeared, and by those to whom they are new. Few writers, past or present, can invest with so much charm the critical and anecdotal saunter round the shelves of a book-room as our author. Few, too, have such sane views of what a library should be—“ a small one, where the books are carefully selected and thoughtfully arranged in accord- ance with one central code of taste, and intended to be respectfully consulted at any moment by the master of their destinies.”’ If fortune made him possessor of one book of excessive value, Mr. Gosse tells us, he would hasten to part with it. This is true wisdom. The first quarto of ‘‘ Hamlet” may be left to the Transatlantic millionaire. The essays before us range over a vast period of literary history. From Camden’s ‘‘ Britannia,”’ early in the sixteenth century, they travel by degrees to Meredith’s “ Shaving of Shagpat.’? The first and the last, it will be seen, deal with well-known works. Perhaps the most pleasing, however, are those which take as their subject obscure or forgotten books — such as Wither’s ‘‘ Shepheards Hunting,” Lady Winchilsea’s “ Miscellany Poems,” Farquhar’s ‘“‘ Love and Business,” and that extraordinary panegyric on prize- fighting, “‘ The Fancy,” of which the author was Keats’s friend, John Hamilton Reynolds, disguised under the alias of Peter Corcoran. The last-named essay—for it takes its title from the title of .Reynold’s book—is an admirable example of the man of letters at the ring-side. With what gusto does Mr. Gosse quote Corcoran’s apology to his lady-love :— “‘ Forgive me, and never, oh never again, T’'ll cultivate light blue or brown inebriety ; Tl give up all chance of a fracture or sprain, And part, worst of all, with Pierce Egan’s society.” and explain that ‘“‘ heavy brown with a dash of blue in it”? was the fancy phrase for stout mixed with gin ! There may be those to whom it seems grotesque to turn the pen to discourse of such things as these. To them may be commended the lines from Samuel Daniel’s “* Musophilus,” which Mr. Gosse quotes as the motto of his book, beginning *O blessed Letters, that combine in one All ages past, and.make one live with all. . . .” * “Gossip in a Library,” by Edmund Gosse, C.B. London; William Heinemann. CORRESPONDENCE. —_-—< 2 — “* ONLY.” Srr,—The irritating misuse of the word “only ’’ to which your correspondent “ Richard Free ” called attention in your last issue, is by no means confined to careless writers. Many who denounce the split infinitive have not yet had their grammatical consciousness awakened to this solecism. For example, I have culled the following three passages from the latest edition of “‘The King’s English,” the best book we have on the ill-treatment of English. ‘“ We shall now only make three general remarks before proceeding to details.” “The mistakes are nearly always on one side, the infinitive being the form that should only be used with caution.” “ For a person’s name can only require a defining cause to distinguish him from others of the same name.” The intended meanings are certainly not ‘only make,” “ only require,’ or ‘“ only be used,” as a moment’s analysis shows. This is perhaps the commonest error in both spoken and written English at the present day ; once perceived, it is undoubtedly one of the most irritating, and your correspondent deserves thanks for calling attention to it. I am, Your obedient servant, Ernest A. Baker. —1+——+—_ New AND AMUSING TRICK OF THE LITERARY AGENT. Dear Sir,—The literary agent has found a new way of amusing his authors. He has a special cheque printed with a receipt upon the back which requires a penny stamp. He pays his author with one of these cheques and of course does not stamp his receipt. The author is abroad, or he has only embossed envelopes upon his desk, and the fun begins. Publishers are taking up this delightful little novelty. ‘The author finds on the back of the publisher’s cheque a printed receipt, in which he is invited to make over to the publisher all sorts of rights he never sold’ when the. bargain was made. Any alteration of the receipt invalidates the cheque. Letters, explanations, recriminations. What an infernal nuisance all this smartness is ! | X. 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. 24 Issue 03 (December 1913) Subject The topic of the resource The Author, Vol. 24 Issue 03 (December 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-12-01-The-Author-24-3 publications The Author https://historysoa.com/files/original/5/533/1913-11-01-The-Author-24-2.pdf 0d53a2f4f581cd88b8d8c0aabba5beea 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-11-01 Volume 24 Issue 2 Pages Page range in volume 33–62 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19131101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMutbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. VoL. XXIV.—No. 2. NOVEMBER 1, 1913. [PRIcE SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. —_______+—~<>__ NOTICES. OR the opinions expressed in papers that K are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIV, the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. ees THE SOCIETY’S FUNDS. ——— ++ "T\ROM time to time members of the Society K desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other #2 34 matter closely connected with the work of the Society. (2) The Pension Fund _ This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. i THE PENSION FUND. —1—~>— + —_ N January, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £1C fully paid. The number of shares pur- chased at the current price was twenty-five anc the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. £ $d: Wocal Loans 9. ....5.....60... 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ............ 250 0 0 Egvptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Caze of Good Hope 34% Inscribed SOCK i ieee oie sa 200 0 0 Glasgow and South-Western Rail- way 4% PreferenceStock .... 228 0 0 New Zealand 83% Stock ....... 247 9 6 Irish Land 23% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 1927-57... a. oc: 438 2 4 Jamaica 34% Stock, 1919—49 .. 182 18 6 Mauritius 4% 1937 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ...... 198 8 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- dinary Stock ..5..6.....050.5, 232.0 0 THE AUTHOR. Nominal Value. s. d. $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........... 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares ........... 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ............ 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue.. 380 0 O PENSION FUND. —_—— + THE list printed below includes all fresh dona- tions and subscriptions (7.¢., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from January 3, 1913. It does not include either donations given prior to January, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. £ sda Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). Jan. 9, Gibson, Frank . Jan. 29, Blaikley, Miss E. L. Jan. 31, Annesley, Miss Maude Feb. 6, Rothenstein, Albert . Feb. 10, Bradshaw, Percy V. April 8, Caulfield-Stoker, T. . June 12,,Wimperis, Arthur . June 16, Ballantyne, J. W. June 16, Thorold, Rupert Oct. 8, Rees, Miss Rosemary Oct. 8, Pearce, J. : : : Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry ; Oct. 21, Buchanan, Miss Meriel _ ~ ~ Ae Aaocannoewraocwonnse GOrococooccr orm ooococo Sooooocoocoeoooaances Donations. 1913. Jan. 1, Risque, W. H. j : Jan. 1, Rankin, Mrs. F. M. . ; Jan. 2, Short, Miss L.M. . : Jan. 2, Mackenzie, Miss J. . : Jan. 2, Webling, Miss Peggy . ecooco eooooso oo Or THE AUTHOR. S 6 @ Jan. 8, Harris, Mrs. E. H. . 20 0 April 2, Hain, H. M. H or Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. _ Jan. Jan. Jan. Jan. Jan. _ Jan. Jan. Feb. Feb. _ Feb. Feb. Feb. ' Feb. Feb. Feb. Feb. Feb. Feb. _ Feb. Feb. Feb. Feb. Feb. - Feb. Feb. . Mar. Mar. Mar. Mar. Mar. Mar. 8, Church, Sir Arthur, K.C.V.O., ete. 4, Douglas, James A. 4, Grant, Lady Sybil 6, Haultain, Arnold. 2 6, Beveridge, Mrs. : : 6, Clark, The Rev. Henry . 6, Ralli, C. Scaramanja . £ 6, Lathbury, Miss Eva . : 6, Pryce, Richard : 7, Gibson, Miss L. S. 10, K. : 10, Ford, Miss May : ‘ 1. Greenstreet, W.J.. : 14, Anon 2 . 15, Maude, Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 20,P.H.andM.K. . : 22, Smith, Herbert W. . : 25, Anon. . ‘ x 27, Vernede, R. E. : 29, Plowman, Miss Mary . 29, Todd, Miss Margaret, M.D. 81, Jacobs, W. W. : x 1, Davy, Mrs. E. M.. . A 8, Abraham, J. J. : : 4, Gibbs, F. L. A. 4, Buckrose, J. E. : 4, Balme, Mrs. Nettleton : 6, Coleridge, The Hon. Gilbert 6, Machen, Arthur 6, Romane-J. ames, Mrs. 6, Weston, Miss Lydia : : 14, Saies, Mrs. F. H. (in addi- tion to her subscription) 14, Maunsell, A. E. Lloyd. 14, O’Higgins, HJ. ‘ 15, Stephens, Dr. Ricardo 15, Jones, Miss E. H. 17, Whibley, Charles 22, Probert, W. S. 24, S. F. G. : 27, XX. Pen Club 7, Keating, The Lloyd ; 7, Tharp, Robert C. 10, Hall, H. Fielding . 13, Moffatt, Miss Beatrice 14, Bennett, Arnold. 17, Michell, The Right Hon. Sir Lewis, K.C.V.O. Rev. J. Mar. 17, Travers, Miss Rosalind Mar. 26, Hinkson, H. A. ‘ : Mar. 26, Anon. . : ‘ . April 2, Daniel, E. H. 2 : naoroe Orroeococods SOM MOF OF ONKF OCOCOCOCKRH OFM OCOCOCOCOOCBRO WO OFN WH ocouaror rt et et bot anette OH OM ONE NB OOR EF OF Or orore Oe Or OOH bo Oe _ a et _ SPOOF CAND OF S ore Or Or cooruMTt~ acoce ooooo CSCoocacaace coooooaoaooenoanacoooooocooececeocoo April 7, Taylor, Miss Susette M. April 7, Harding, Newman . April 9, Strachey, Miss Amabel April 10, Aspinall, Algernon . April 15, Craig, Gordon April, Robbins, Miss Alice June 12, Peel, Mrs... June 13, Barlow, Miss Hilaré June 18, Kynnersley, E. M. Sneyd. July 5, Williams, Robert . 3 July 11, Broadbent, D. R. . : July 22, Cameron, Mrs. Charlotte . Sept. 29, Peacock, Mrs. F. M. Sept. 30, Healy, Wallis 3 et Oct. 7, Darwin, Sir Francis . 5 0 Oct. 9, Carroll, Sy dney Wentw orth 0 10 Oct. 21, Troubetskoy, ‘The Princess 1 0 We regret that a donation from Miss Alice Robbins of £1 1s., made in April last, was not chronicled in this list. We take this opportunity of correcting the mistake. NEE OCOORFROCOCOOM — NN eH eH OO OCC Oe ooo: SAHeSnRCOCOCOCDONSC COSCO COOF — COMMITTEE NOTES. a HE October meeting of the committee— the first meeting after the vacation —was held on the 6th, at 1, Central Buildings, Tothill Street, Westminster, S.W. There was a very long list of agenda before the meeting. After the signing of the minutes of the previous meeting, the committee proceeded with the election of members and associates. The committee have pleasure in reporting that the rate of election is still steadily maintained, and that seventy-one elections were recorded. These are chronicled elsewhere in The Author. This brings the total number for the current year up to “278. The committee accepted, with regret, six resigna- tions. The seeretary and the solicitor of the Society then reported on the cases taken. in hand during the vacation, and also the progress that had been made in those matters with which the Society was already dealing. There were five cases of infringement of copyright. The first, Corelli v. Gray had been mentioned in former issues of The Author. The solicitor reported that the costs of the first action had been paid into, court and that the matter was now awaiting appeal. Two cases had been settled after considerable negotiation.. In one case, it appeared from the solicitor’s report that the 36 editor of a magazine had been deceived by his contributor. ‘lhe fourth case, which had been before the committee at previous meetings, but which had been adjourned owing to lack of evidence on certain material facts, the com- mittee regretted, after consideration of the solicitor’s opinion, that they were unable to take up as the evidence was insufficient. Should, however, the ‘member be able to produce the evidence required, the committee expressed their willingness to reconsider the issues. The secretary reported that he had heard from the lawyers in Switzerland respect- ing a ease which had been proceeding for some time in that country. The matter had now been referred to the Highest Court of Appeal. So far, the committee regret to report, the decisions have gone against the Society. There were five claims for moneys due to members. Two of these had been settled during the vacation. In a third case a summons was pending, and with the two remaining claims which had not been dealt with previously, the committee instructed the solicitors to proceed. There were three cases in which accounts had either not been delivered or were disputed. In two cases against the same firm in England the solicitors were instructed, as they had been unable to get any satisfactory answer to their questions, to issue the necessary summonses. The third case dealt with a publisher in the United States. The secretary reported that it was being handled by the United States lawyer. The next matter for consideration referred to the liquidation of a firm of publishers. As usual, the Society was taking up the matter on behalf of the members involved. The committee are pleased to receive the report that it had been possible, as in two previous liquidation cases this year, to obtain the election of a member of the Society on the Board of Inspection, to look after the interests of authors. The next matter had reference to a question of libel : it is hoped it will be settled without any further difficulty. There were disputes arising out of the interpretation of agreements. In the first, which had been taken up some time ago, the solicitor reported that, as no settlement had been come to, he was now taking the necessary steps to obtain an injunction to prevent the further publication of the book contrary to the terms of the contract. This case, if it comes into court will be fully reported in The Author. The second, relating to a contract for publication, the committee regretted they THE AUTHOR. were unable to take up. Although the matter was one involving undoubted hardship to the composer it appeared in the circumstances there was no legal remedy to justify the committee in taking action on behalf of the member. The details of the last case were laid before the committee and fully discussed. They found it impossible to take action. It appeared clear that the contract was binding and there was no reason why any court should set it aside. The committee decided to take counsel’s opinion on a difficult case of Inter- national law referring to the reproduction of music on mechanical instruments, and the secretary reported that, with the sanction of the chairman, counsel’s opinion had been taken on a question relating to film rights under a dramatic contract. In a dispute between a member and an agent, the chairman of the committee was requested to write to the member concerned, setting out the views of the committee. The committee decided to take up a difficult question of accounts in order to establish the Society’s right to a formal investigation. In former disputes on accounts the Society had, without taking the matter into court, always obtained the necessary statement from pub- lishers, but for some reason, in this special case, the publishers, through their solicitors, repudiated liability. In consequence, the com- mittee decided that the point must be clearly established that an author, composer or dramatist has full rights to investigate the accounts, and to have them properly vouched if necessary. Another case of the construction of an agreement was considered. The secretary was instructed to obtain further particulars, as the matter was one of serious importance, but one, also, in which it was difficult for the committee to act without fuller information. The case was adjourned to the next meeting. After the consideration of the cases, the committee proceeded to confirm the appoint- ment of Mr. Arthur Train, as the lawyer of the Society in the United States in place of Messrs. Byrne and Cutcheon, resigned. Mr. Train is counsel to the newly-formed Authors’ League of America, and the committee hope that his appointment to represent the Society as lawyer in the United States may be the means of bringing the two Societies into closer union. Two important questions connected with International copyright were then put forward —one relating to the United States and one relating to Russia. The secretary received instructions to write to the Board of Trade, THE AUTHOR. 37 drawing the President’s attention to the matters. At the suggestion of the Dramatic Sub-Committee, Mrs. Pogson was appointed the Society’s dramatic agent in Germany. Her name is chronicled elsewhere in The Author with the names of the other dramatic agents of the Society. The committee decided unanimously to increase the secretary’s salary, and to grant him a gratuity for past services. They further expressed their very high appreciation of Mr. Thring’s self-sacrificing services in the interests of the Society. It was decided to ask the Poet Laureate to join the ranks of the Society of Authors by accepting his election as a member of the Council. The secretary drew attention to an article in Phe Author dealing with the clauses which, owing to the energy of Mr. H. J. Mackinder, M.P., had been inserted in the Bankruptcy Acts of England and Scotland. The committee unanimously passed a vote of thanks to Mr. Mackinder for his interest in the matter. The secretary drew the attention of the committee to an article in The Author dealing with the question of editors and contributors. He reported, as stated in that article, that various names of editors willing to subscribe to the resolution there set forth had been added to the list during the vacation. The committee decided that it was unnecessary to call another meeting of editors at the present time, and adjourned the matter for later con- sideration. Certain quotations are allowed from copy- right books under section 2, sub-section 4, of the Copyright Law. The Publishers’ Association thought that much vexatious litigation might be avoided if some general understanding was arrived at as to how ‘a short passage ”’ should be defined under that section. They put forward for the approval of the committee of the Society of Authors the following resolution, which resolution, after careful consideration, was approved by the Committee of Management. “The council of the Publishers’ Associa- tion is of opinion that it will be to the interest of everyone concerned if any publisher proposing to make use of copyright matter in a school book in accordance with the provisions of the Copyright Act, 1911, section 2 (iv.),* gives notice of his intention to the owner of the copyright. * The section referred to provides that the following shall not be an infringement of copyright :— “The publication in a collection, mainly composed of non-copyright matter, bona fide intended for the use of **2. The council considers that vexatious litigation may be avoided if some general understanding is arrived at as to what constitutes ‘a short passage’ from a published literary work, and they beg to suggest the following :— ““(a) ‘A short passage’ from a_ prose work should not exceed one thousand words. ‘““(b) ‘A short passage’ from a poetical work should not exceed one hundred lines. ** Provided that ‘a short passage ’ should not in either case contain more than one third of the complete poem, essay, address, story or other literary work from which it is extracted.” The secretary then reported that a conference of composers had been called for Saturday, October 11. - The draft circular which it was proposed to send round to members, dealing with the Collection Bureau, had to be adjourned to the November meeting owing to the mass of business on hand. The committee approved an article to appear in The Author on the question of agents and stock rights in America. The date of the Society’s Dinner was fixed for November 27. Due notice, with full particulars, will be sent out. It is hoped there will be a large gathering. A question of loans to authors and dramatists on contracts was adjourned, as well as the question of the International meeting of authors to take place in San Francisco in 1915. A draft royalty agreement which had been sent round to members of the committee was approved, subject to one or two slight alterations. It was decided to set it up in time for a final reading at the next meeting of the committee. The most important question before the committee is chronicled here, at the end of the notes, although it was discussed earlier at the meeting, the question of the difficulties connected with the policy of the libraries in the matter of book circulation. The committee decided to invite a conference composed of two authors, two publishers, two members of schools, and so described in the title and in any adver- tisements issued by the publisher, of short passages from published literary works, not themselves published for the use of schools in which copyright subsists: Provided that not more than two of such passages from works by the same author are published by the same publisher within five years, and that the source from which such passages are taken is acknowledged.” 38 the Libraries’ Association and two booksellers. The conference so invited to discuss the whole question with a view to bringing about some solution of the present difficulty. Before, however, the committee proceed they proposed to call a meeting of the Council of the Society to approve the course suggested. This meeting is reported below. In order to elucidate the position and to put clearly before the committee before any decision was arrived at the difficulties with which various authors have had to contend, and the suggestions put forward by members of the Society, the secretary read letters he had received from Messrs. Hall Caine, W. B. Maxwell, Eden Phillpotts, John Galsworthy, and others, and reported in detail the result of various interviews with members of the Publishers’ Association, Mr. Acland of Messrs. Smith & Son, and other parties interested in the solution of the difficulties. The action of the members of the conference if summoned will be chronicled in due course and referred back to the committees of the various associa- tions represented. The committee feel that the question is one of great importance, surrounded by great difficulty, and one to be dealt with as a matter of principle apart from any individual book or any individual author. + Counci, MEETING. A meetING of the Council was held at No. 1, Central Buildings, Tothill Street, West- minster, S.W., on Thursday, October 16, at four o’clock, for the members to consider, and, if thought fit, to approve a suggestion of the committee in regard to the position of the library question. The committee’s proposals ran as follows :— 1. To invite a conference composed of two authors, two publishers, two members of the Libraries’ Association, and two booksellers ; the representatives of such conference to be appointed by the standing committees of their respective associations. 2. The conference so invited to take counsel with a view to solving the existing difficulties. The chairman explained in a few words the reason why the committee had made these suggestions and the reason why they referred them to the Council. Mr. Maurice Hewlett moved the following ynendment :— “That this question (that is, the question on the agenda) be referred back to the THE AUTHOR. committee, with a full report of what takes, place at this meeting of the Council.” He stated, at full length, his reasons for putting forward his amendment, and expressed, very strongly, his feelings in regard to the question generally. He also made a suggestion which he desired should be placed before the committee. Mrs. Belloc Lowndes seconded the amend- ment. ‘ The question was fully discussed in all its phases. Mr. Hewlett’s amendment was then put and carried. With, the fresh information thus obtained which will be reported to the committee, the whole matter will be re- discussed at their next meeting. It is impossible to make a more detailed statement of the proceedings until the final discussion by the committee of the fresh issues raised. ee DraMAtic SUB-COMMITTEE. Tue first meeting of the Dramatic Sub- Committee after the Vacation was held at the offices of the Society, No. 1, Central Buildings, Tothill Street, Westminster, S.W. The first matter dealt with was the dramatic cases. The attention of the sub-committee was called to the first case by members of the Dramatists’ Club, and the secretary was instructed to deal with the matter by a note in The Author. The second related to the: infringement of copyright of a member's play by a London manager. The sub-committee: asked the secretary to convey to the Committee of Management a recommenda- tion that the member be given the best’ assistance possible, as the infrimgement ap- peared to them to be a very serious one. The secretary then reported the successful termina- tion of a case undertaken by the Society in Winnipeg, Canada, on behalf of a member. He explained that damages had been obtained. and the matter settled. A dispute with a dramatic agent for non-delivery of accounts was next referred to the sub-committee and the secretary was instructed to recommend to the Committee of Management to take up the action. The Managerial Treaty next came before the committee, and a letter received from Mr. J. E. Vedrenne, secretary to the Society of West-End Managers was read. After careful consideration of the letter, the secretary was instructed to write to Mr. Vedrenne suggesting another meeting of the delegates: \ of the West-End Managers’ Association, with a view to careful consideration of the points raised. A letter from the Dramatic Clubs’ Associa- tion was laid before the committee, and the committee decided, in accordance with a promise made before the vacation, to ask delegates from the Association to meet the sub-committee at their next meeting. Counsel’s opinion which had been taken on behalf of one of the members, dealing with film rights under a dramatic contract made before the passing of the new Copyright Act, was read to the sub-committee, and a dis- cussion arose as to the present value of film rights. It was decided to ask Mr. Cecil Raleigh whether he would not write another article on the question for the benefit of members of the Society, from the new evidence and particulars of terms of contracts which had been gathered. A series of letters that had been received by Mr. Shaw from an American dramatic agent, and by Mr. Louis J. Vance, from a representa- tive of the same firm, were laid before the sub-committee. The letter received by the secretary from the German Society of Authors and also terms of a proposed contract were considered. The secretary was instructed to write to the German Society, pointing out that the Constitution of the Society of Authors would not permit of its making a contract on the lines proposed, but that they hoped the German Society would, outside a formal con- tract, work with the English Society with a view to mutual assistance in dramatic matters. A letter received by one of the members of the sub-committee, from Mr. F. H, Dickinson, of New York, in regard to the publication of a work entitled ‘Chief Contemporary Dra- matists,’’ with the terms offered to Authors, was read, as also was a series of letters received by the secretary of the Society from members whose works it had been proposed to issue. The next matter was one of considerable importance, and dealt with the question of stopping piracies in the colonies and foreign countries. The secretary stated that during the vacation he had thought that the existing ‘difficulty of giving prompt instructions to lawyers abroad might be overcome by using powers of attorney, drafted in such a way that they could not be operated without a cablegram from the Society’s office. He suggested that Dramatist members of the Society who thought fit, should have three or four powers of attorney, one for each foreign THB AUTHOR. 39 country, and that these should be placed in the hands of the Society’s lawyers in the countries concerned. If, then, the lawyers heard of a piracy they would communicate with the Society, and if the member thought fit, the lawyer would receive cabled authority to take immediate action. Thus it would be possible to overcome the great drawback in these cases of delay. The sub-committee considered the suggestion and instructed the secretary to obtain a draft settled by counsel for the members. Mr. Justin McCarthy, Mr. Jerome K. Jerome, and Mr. G. Herbert Thring, the secretary, were voted a sub-committee to deal with the question of a draft agreement, and it was decided that the agreement, when so settled, should not be referred back to the sub-committee. The sub-committee, however, indicated certain lines along which the contract should be drafted, and added that the con- tract should be accompanied by a statement explanatory of the clauses and of the rights with which it was proposed to deal. The question of the dramatic contract in Holland was also discussed. The secretary was instructed to thank Mr. Reyding, the agent of the Society in Holland for his letter, and to express the desira of the sub-committee that in future contracts for Holland the name of the author should be substituted for that of the agent, as principal. — Composers’ SuB-COMMITTEE. A MEETING of the Composers’ Sub-Committee was held on Wednesday, October 8, at the offices of the Society at eleven o’clock in the morning. The meeting discussed fully the line of procedure to be followed at the Conference of Composers which was held on Saturday, the 11th of the same month. The next question before the meeting was the Evening News competition, and the secretary was instructed to write an article on the subject which, with the chairman’s consent, should appear in the next issue of The Author. II. The second meeting of the sub-committee was held at the Society’s offices, No. 1, Central Buildings, Tothill Street, Westminster, S.W., on Saturday, October 18, at eleven o’clock. The first matter under discussion was what should be made to the recommendation 40 Committee of Management in order to assist them to deal with the Resolutions passed by the Conference of Composers on October 11, and the sub-committee passed the following resolution :— “That the Committee of Management be asked to appoint delegates in accordance with the resolution unanimously passed at the meeting on October 11, and to confer as to the best means of reaching those composers who were not members of any Society.” Mr. Cecil Forsyth’s name was suggested as one of the delegates, and Mr. Forsyth consented to act if appointed. It was decided that paragraphs should be inserted in the daily papers setting out the fact that the Society of Authors dealt with the works of composers as well as with those of dramatists and writers, and that composers were entitled to the same benefits as were accorded to other members. The sub-committee felt that this course was perhaps the best means to bring the work the Society did for composers to the notice of those who were members of no organization. It was decided, also, with Mr. MacGillivray’s sanction, to publish, in pamphlet form, his speech delivered at the Conference of Com- posers setting out in detail the rights held by coon and how best they could be dealt with. The next question brought forward was the question of settling a draft agreement, and the secretary was instructed to draft an ideal form to be submitted to the next meeting of the sub-committee. A question having arisen respecting the sale of stamps to reproducers of music by mechani- eal instruments, on “sale or return,’ the sub-committee considered the matter, but came to the conclusion that the suggestion made by the companies was not one they could support, as it would be likely to lead to much confusion in the minds of composers. At the same time they were willing to give their serious or to any arguments brought before them. The secretary read correspondence with the Ammre, and was instructed to ask whether the German Society could not give some guidance as to the kind of music they would like submitted to them with a view to reproduction on mechanical instruments. Finally, the question of the collection of fees in France was discussed, and the secretary was instructed to write to his correspondents with a view to ascertaining what steps could be taken to collect members’ fees on mechanical reproductions in that country. THE AUTHOR. Cases. Durine the past month twenty-two cases have passed through the secretary’s hands. Of these, eight were for overdue accounts. Four of this number have been settled and the accounts delivered to the authors. Of the remaining four, one is a Canadian ease, one against a publisher notoriously unbusiness- like in delivery of these statements, in the third delivery has been promised, and the last will also, it is hoped, be settled without difficulty. There have been three claims for money. In one of these—against a magazine —the editor has promised to forward a cheque in advance of publication; the second is in the United States and sufficient time has not yet elapsed for an answer to the secretary’s letter, while the last has only just come into the office. Four claims have been put forward for MSS. retained by editors and others. In one ease the MS. has been returned. In the second some of the MSS. have been returned. In the third it has not been possible, so far, to get. a response to the secretary’s letters, but the matter is still proceeding. In the fourth it has been impossible to locate the defendant, although there is some hope of finding him eventually. There have been two cases in which the authors demanded fuller particulars of accounts rendered. In one case the information has been given and the author is satisfied with the explanation. In the other the publisher has, so far, failed to respond and the matter is being pressed. Disputes on agreements account for three cases. In the first the dispute was settled by the author making part payment of the sum claimed. This payment was made, not because of any legal liability attaching to the author, but because the author wished to meet the other side. In the second an offer has been made to the publisher, but at the time of going to press the time fixed for acceptance had not expired. The matter will be dealt with further next month. In the third the defendants gave way and adopted the view of the contract put forward by the secretary on behalf of the member. There were two cases relating to copyright. In one an American magazine had made use of a member’s work, altered it, and re-published it contrary to the arrangement with the author, The secretary has written to the magazine, but sufficient time has not yet elapsed’ for the answer to come through. The second : case relates to a threat by a foreign author to make So far, no actual infringement has occurred, and the secretary has written to the solicitor of the foreign author warning him that the action contemplated by his client will amount to an infringement of the member’s rights. There is one claim open from the former month. This relates to a claim for money against a magazine. The editor has admitted liability, but has delayed fulfilling his promise to make the necessary payment. It is hoped to report, next month, that the money has been paid. ———+—__ October Elections. Baker, Ernest A., M.A., D.Litt. Bennett, T. Armitage (“ T. Armitage ’’). “* Blakeney Cley’’. Buchanan, Miss Meriel Byars, Gilbert . . Carr, Sydney Herbert . ~~ Carroll, Sydney Went- worth. ‘Chute, Miss Margaret . Coulter, The Frederic W. de Castro, J. Paul Rev. Douglas, Mrs. Drummond, Miss Flo- rence. - Elgar, Sir Edward, O.M. Frankish, Harold , Gardiner, H. Balfour . Gregory, Mrs. Octavia . ‘Greves, Hyla. Guise, Major Henry Miss Barbara 3, H. R., MA. F.S.A,. St. James’s Lodge, Kidbrook Park Road, S.E. Church House, Wal- singham, Norfolk. British Embassy, St. Petersburg, Russia. C/o. Messrs. Rey- nolds & Co., 13, Berners Street, W. Linden Lodge, Teign- mouth, S. Devon. 22, Dorset Square, N.W. 173, Lisburn Lane, Liverpool, E. 1, Essex Court, Temple, E.C. 6, Spencer Wimbledon. 4, Learmouth Ter- race, Edinburgh. Severn House, Hampstead, N.W. The Laurels, Aikley, Barnet, Hertford- shire. 7, Pembroke Villas, Kensington, W. Melville, Parkstone, Dorset. Rodney House, Bournemouth. Royal Societies’ Club, St. James’ Street, S.W. 22, King Henry’s Road, N.W. Hill, THE AUTHOR. use of the work of an English writer. Hardinge, Henry Charles Maurice. Harris, Miss Vera A. Hodgkinson, Ivan T. . Hodson, Henry Edward “Jan Paulus” . Jones, Daniel, M.A. Leonard, Miss Emma Hill. Little, Philip Francis . Liversedge, Alfred John Lofting, Miss Kitty MacGill, Patrick . _. Malloch, George Reston Mason, Stuart Maude, G. H. ; 5 Milburn, Mrs. G. Hart- ley. Muspratt, Horace Nepean, Mrs. A. Evan . Pearce, John Phillips, Mrs. Alfred (“ Blanch Eryl’’). Pinder, Miss Eva Price, Julius M. . : Pugh, Capt. George Farrer. Rees, Rosemary . Robertson-Scott, Mrs. (“* Elspet Keith ’’). Rombach, John George Rumbold, Hugo . Sellon, The Rev. M. St. Juste. Seton, Walter Warren . _Shaw, Martin 41 184, Ebury Street, S.W. 6, Oaklands Road, Bedford. Kingston, Somerset. The Moors, Church- down, Cheltenham. Wells, University W.C. College, 85, Eccles Dublin. 63, Northampton Road, Croydon. Street, The Cloisters, Wind- sor Castle. The White Cottage, Chingford, Essex. 6, Molyneux House, Molyneux Street, W. Broom Hall, Horsell, Surrey. 15, Alexandra Drive, Sefton Park, Liver- pool. Berners, St. Albans. 57, Carlton Mansions Maida Vale, W. Lyceum Club, 128, Piccadilly, W. C/o. H. G. Hale, Esq. 144, Cromwell Road, S.W. 22,Golden Square, W. 20, Monmouth Road, East Ham. 19, The Mansions, Hillfield Road, West Hampstead, London. 68, Fonthill Road, Aberdeen. Bachelors’ S.W. North Finchley, N. Club, University College Hall, Ealing, W. 72, Haverstock Hill, N.W. 42 N. Sidgwick, Blanche Simpson, James Young, D.Sce., F.R.S.E. Singer, Ignatius . Spencer, The Frederick, A. M. Spiers, K. C. ® Shearman, The Rev. J. Rev. Staley, Alfred Emlyn Standen, Bertha P. Stevens, Percy . Terry, J. E. Harold Thompson , Harold Stuart. Tillard, Miss Irene Venton, Horace William , Walpole, Hugh Seymour Walsh, Miss Donegan. Whitelaw, David Wile, Frederic William Wilkinson, The Hon. Mrs. Wilson, C. Carus Wood, Mrs. Fanny Morris. Wyndham, Percy Wynne, Harry . Yetts, W. Percival Marie fe THE AUTHOR. Shankill Rectory, Ballygomartin Road, Belfast. 25, Collingham Road, S.W. 25, Chester Street, Edinburgh. 3, Parkfield Road, Bradford. Brasenose College, Oxford. Newlyn, Romsey, Hants. Highfield, Bishop’s Taunton, Barn- staple. Savage Club, Adel- phi, W.C. 69, Norton Road, Letchworth. 115, Albert Palace Mansions, Batter- sea Park, S.W. « Elia,’ Lansdowne Road, Hands- worth, Birming- ham. 16, Hallam Street, Portland Place, W. C/o. Messrs. Sebasti and Reali, 20, Piazza di Spagna, Rome. The Cliff, Brighton. Helmstedterstrasse 6, Wilmersdorff, Berlin. Dringhouses Manor, York. 54, Worcester Street, Wolverhampton. 13, Wharncliffe Road, Sheffield. Clouds, Hast Knoyle Salisbury. Beaconsfield Road, Weston-super- Mare. Junior United Ser- vice Club, S.W. BOOKS PUBLISHED BY MEMBERS. —_+—+ While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have, some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ART. Tue ART oF SILHOUETTE. By Desmonp Coxe. 9 x 5}. 231 pp. Martin Secker. 10s. 6d. n. “Tue ANGELS APPEARING TO THE SHEPHERDS.” By Veasquez. A Critical Study. By M. H. Spre:many. 10} x 73. 34 pp. The Medici Society. 2s. 6d. n. Tur Watuace Coutection. By J. Rutrer. 6} x 44. 166 pp. (National Treasures.) 2s. n. Oxtp Eneuise Furniturn. By F. Fenn and B. WYLLIE. 91 pp. xciv. plates. Batsford’s Collectors’ Library. 9 x 52. 6s. n. BIOGRAPHY. Mrs. Jorpan, Cuitp or Naturs. By Purp W. Szr- qaeant, B.A. With photogravure plate and 20 other illustrations. Hutchinson & Co. 16s. n. Mary QurEn or Scots. By WatteR Woop. Illustrated in Colour by Sir Jamus Linton, R.I.,and JAMES ORROCH. R.I. Edited by W.Saaw Sparrow. 8} x 6. 151 pp. Hodder and Stoughton. 6s. n. Rusxiy. A Study in Personality. By A. C. Buyson, 7k . 5. 264 pp. (Cheaper Re-issue.) Smith Elder. 3s. 6d. n. Tur RoMANCE oF AN ExpreRLy Port. A Hitherto Un- known Chapter in the Life of George Crabbe, revealed by His Ten Years’ Correspondence with Elizabeth Charter, 1815—1825. By A. M. Broapiny and W. JERROLD. 9 xX 53. 309pp. Stanley Paul. 10s. 6d.n. A VagaBonp Courtirer. From the Memoirs and Letters of Baron Charles Louis von Pollnitz. By Eprrn E. CuTHEtt. 2 Vols. 9 Xx 53. 688 pp. : Stanley Paul. 24s. n. Spnenpip Farurns. By Harry Grawam. 9 X 53. 268 pp. Arnold. 10s. 6d. n. Tue Court oF CHRISTINA OF SWEDEN AND THE LATER ADVENTURES OF THE QUEENIN Exite. By F. GRIBBLE. 9 x 53. 356 pp. Nash. 15s. n. Tur AUTOBIOGRAPHY OF CHARLOTTE AMELIE PRINCESS OF ALDENBURG, née PRINCESS DE LA TREMOILLE, 1652— 1732. Translated from the French of the original manuscript and Edited by herdescendant, Mrs. AUBREY Lz Buonp. 9 xX 6. 3867 pp. Nash. 15s. n. BOOKS FOR THE YOUNG. Jupitu’s Victory. By L. E. TrpEman,S8.P.C.K. 2s, 6d. Trixy anD Her Trio. By L.E.Tippeman. Jarrold. 2s. Oxp Trstammnt Ruymes. By Rosert Hucu Benson. Illustrated by Gaprren Pirret. 10} x 9. Longmans. Is. n. Tutnas To Maxr. By A. Wuuiams. 430 pp. Nelson. 82 x 3s. 6d. , Suiran Jim, Emprre Burwper. By H. StRAne. 5}. 372 pp. Frowde and Hodder and Stoughton. Tue Sworp or Detiverance. A-Story of the Balkan War, the Battle of Lule Burgas, and the Siege of Adria- nople.. By C.Gruson. 82 x 5}. 346pp. Nisbet. 6s. THE AUTHOR. 43 THE TWINs IN CEYLON, AND MorE ABOUTTHE Twins. By Betua Sipney-Wootr. Illustrated by A. E. Jackson. 74 x 54. 131 pp. Duckworth & Co. 3s. 6d. Att THE OLD Nursery TaLes. By Guapys Davipson. Illustrated by Marcarrr TaRRANT. 84 < 6. 248 pp. Pilgrim Press. 3s. 6d. A History or Germany. By H. E. Marswary. 10 x 74. 449 pp. Frowde and Hodder and Stoughton. 7s. 6d. n. THe Untucky Faminy. HENRY DE LA Pasture. 7} x 5. 284 pp.- and Hodder and Stoughton. 3s. 6d. Eneuisu Farry Tates. By Ernest and Grace Rays. Illustrated by H. Connand R. A. Bett. 128 pp. Tue Book or Nature. Edited by W. P. WEsTELL, F.L.S. 94 x 64. 355pp. Frowde and Hodder and Stoughton. 5s. TD. THE CRUISE OF THE Gyro-Car. By HERBERT STRANG. 74 x 5. 243 pp. Frowde and Hodder and Stoughton. 1s. n. THe Story Book Grirts. By CHRISTINA Wuyte. (New Edition.) 72 x 54. 339 pp. and Hodder and Stoughton. 3s. 6d. THE PRIZE AND THE Buank. By M. E. F. Hytanp. 7? x 5. 224 pp. S.P.C.K. 2s. A Waywarp Girt. By Mrs. Bartitie REYNOLDS. 54. 268 pp. Partridge. 3s. 6d. Herpert Strane’s Annuat. 104 x 7}. Frowde and Hodder and Stoughton. 5s. n. Tue ADVENTURES OF Dick TREVANION. By H. StRana. 7% < 54. 399 pp. Frowde and Hodder and Stoughton. 3s. 6d. Tue Race Rounp tHE Worup. Being the Account of the Contest for the £100,000 Prize offered by the Combined Newspaper League, of the Invention of Methylite, and certain passages in the life of Mr. Wang. By Caprain C. Giuson. 72 x 5. 283 pp. Frowde and Hodder and Stoughton. 3s. 6d. Tue ScHoot Across THE Roap. By Drsmonp CoKE. 7? X 5}. 336 pp. Frowde and Hodder and Stoughton. 3s. 6d. SETTLERS AND Scouts. A Book for Children. By Mrs. Frowde GowANS Frowde 7h x 208 pp. A Tale of the African Highlands. By HerBertTStranc. 7} x 53. 374pp. Frowdeand Hodder and Stoughton. 3s. 6d. Now anp Ten. Chronicles of Half-Text History. By A. R. Horn. 72 x 5}. 336 pp. Black. 3s. 6d. GENTLEMAN Jack. An Adventurer in East Africa. By H. A. Hinkson. 72 x 5. 222 pp. S.P.C.K. 2s. BOOKS OF REFERENCE. Firtrentu Century Booxs. A Guide to Their Identifi- eation. With a List of the Latin Names of Towns and an Extensive Bibliography of the Subject. By R. A. Peppiz. 74 x 5. 89 pp. Grafton. 5s. n. CLASSICAL. Evriripes anp His Acr. By Giupert Murray, LL.D. 6% x 4. 256 pp. (Home University Library.) Williams and Norgate. ls. n. DRAMA. Tue Fuorrtve. A Play in Four Acts. worRTHy. 63 x 5. 95 pp. Duckworth. ls. 6d. Spomine THe Broru, anp OTHER Puays. By Brertua N. Granam. 63 x 4%. 202 pp. Chapman and Hall. 1s. 6d. n. Piay-Maxinc. A Manual of Craftsmanship. By W. Arcuer. (New and Cheaper Edition.) 7% x 5. 323 pp. Chapman and Hall. 2s. 6d. n. FICTION. Biggs ee LETT. 8 xX 54. 306 pp. Macmillan. 6s. By Joun GaAts- Sussom. By C. Marriorr. and Blackett. 6s. Writin Water. By Srpney C. Grier. Blackwood. 6s. THE Sout or A SUFFRAGETTE, AND OTHER SroriEs. By W. L. Courtney. 7} x 5. 292 pp. Chapman and Hall. 6s. : GaRTHOYLE GARDENS. By Epcar Jepson. 74 x 5. 320 pp. Hutchinson. 6s. Ricwarp Furtone. By E. Tempie Tuurston. 391 pp. Chapman and Hall. 6s. Scenes From a SuBALTERN’s Lire. 74 x 5. 325 pp. Blackwood. 6s. THe Woman Furncues. By Mrs. Frep REYNOLDS. 7} < 5. 310pp. Chapmanand Hall. 6s. WHEN Love Cattep. By A. W. Marcumont. 318 pp. Hodder and Stoughton. © 6s. THE Coryston Famiry. By Mrs. Humpury Warp. 72 x 5. 360 pp. Smith Elder. 6s. Tue Dark Flower. By Jonn GaLsworTHY. 302 pp. Heinemann. 6s. Tue Rest. By E. Hamirton Moore. 7} x 5}. E. Macdonald. 6s. THe Door Tuat Has No Key. By Cosmo Haminton. 7 X 5. 328 pp. Chatto and Windus. 6s. Diana anp Two Sympuontes. By F. Toyz. 304 pp. Heinemann. 6s. A Dovstrut Cuaracter. By Mrs. Battitre REYNOLDS. 7? x 5. 315 pp. Hodder and Stoughton. 16s. GREEN Girt. By Mrs. Henry Tippett. 73 x 5. 384 pp. John Long. 6s Tue Grey Cat. By J. B. Harris Buruanp. 316 pp. Chapman and Hall. 6s. Tue Grie oF THE Past. By Joun A. Stevart. 319 pp. Hodder and Stoughton. 6s. Lorp Lonpon. A Romance of To-Day. By KEBLE Howarp. 74 x 5. 294 pp. Chapman and Hall. 68. Tue Surest Bonn. 72 x 5. 335 pp. Hurst 7} x 5. 349 pp. it x 5. By C. L. Girson. 7% x 54. ik <5. 282 pp. iz x Dt 72 x 5. 7% x 5. By Errrz ADELAIDE RowLanps. 72 <x 5. 294 pp. Chapman and Hall. 6s. Lrerrers to My Son. By Winirrep JamEs. Cheaper Edition.) 63 x 44. Hall. 1s. n. THe Magic Fire. By Frances Hammonp. 286 pp. Chapman and Hall. 6s. THE CHILDREN OF THE SEA. By H. pz VERE STACPOOLE. 74 x 5. 357 pp. Hutchinson. 6s. A Master or Lire. By Pair Gisss. 72 x 5. 312 pp. Cassell. 6s. 288 pp. Hodder and Stoughton. (New and 169 pp. Chapman and je x5 Tue SECRET OF THE SEA. Curlewis). 72 x 5. 3s. 6d. No Puace Like Home. 469 pp. Constable. 6s. Joan Tourspay. By Louis J. Vance. Grant Richards. 6s. FLowsr or THE GoLpen Heart. By VioxeT A. Srmpson. 7% x 5. 300 pp. Chapman and Hall. 6s. Tue Truants. By A. E. W. Mason. 62 x 44. 321 pp. Hodder and Stoughton. 7d. n. Tue Girt From NowHere. By Mrs. Barre Reynowps. 62 x 44. Hodder and Stoughton. 7d. Tue Greatest Wish In THE WorLD. By E. Trempie ' TuHurston. (New and Cheaper Edition.) 63 x 44. 392 pp. Chapman and Hall. Is. Lonpon Lavenper. By E. V. Lucas. 7 x 44. 286 pp. Methuen. 5s. Tue Story or Warr Situ Baxter. By Kats Doveras Wicern. 7} x 5. 314 pp. Hodder and Stoughton. 68. { Tue Joy or Youtn. By Epren Puiwirotts. 73 x 5. 312 pp. Chapman and Hall. 6s. By J. Trevena. 74 x 5. 7} x 5. 363 pp. Seventh Edition. 44 Mrranpa. By M. E. Brappon. 7} x 4. 420 pp. Hutchinson. 6s. THe Evrasian. By H. Bruce. 73 x 5. 320 pp. John Long. 6s. Tur HonovuraBLe Mr. TAWNISH. Tllustrated by C. E. Brock. Sampson Low. 6s. n. Tur BEWILDERED Benepict. The Story of a Superfluous Uncle. By E. Burke. 73 X 5. 386 pp. Jenkins. 6s. Tue PAUPERS OF PoRTMAN SQUARE. 72 x 5. 319 pp. Cassell. 6s. Mrntronarre’s Isuanp. A Veracious Story of a Man, Two Women, and an Idea. By Max PEMBERTON. 7} X 5. 312 pp. Cassell. 6s. ‘By JEFFERY FARNOL. 8 x 6}. 118 pp. By I. A. R. WYLIE. Weeps. By Ouave Porrer and Dovaias SLADEN. 8 X 5. 399 pp. Hurst and Blackett. 6s. Younc Eve anp OLtp Apam. By Tom Gaon. 7} x 5. 320 pp. John Long. 6s. Biack Smuence. By Marie Connor LeIcurTon. 7} X 5. 347 pp. Ward, Lock. 6s. A PREACHER OF THE Lorv. By Atice and CLAUDE Askew. 7% x 5. 311 pp. Cassell. 38. 6d. n. Captain Davy’s Honeymoon. By Hatt Carne. 6} X 4}. 320 pp. Hodder and Stoughton. 7d. Tue Day THat CHancep THE WorLD. By Haroip Brose. (Popular Edition.) 74 Xx 43. 159 pp. Hodder and Stoughton. ls. n. Tue INSBPARABLES. By J. Baker. (Popular Edition.) 72 x 5. 329 pp. Chapman and Hall. 2s. n. Tur GentteE Lover. A Comedy of Middle Age. Forrest Rum. 74 x 5. 319 pp. Arnold. 6s. Somerumne Arar. By MAxweLiuGrRay. 7} Xx 5. 363 pp. Arnold. 6s. Asput Hamip’s DAUGHTER. By The Tragedy of an Ottoman Princess. By Metex Hanoum and Grace ELLIson. 73 x 5. 307 pp. Methuen. 6s. Tue Perrect Wire. By JosepH Keatinc. 7? X 5. 280 pp. Heinemann. 6s. NovempBer Jon, THe Detective ofr THE Woops. Hesxetu PritcuarD. Illustrated. Hodder and Stoughton. 6s. Tur BIRTHRIGHT OF GRIMALDI. 72 x 5. 372 pp. Kegan Paul. By 7% x 5. 323 pp. By Horr Huntiry. 6s. GARDENING. GaRDEN TREES AND Survss. Illustrated in Colour. By W.P.Wricut. 9} x 63. 337pp. Headley. 12s. 6d. HISTORY. Monastic ScHoots IN THE MippLE Agus. By G. G, Covutton. (Medieval Studies, No. 10.) 94 x 6. 44 pp. Simpkin, Marshall. 2s. 6d. n. Tus WESTERN REBELLION oF 1549. By F. Rosu-Trovp. 83 x 53. 520 pp. Smith Elder. 14s. n. Tur JOURNAL OF A British CHAPLAIN IN Paris Durine tHE Prack Negotiations or 1801—2. From the Unpublished MS. of the Rev. Dawson Warren, M.A. Unofficially attached to the Diplomatic Mission of Mr. Francis James Jackson. Edited by A. M. Broapiey. 9 xX 53. 283 pp. Chapman and Hall. 15s. n. British Barrtes: Porrrmers. By Hare BeEtxroc. 63 x 44. 118 pp. Rees. ls. n. Earty Wars or Wessex. Being Studies from England’s School of Arms in the West. By A. F. Masor. Edited by the late Cuas. W. WuistiteR, M.R.C.S. 9 x * a + 238 pp. Cambridge University Press. 3. 6d. n. THE AUTHOR. LAW. A Digest oF EneiisH Crvm Law. By Epwarp Jenks (Editor), anp OrnerRsS. BookIII. Section III. to XIL Property, Continued. By Epwarp Jrenxs. 10 x 6}. pp. 793—977. Butterworth. LITERARY. Tue Views or Vanoc. An Englishman’s Outlook. By Arnotp Wauiuire. First Series. Third Impression. 419 pp. Second Series. 367 pp. 64 x 4}. Kegan Paul. 1s. n. each volume. PERSONALITY IN LiteRATURE. By R. A. Scott JamEs. 9 x 53. 243 pp. Martin Secker. 7s. 6d. n. Water Pater. A Critical Study. By E. Tuomas. 83 x 53. 232 pp. Martin Secker. 7s. 6d. n. Tue Piuarn Man AnD His ‘Wirz. By ARNnoLp BENNETT. 7i x 5. 143 pp. Hodder and Stoughton. 2s, 6d. n. Lorrere’s Harvest. A Book of Essays. By E. V. Lucas. 62 x 4}. 255 pp. Methuen. 5s. Pox anv His Portry. By Lewis Cuasz, Pxu.D. 64 x 44, Harrap. 10d. GLANCES OVER PASTAND PruseNT. By Arnsiiz Dovenas Ainsyig. 73 x 5}. 327 pp. Edinburgh, Douglas. 2s. 6d. n. Tue Press AnD Its Story. By J.D. Symon. 7} x 5}. 328 pp. Seeley Service. 5s. n. SEVENTEENTH CENTURY STUDIES. C.B. 7} x 5. 350 pp. mann. 6s. n. Tue ErcuincHaM Lerrers. By Exua Futter MAITLAND and Sir FrepERIcK Potiock, Bart. (EHighth Impres- sion. Fourth Edition.) 7} x 5. 328 pp. Smith Elder. 3s. 6d. n. Tue Quest or THE Hoty Gra. By Jessie L. WESTON. 7k x 5. 162 pp. Bell. 2s. 6d.n. Tue Reporters’ GALLERY. By MicnarL Macponacu. 82 x 5}. 452 pp. Hodder and Stoughton. 12s. n. Critican Kit-Kats. By Epmunp Gossz, C.B. 73 X 4}. 309 pp. Heinemann. 6s. n. MISCELLANEOUS. By Mr. Auzec. TWEEDIE. ls. n. 129 pp. By Epmunp Gossz, (Fourth Edition.) Heine- Busy Days. 52 x 44. 127 pp. Routledge. MUSIC. Tur Perrect WacNerite. ACommentary on the Nieb- lung’s Ring. By Bernarp Suaw. 7} X 5. 150 pp. Constable. 3s. 6d. n. NATURAL HISTORY. My Doc. By Maurice Marreruinck. Translated by A, TerxeRIA DE Mattos. With Illustrations in Colour 8i x 6. 64pp. Allen. PHILOSOPHY. Our Erernity. By Maurice Maxrrerrincs. Trans- lated by ALEXANDER THIXEIRA DE Marros. 7 X 4. 243 pp. Methuen. 5s. n. Tur DIscoveRY OF THE FuturE. By H. G. Wetis. (New by CEcrL ALDIN. 3s. 6d. n. Edition.) 7 x 44. 60 pp. Fifield. 1s. n. POETRY. Opxs. By Laurence Brnyon. 7$ x 5. 72pp. Elkin Mathews. 2s. 6d. n. Sonas From Books. By Rupyarp Kirrine. 302 pp. Macmillan. 6s. Tur Darropi, Frecps. By J. Masgerierp. 73 x 5. 110 pp. Heinemann. 3s. 6d. n. , Opp Numpers. By Dum Dum. 7} x 5. 92 pp. Con- stable. 3s. 6d. n. FounpEep on Fiction. By Lapy Sysm Grant. Illus- trated by G. Morrow. 10 x 73. 96 pp. Mills and Boon. 3s. 6d. n. Tur Mottey Musr. (Rhymesfor The Times.) By Harry Granam. 8} x 63. 120 pp. Arnold. 3s. 6d. n. { POLITICAL. Tue Passinc or Empire. By H. Fretpine-Ha tt. 5}. 307 pp. Hurst and Blackett. 10s. 6d. n. REPRINTS. Tue Oren Roap. Compiled by E. V. Lucas. (New Edition.) Illustrated in Colour by CLauprE A. SHEPPER- son, A.R.W.S. 10} x 72. 300pp. Methuen. 15s.n. Tue WAVERLEY EDITION OF THE WORKS OF CHARLES Dickens. With Introductions by Hall Caine, Max Pemberton, John Galsworthy, A. C. Benson, and Ber- nard Shaw. The Waverley Book Co. 2s. 6d. n. each. THe Works or Tennyson. With Notes by the Author, Edited with a Memoir by Hattam, Lorp Trnnyson. 8 x 5}. 1032 pp. Macmillan. 10s. 6d. n. SCIENCE. Tue Science or THE Sciences. By H. J. Brooxs. 74 x 5. 312 pp. Nutt. 3s. 6d. n. SOCIOLOGY. Tue New Man. By Puirip Gress. Pitmans. 3s. 6d. n. Tue Errects oF THE Factory System. (New Edition.) By Auten CuarKE. Crown, 8vo. Cloth. J. M. Dent & Sons. Ils. n. 8 x 14 x 43. 257 pp. SPORT. 63 pp. Coacutna Days anp Ways. 64 pp. (British Illustrated by G. Hodder and Stoughton. Fox anp Hovunps. 62 pp. Covert AND FreLtp Sport. Sport Series.) By E. D. Cumine. Drennotm ARmouR. 9 x 63. 1s. 6d. n. TECHNICAL. A Practican Manuva or Woot Dyerna. Botton. Heywood & Co., 150, 12s. 6d. n. TECHNOLOGY. SIMPLE GARMENTS FOR CuI~DREN (From 4 to 14). M. B. Synee. 57 Pieces. 3s. 6d. n. By CLEMENT Holborn, W.C. By With Paper Patterns, Comprising in all Illustrated. 84 x 64. 47 pp. Longmans. THEOLOGY, THE PRESENT RELATIONS OF SCIENCE AND RELIGION. By THe Rey. Prorzssor T. G. Bonnuy, Sc.D., F.R.S. 82 x 54. 212 pp. R. Scott. 58. n. Rome versus Jesus. By Etystan M. Brarpstzy, 7} X 54. 186 pp. Melrose. 6s. n. Tur New Testament 1n MopERNn Spercu. By the late Ricuarp Francis WrymourH. Edited and Partly Revised by E. Hampprn-Coox. (Pocket Edition.) 5% X 3%. 638 pp. Clarke. ls. 9d. n. Tur Brste anp Moprrn Criticism. By Sir Ropert Anperson, K.C.B., LL.D. With a Preface by the Ricat Rev. Hanptey C. G. Moutz, D.D. (Seventh Edition.) 84 x 54. 281 pp. Nisbet. 2s. 6d. Human Destiny. Arrer Drarp—Wuat? By Sir Rozpert Anprrson, K.C.B., LL.D. (Seventh Edition.) 1% x 54. 226 pp. Nisbet. 2s. 6d. PaRADOXES OF CaTHOoLIcIsM. By Rosert HucH BEnson. 8 x 54. 174 pp. Longmans. 3s. 6d. n. TOPOGRAPHY. RAMBLES IN THE Nortu Yorxsuire Dates. By J. EF. Bucxrosr. 73x 5. 192pp. Millsand Boon. 3s. éd. THE AUTHOR. 45 Tue Pitcrim From Cuicaco. Being more rambles with an American. By Curistian THAaRLE. 9} xX 653. 349 pp. Longmans. 7s. 6d. n. THE Romance or THE CAMBRIDGE COLLEGES. By Francis GRIBBLE. 7} X 5. 268 pp. Mills and Boon. 6s. TRAVEL. AMERICA AS I saw IT, oR AMERICA REVisITED. By Mrs. pg TweEepiz. 82 x 654. 395 pp. Hutchinson. s. 0. UmpriA, Past AND PRESENT. By Mary Lovett CAMERON 7% x 5. 324 pp. Sidgwick and Jackson. 6s. n. THE CITIES OF RoMAGNA AND THE Marcues. By Epwarp Hutton. 7} x 5. 309 pp. Methuen. 6s. Tue DotomitEs: Kina LAvRIN’s GARDEN. Painted by E. Harrison Compton. Described by REGINALD FaRRER. 9 X 64. 207pp. A.andC. Black. 7s. 6d.n. ee LITERARY, DRAMATIC, AND MUSICAL NOTES. ba N October 3 there was published by () Messrs. Macmillan & Co. a practically complete collection of the poems and chapter-headings in verse scattered throughout Mr. Rudyard Kipling’s prose works. The volume is entitled ‘“‘ Songs from Books.”’ Mr. Thomas Hardy’s new volume of prose fiction, *“* A Changed Man, The Waiting Supper, and other Tales, concluding with The Romantic Adventures of a Milkmaid,” appeared on October 24, the publishers being Messrs. Macmillan. H.M. the King has been pleased to accept a copy of ‘‘ On the Track of the Abor,” by Major Mark Synge (Powell Millington). A copy of Sir James Yoxall’s “‘ A.B.C. about Collecting,’ the predecessor of the volume, ‘* More about Collecting,” mentioned in these Notes last month, has been graciously accepted by H.M. the Queen. The publishers are Messrs. Stanley Paul & Co. ‘“* Turkey in Agony,” translated by Bedwin Sands (Mr. George Raffalovich) from the 37th edition of M. Pierre Loti’s ‘‘ Turquie Agoni- sante,’’ has been published for the Ottoman Committee by the African Times and Orient Review, Ltd. Mr. Alfred Perceval Graves has brought out a volume called ‘‘ Irish Literary and Musical Studies ”’ (Elkin Mathews, 6s. net). The Gresham Publishing Co. announce ‘* Leaders and Landmarks in European His- tory,’? by Mr. A. R. Hope Moncrieff and the Rev. H. J. Chaytor. This work presents a gallery of biographical sketches illustrating the course of European history by the lives of men and women who have made that history what it is. 46 Captain Harry Graham’s “ Splendid Fail- ures,” a volume of biographical essays which Mr. Edward Arnold is issuing, takes for its subjects people well known by name, though few are acquainted with their personal his- tories. Among them will be found Wolfe Tone, “the first of the Fenians”; George Smythe, whom Disraeli took as his model for the hero of ‘‘ Coningsby ” ; Hartley Coleridge ; and the ill-fated Archduke Maximilian. Mr. Philip W. Sergeant’s * Mrs. Jordan, Child of Nature”? (Hutchinson & Co., 16s. net), was published on October 29. Miss Alice E. Robbins’ “‘ Book of Duchesses” has been published by Andrew Melrose. Messrs. J. J. Bennett, Ltd., are the publishers of Mr. Charles F. Moxon’s ‘‘ On the Track of Truth,” a book of essays dealing with person- ality, heredity, free-will, and kindred topics. The price is 6s. net. Miss Myra Swan had in the October number of the Empire Review an article in eulogy of Shakespeare, the title being ‘‘ England’s Birthday.” Mr. M. D. Haviland’s ‘‘ Wild Life on the Wing,” with illustrations by Mr. Patten Wilson, is announced for early publication by Messrs. Black. These stories of bird-life by field, wood, and moor, by a close observer, are intended for all nature-lovers. Under the title of ‘“‘ America as I saw It: or America Revisited,’’ Messrs. Hutchinson have brought out in this country Mrs. Alec Tweedie’s impressions of her third visit to the United States, with a coloured frontispiece by Mr. Perey Anderson, and some cartoons by Mr. W. K. Haselden. The Macmillan Co. are the New York publishers of the work. ‘“‘ Busy Days ” is the name of a birthday-book containing quotations from Mrs. Tweedie’s fourteen volumes, issued by Messrs. Routledge at 1s., or, bound in grey suéde as a Christmas gift-book, 3s. Mrs. Alec Tweedie also con- tributes a preface to Mrs. Beattie Crozier’s “‘ Children’s Games and Parties,’’ a collection of forty-eight articles on entertaining children, illustrated with over 100 photographs by the author (Routledge, 3s. 6d.). “‘ Social Worship—for use in Families, Schools, and Churches,” is the title of two quarto volumes (about 1,000 pages), which will be published this month by George Allen. They contain Ethical Scriptures compiled and edited by Dr. Stanton Coit ; while the musical editor is Mr. C. Kennedy Scott. The selections have been made from the point of view that ‘true religion is history and law transfigured by moral idealism or, rather, it is moral THE AUTHOR. idealism made real and potent by an infusion of the nation-building powers of the universe.” The price is £2 2s. net. We are informed that 300 copies of “‘ Russian Flashlights,’ by Mr. Jaakoff Prelooker (Chap- man and Hall, 10s. 6d. net), have been placed at the disposal of public libraries in the poorer districts of the United Kingdom by an anonymous “friend of public instruction.” Libraries desiring free copies should, when applying to the Spriggs Publishing Agency, indicate their annual income and enclose 5d. in stamps for postage. Mr. E. S. Bellasis, M.I.C.E., has published during the year, through Messrs. E. and F. N. Spon, ‘‘ River and Canal Engineering ” and “Irrigation Works,” the prices being 8s. 6d. and 8s., net, respectively. Mr. Rowland Kenney’s ‘‘ Men and Rails,” dealing specially with the railway problem in relation to the workers, is issued by Mr. T. Fisher Unwin at 6s. net. Mr. George Ford, author of ‘‘ The Larramys,”” has brought out a new novel, “ The Hoop of Gold,” published by Messrs Allen & Co. Captain Charles Gilson has contributed throughout the past year to Blackwood’s, the Dublin Review, and other magazines. Messrs. William Blackwood & Sons, of Edinburgh, have published his “Scenes from a Subaltern’s Life,” a selection of sketches of very varied interest. Captain Gilson still continues to produce a number of stories for boys. Messrs. Nisbet have just published ‘‘ The Sword of Deliverance,” a tale of the Balkan War, illustrated with drawings and photographs by Mr. H. C. Seppings Wright, the war corre- spondent (6s.) ; and Messrs. Henry Frowde and Hodder and Stoughton, ‘‘ The Race Round the World,” an aeroplane story for younger boys, illustrated by Mr. Cyrus Cuneo (3s. 6d.). Captain Gilson has also a serial running in The Captain, entitled ‘‘ The Fire-Gods ”’—a tale of the West Coast of Africa. Miss Grace Ellison translates and edits a story by Melek Hanoum, heroine of Pierre Loti’s “‘ Désenchantées,”’ lifting the veil from harem life in Constantinople under the old régime (Methuen & Co.) Messrs. John Long, Ltd., will shortly publish a new novel entitled, ‘‘ The Eurasian,” by Mr. Henry Bruce, author of “ The Native Wife,” ete. This is a study of the unhappy sub-race which has resulted from our two centuries’ possession of India. Mr. Archibald B. Spens is engaged on a novel of Indian life, a further outcome. of the trip to the Peninsula already described in THE AUTHOR. £ “Mr. Spens’ “A Winter in India” (Stanley f Paul & Co.) Among the novels announced by Messrs. Herbert Jenkins are “‘ Sheila Intervenes,” by Mr. Stephen McKenna ; and “ The Bewildered Benedict : the Story of a Superfluous Uncle,” | by Mr. Edward Burke. Mr. John Bloundelle Burton’s new romance, * * Fortune’s Frown,” is concerned largely with ' the Spanish Fury in Antwerp and the continued © oppression of the Netherlands for some time . after that terrible event. But for the book- ¢.. binders’ strike this novel would have appeared before now. The title of Miss Editha L. Blaikley’s novel ‘of mentioned in last month’s issue should have -od been ‘‘ Dorothy Gayle.” Mr. A. R. Hope’s new book for prizes, school - tf libraries, etc., is “‘ Half and Half Tragedy ”’ ) (A. &. C. Black, 5s.) [ Messrs. C. Arthur Pearson, Ltd., publish = at 2s. 6d. Mr. Christopher Beck’s ‘‘ The : ) ‘Crimson Aeroplane.” } Owing to the sustained demand for ‘“‘ The Twins in Ceylon ’’ and “* More about the Twins in Ceylon,” by Bella Sidney-Woolf (Mrs. R. H. Lock), Messrs Duckworth & Co. have «i brought out a combined edition of the two -o! books in one volume at 3s. 6d. The books of have been placed upon the prize-list of the sf London County Council. Mr: Charles T. Jacobi, managing partner of 4% the Chiswick Press, has issued a fourth edition ‘9. of ‘*Some Notes on Books and Printing” )} (6s. net.). A sixteen-page pamphlet, extracted .if from this, instructs authors how to correct = aproof. Copies of this are lying at the Society’s 4 office and may be obtained by members on 8 application. 1 4 We understand that Messrs.. W. and G. | Foyle have opened a Foreign Book Department « at 5, Manette Street, next to their headquarters ' in Charing Cross Road. In this new depart- ' ment they propose to furnish their customers * with books in every language on every * conceivable subject. The books will be ar- “| ranged in strictly classified order. Messrs. _ Foyle inform us that they have the largest @ stock of second-hand foreign books in this °°9 country, and they invite readers of The Author to inspect this collection. The Daily Express announces that it has * arranged with Messrs. Stanley Paul that they % shall acquire the book rights of the story which wins the prize in the Express serial competition, provided that it is the work of _ an author who has never had a story published ) 1£ in book form before. Stories by new authors 47 must therefore be submitted on the distinct understanding that the work considered by the judges to be the best will be bought as to the serial rights by the Express for £200, and as to the book rights by Messrs. Stanley Paul for £100. Mr. Ernest Whatson sends us a copy of his novel, ‘‘ Pauline,’”’ of which he personally has undertaken the whole burden of publication, in the belief that “the six-shilling novel is out of date,” that ‘the libraries merely buy just sufficient copies to spoil the sales amongst the general public,” and that ‘the royalties offered to the author are, as a rule, absurdly disproportionate to the time and toil which he must spend on his work.’’ He is selling ** Pauline ’’ at 1s., in paper covers, and proposes to issue others of his novels in the same way. ** We hope,”’ he says, ‘‘ to be able to produce a readable book at a popular price, which will tempt the public to buy instead of borrowing, which will at the same time allow a reasonable margin of profit to the writer and retailer.” We shall be interested to hear the financial result of Mr. Whatson’s venture. DRAMATIC. At the Ambassador’s Theatre on October 17, Madame Lydia Yavorika presented a new four-act play by the late Pierre Berton, “A Daughter of France.”? Miss Constance Maud was the author of the English version of this. At the Court Theatre on October 20, Miss Horniman put on for a short run Mr. Eden Phillpotts’ ‘‘ The Shadow,’’ which was previously seen at the Gaiety Theatre, Manchester. Another play by Mr. Phillpotts, “The Mother,” was seen at the Liverpool Repertory Theatre on October 22. Mr. G. K. Chesterton’s fantastic comedy, “Magic,” will be produced at the Little Theatre. During the Christmas holidays The Children Theatre will produce three plays by Miss Netta Syrett, entitled ‘The Fairy Doll,” ‘The Strange Boy,” and ‘*The Enchanted Garden,” and one by Mrs. Percy Dearmer, entitled “‘ Kit and the Cockyolly Bird.” “The Sea Power of England” is the name of a play for a village audience, by Amabel Strachey. The play has been pub- lished in book form by A. C. Curtis, Ltd., and Humphrey Milford, Oxford University Press, Mrs. St. Loe Strachey contributing an introduction. 48 THE AUTHOR. PARIS NOTES. —oaee — a ES CHOSES NOIENT,” by Edouard Estaunié, is one of the most original novels. The author tells us a-story which, in itself, is an admirable psychological study. Each individual lives and has a strongly defined personality. The house in which the various scenes take place is in Dijon, and the atmosphere of the provincial town pervades the whole story. The author has heard everything he tells us from the house itself. The furniture and the very walls have witnessed all that has taken place, so that, with an artist’s intuition, the writer has only had to tell us what he has gathered from the apparently silent habitation. Some years ago this author gave us ‘“ La Vie Secréte,’’ and he was awarded an Academy prize for his earlier novel, “‘ L’Empreinte.” “Le Chemin de la Victoire,” by Emile Nolly, might be called a colonial novel. A former book by this author won an Academy prize, and the prize given by La Vie Heureuse this year has been awarded to Emile Nolly for his admirable book, ‘“‘ Gens de Guerre au Maroc.” The present novel is dedicated to the author's comrades, ‘‘ The officers of the French Colonial Army.” The story is more or less the diary (not written as a diary) of a certain officer who takes part in active service in the French colonies. It is a story very true to life, told simply, showing both the prosaic and poetical side of a soldier’s existence. “‘ Billes Nobles et Magiciennes,”” by Humbert de Gallier, is the third volume of the curious series entitled ‘‘ Les Moeurs et la Vie privée d’Autrefois.”” From this study of the women of the old aristocracy, we understand how it comes about that modern Frenchwomen, as a rule, are such excellent housekeepers and hostesses. Going back to the sixteenth cen- tury, the author introduces us to the convents in which so many women of good society lived. In many of these convents, or cloisters, it was not necessary to take religious vows. Many women and girls of good family lived there for a certain time, paying a certain sum of money annually, just as in our modern boarding- houses. The girls were trained for their future réle in the world, and no details of household management were considered un- important. We see the daughters of the oldest families in France keeping the accounts, attending to the house linen, the sweeping of the rooms, the trimming of the lamps, etc. They were also expected to be efficient in the sick-room and in the drawing-room. In another chapter, speaking of the Frenchwoman of to-day, M. de Gallier says that the future alone can decide whether the woman of to-day (with her appeals to the law for a certain authority which she evidently fears she ean no longer obtain by means of her husband’s affection and the respect of her children)is in a better position than her grandmother, who knew how to obtain, thanks to her own hands, and without any uproar, the place that was her due. ‘““Marie Antoinette, Fersen and Barnave (Leur Correspondance), published by O. G. de Heidenstam, is a delightful addition to the Marie Antoinette litérature. In the old castle of Léfstad (belonging at present to the Countess Emilie Piper, a descendant of Fersen’s sister) are two packets of letters. The one contains be) those written by Fersen to his sister, acknow- ’ - ledging to her his chivalrous love for the unfortunate queen. The other packet con- tains the political correspondence between Marie Antoinette and Barnave. Thanks to the permission of the present owner of these letters, M. de Heidenstam has been able to give us a volume of immense interest. The great event in the theatrical world has been the resignation of the Director of the Comédie Francaise, Jules Claretie, after so many years of arduous work. M. Claretie is well known to the English public as an author, and, on looking at the long list of his novels and other books, one wonders how he could have found time for the absorbing task of administrating the affairs of a State theatre. Mr. Albert Carré succeeds M. Claretie as director of the ThéAtre Francais. M. Carré began his career as theatrical manager at Nancy. In 1885 he came to Paris as manager of the Vaudeville. His next theatre was the Gymnase, and in 1898 he was appointed director of the Opéra Comique. Another event in the theatrical world this season was the inauguration of the marvellous ceiling painting at the Comédie Frangaise, on which Albert Besnard has been at work for some eight or nine years. It is indeed a wonderful piece of work, with all the boldness and delicacy and the exquisite harmony of colouring of which Albert Besnard alone has the secret. Atys HAiarD. ‘Les Choses Noient.” (Perrin.) “ Wjlles Nobles et Magiciennes.”’ (Calmann-Lévy.) “Marie Antoinette, Fersen and Barnave (Leur Corres- pondance).” (Calmann-Lévy.) —_——_+ <> )@: agreement. |. pieces, UNITED STATES STOCK RIGHTS AND AGENTS. — + a HE Dramatic Sub-Committee again desire to eall the attention of members to the value of stock rights in the United States. { The number of towns in the United States 4) that have stock companies is very large as ‘6 anyone can see from the lists issued by the J United States dramatic agents. Favourite running generally for a week at a © time, are being revived again and again. To obtain the full advantage | from the + leasing of these stock rights it is almost » essential that an author should have an agent in the United States to guard his interests. This is the course adopted by most of the ‘} dramatists who have a market for their work ai in the United States. It is of the utmost im- “ portance, however, that authors should be » careful in their choice of agents. There are ag agents who think their sole duty lies in taking any fees that come their way, and in passing on ‘the accounts without ever checking them or > seeing that they are in accord with the One agent who was held up for his = 1s carelessness stated that all he had to do was » to forward all the fees. This kind of agent is / >. very unsatisfactory as he forces the author to Bok RY a, undertake work for which the agent receives ® commission; besides, it is often impossible for 4) the author to check the accounts as the agent “4 usually holds the agreement. Again, there are.agents who act as principals. f These are also very unsatisfactory. They may make an offer of a capital sum for the stock rights. They may do so stating openly _ that they are purchasing for themselves. They may do so without making such a statement, leaving the author to deduce that the offer has come from someone else. In either case the position is unsatisfactory as the agent is using his special knowledge for his own advantage, which should be wholly at ‘J the service of his principal. _ However upright or straightforward an 1% agent may desire to be, if he acts as principal if he always runs the risk of having the charge @ brought against him that his advice is not BR ies ial disinterested and that his statements are sh tainted. In no circumstances, therefore, should an ‘® author employ an agent who at any time acts ‘& 2S principal or is interested as principal in ® others’ work. The committee of the Society consider it THE AUTHOR. 49 necessary to put forward this warning owing to certain information which has been laid before them, not only with regard to agents in the United States but also with regard to agents this side of the water. <> — ____. A PRIZE COMPETITION. All songs must be forwarded on or before November 15, addressed to the Editor of the Evening News, Carmelite Street, E.C., and marked outside, ‘‘ Song Competition.” Competitors must write pen-names only on _ their manuscript and enclose their own names and addresses, with the pen-names, in separate envelopes. A number of the best songs will be chosen by a com- mittee of well-known singers, who will act in conjunction with the Editor of the Evening News. These songs will be submitted to the vote of the audience at a great concert to be organised by the Evening News, and the decision then reached as to which is the best song in each class will be final. £100 will be the prize for the best song for male voices, and £100 for the best song for female voices. If collaborators have sent in a winning song, they must arrange between themselves as to the proportion of prize money each one takes. The Hvening News will not accept any responsibility as to the division of the money. The winning compositions will become the property of the Evening News, which is to make arrangements for their publication. Royalties at a rate to be agreed upon will be paid to the successful competitors on the sale of the songs. Where the song is by collaborators, they must arrange between themselves the proportion of the royalty proceeds each is to take. The Evening News is to have the right to publish any song sent in, upon the same royalty terms (and, of course, without any £100 prize) that are paid in the case of the prize songs. ROM time to time The Author has had 4 reason to draw the attention of members to the unsatisfactory and _ indefinite drafting of the terms set out by proprietors of papers “when they offer prizes for literary or other copyright work. The rules printed above comprise the rules as issued by the Evening News for a song competition. There are several points to which the atten- tion of our members should be drawn. It would be very interesting to know who are the committee of well-known singers about to act in conjunction with the editor of the Evening News. This is not a matter of vital importance, but such knowledge would no doubt inspire confidence in those who are sending up their works, although—the editor might consider this point—it is very doubtful if any self-respecting composer would care to submit his work to the judgment of a com- mittee of singers and the general public. It would also be interesting to know whether this 50 competition emanates from some publishing house, or is merely a money-making suggestion arising from the proprietors of the Evening News. This point also is not a matter of vital importance, but again it would inspire con- fidence if it was distinctly understood that the offer came from the Evening News and that no music publisher was at the back of it. — There are, however, other points which are of very vital importance. Although the date is fixed when the compositions should be sent in to the Evening News, no date is fixed when the great concert is to be given ; no statement is made as to how the votes of the audience are to be taken, and no date is given when the prize money is to be paid. It is clear from the tules printed above that royalties are to be paid on the winning compositions in addition to the £100 which the winners receive, but the royalties are “at a rate to be agreed upon.” Does this mean agreed upon between the editor of the Evening News and the prize winners, or merely agreed upon by the editor of the Evening News? If the royalty “ to be agreed upon” is to be settled between the composer and the editor of the Evening News, this may give rise to great difficulty. If the parties cannot agree, what solution of the difficulty does the editor suggest ?. This point should have been clearly dealt with. It would have been much better if the editor had clearly stated what royalty he was willing to pay on the publication of the winning songs. Then each composer would have had a fair chance of judging whether it was worth his while to compete for the prize, receiving £100 for the sale of the full copyright, and in addition a royalty on the sale of each copy of the songs. It would appear, however, that if the song was converted into a valse, or dealt with in any other fashion, no royalty would be payable. There is no undertaking that the songs will be published by a certain date, or that the com- posers’ names will be attached to the songs when they are put on the market. All these points should have been definitely and clearly set forth. It would then be a matter for the composer to decide whether it would be worth his while to compete on the chance of winning the prize, We desire to draw the special attention of members to the last paragraph. Though it might be worth while for a composer to com- pete and win the prize, he would have to consider very carefully whether it would be worth his while, in case he did not win the prize, to be bound by the last para- graph. Here again no statement is made as to THE AUTHOR. the date when the songs are to be published. No statement is made as to what royalty is to: be paid, except that it is to be the same royalty as is paid in the case of the prize songs. If the rate of royalty had been fixed by the rules, every competitor would know how he stood, but the rate of royalty which a composer who receives £100 down might be willing to accept may prove very inadequate and unfair to the other composers who have not got the prize. Again, though it is clear that “the pro- perty,” z.e., the whole copyright of the prize songs, belongs to the Evening News, it would. seem from the rules that ‘“‘ the property ” in the other songs would not belong to the Evening News, but the proprietors would merely have “ the right to publish the song,” and would have no further rights in the matter. If this deduction is not correct, then the pro- position as put forward seems open to doubt, and in that case the editor should have set forth the terms much more accurately for the benefit of those composers who are competing. We do not desire to discuss the amount that is given, for it must lie entirely with the com- poser to decide whether it is worth his while to- accept the financial side as it stands, but we do- desire to lay stress upon the point that in many ways the offer is too indefinite, and that it would be much better if the Evening News, before setting out the terms, had taken pains to see that no mistake or misunderstanding: . could possibly be made by those who are desiring to enter the competition. We feel quite sure that the proprietors of the Evening News desire to do everything that is. fair and right by the composers, but it is clear that, from the terms set out, misunderstand- ings and dissatisfaction may arise. This might easily have been avoided with a little care. Te LITERARY TREATY BETWEEN GERMANY AND RUSSIA. —-—>——— ERMANY has not long delayed following the example of France and arriving at a treaty with Russia for the reciprocal protection of copyright property in the two empires. The new treaty came into force on August 14 last, and has a duration of five years, after which it remains in force year by year for one year until it is denounced by one of the contracting parties. i it @ THE AUTHOR. On the whole the terms of agreement «»- resemble those between Russia and France. Citizens of both countries now enjoy in both countries the rights accorded them by law; and the stipulations apply equally to authors of any nationality who publish in either country. The term ‘“‘literary or artistic works ”’ is interpreted in the wide sense given to it in modern copyright enactments, and embraces architectural, choreographic, panto- mimic works, etc., and every production of any literary, scientific, or artistic character whatso- ever, no matter what may be the form of reproduction, or the merits or demerits of the work. Photographs, or works produced by any process similar to photography, are included. Authors have an exclusive right of translation for ten years, on condition that this right is reserved on the title-leaf (on either side of the leaf), a particular to which the German publishers attach importance, or in the preface. This exclusive right of translation is, however, lost if the author does not make use of it within five years, and, in the case of translation of scientific, technical, or educa- tional works, within three years. In this last particular the Russians have been far from generous, and we gather from the columns of our valuable contemporary Le Droit d’ Auteur (September, 1913), to which we are indebted for our information, that it was not without a struggle that the German delegates secured even this very scanty protection. The Russian Government was indisposed to grant German Scientific, technical, and educational works any protection at all, desiring that they should remain entirely at the disposal of Russian translators. The right of translation of un- published works will be calculated from January 1 of the year of publication; and which day is January 1, will be determined in accordance with the calendar of the country in which the work is published. The following are explicitly enumerated as illicit reproductions—unauthorised transfor- mations, adaptions, and arrangements of music, transformations of novels or poems into dramatic pieces, and vice versa. Excepting serials and_ stories, articles appearing in journals are not protected, either in the original or in translations, unless their reproduction has been expressly forbidden. Mere news is not protected. Dramatic authors, whether their works are published or not, enjoy, in the original, pro- tection during the whole period of copyright ; in a translation, only during the period accorded to translation. Composers are protected if 51 the inhibition of public performance of their works is mentioned on every copy. In the cases of discs, etc., for the mechanical perfor- mance of music, and in the case of photographs it is necessary that every copy should indicate the name of the firm or author and the date of publication. It suffices that the inhibi- tion of reproduction should be expressed in the language of the country of manu- facture. It will be here perceived that the protection accorded is thus not absolutely unconditional, The agreement is not retro-active, but applies to all the territories of the signa- tories. Le Droit d Auteur, at the conclusion of am exhaustive article on the new treaty remarks with great reason :— ““The new agreement is a document elaborated with methodical care and with a constant attention to defining and ameliorating international relations. In this respect it deserves not only the praises which have been bestowed upon it by German authorities and the German press (which anticipates as a consequence of the new treaty the suppression of many abuses and a future increase of intellectual exchange between the two nations), but has also a right to the approbation of the more extended group of countries either already bound up, or about to be bound up with Russia in the domain of reciprocal protection of writers and artists. Finally, it will be noted with satisfaction by the republic of letters which acclaims all drawing together of civilised nations on the pacific grounds of the defence of common interests of a higher order.” re MAGAZINE CONTENTS. ao British REVIEW. The Poetry of Francis Thomson. CoNTEMPORARY. Shakespeare and Public Affairs. By Sir Sidney Lee. EneuisH REVIEW. The Poetry of Chaucer. By Henry Newbolt. FortNIGHTLY. The Plays of Granville Barker. By P. P. Howe. Emile Verhaeren. By Horace B. Samuel. Charlotte Bronté. By Augustus Ralli. Mussorgsky’s Operas. By E. A. Baughan. Drama for the Common Man. By W. L. George- HOW TO USE THE SOCIETY. oo t, VERY member has a right toask for and to receive K advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. | The Secretary of the Society is a solicitor ; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel 8 opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination, 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of thesafe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members, This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. er annum, or £10 10s. for life membership. et WARNINGS TO THE PRODUCERS OF BOOKS. —1— + : ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I, Selling it Outright. This is sometimes satisfactory, if a proper price can be THE AUTHOR. obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to :* (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for ‘office expenses," unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement, It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth, From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement. The main points are :-— (1.) Be careful to obtain a fair cost of production, (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous te the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— C1.) That both sides shall know what an agreement means, (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. a eee ney ceniennenieany WARNINGS TO DRAMATIC AUTHORS. | EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, THE AUTHOR. (2.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (#.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (}.) apply also in this case. . 4, Plays in one act are often sold outright, but it is 6, better to obtain a small nightly fee if possible, and a sum “® paid in advance of such fees in any event. It is extremely ‘/@\ important that the amateur rights of one-act plays should i be reserved. * 5, Authors should remember that performing rights can uit @ be limited, and are usually limited, by town, country, and time, This is most important. aE 6. Authors should not assign performing rights, but «@ should grant a licence to perform. The legal distinction got @ is of great importance, 7. Authors should remember that performing rights in a ale pisy are distinct from literary copyright. A manager ‘6 holding the performing right or licence to perform cannot ( print the book of the words. 8. Never forget that United States rights may be exceed- ® ingly valuable. They should never be included in English ~@ agreements without the author obtaining a substantial «1@; consideration, 9, Agreements for collaboration should be carefully seu) drawn and executed before collaboration is commenced. 10. An author should remember that production of ed © is highly speculative: that he runs a very great risk of : “a delay and a breakdown in the fulfilment of his contract. re He should therefore guard himself all the more carefully in oo6e the beginning, 11. An author must remember that the dramatic market » is exceedingly limited, and that for a novice the first object & is to obtain adequate publication. ee As these warnings must necessarily be incomplete, on 4u3S @ecount of the wide range of the subject of dramatic con- \@°e@ tracts, those authors desirous of further information \ @& are referred to the Secretary of the Society. ——— Or 2 REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. 1 oe. typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by ‘the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2a. 6d. per act. 53 DRAMATIC AUTHORS AND AGENTS. RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author’s rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ee WARNINGS TO MUSICAL COMPOSERS. eas ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. —_—————_—>—e- —___ STAMPING MUSIC. —_———+ — The Society undertakes to stamp copies of music om behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble,”” ——— THE READING BRANCH. —_— EMBERS will greatly assist the Society in this. branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The: Readers are writers of competence and experience, The fee is one guinea, So REMITTANCES. 4 The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Vain of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, COLLECTION BUREAU. — a Society undertakes to collect accounts and money due to authors, composers and dramatists. : 1. Under contracts for the publication of their works. : 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for ‘books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1, Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee ‘of Management will discuss the possibility of reducing the commission. oe For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland ; é . A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs Pogson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. —— THE ANNUAL DINNER. THE annual dinner of the Society of Authors is fixed to take place on November 27, at the Criterion Restaurant. Mr. Hesketh Prichard, the chairman of the Committee of Management, will take the chair. Notices to this effect have already been circulated. NOVELISTS AND Fitm Ricurts. THE importance of the moving picture rights in novels must be apparent to all frequenters of picture palaces. Manufac- turers are increasingly utilising the work of the novelist in order to make their entertain- ments more attractive to the public. All the signs point to a distinct future for the novel easily adaptable to the cinematograph. We feel it is necessary therefore to impress upon our members the necessity for guarding very carefully the picture rights in their novels, and to sign no contract with a publisher which contains any provision relating to these rights without first referring to the Society. Already it is apparent that the publishers of books are anxious to gain control of this THE AUTHOR. new right, just:as the publishers of music have been anxious to gain control of the mechanical instrument rights in music. The author must, therefore, be sure not to part with any right beyond the licence to publish in book form properly limited. Properly marketed, the moving picture rights of a novel may be extremely valuable to the author. In the hands of the publisher there is a very real danger of their being treated as a useful source of a little additional revenue, but hardly worth any very strenuous effort to place on a profitable basis. Morratr v. MAuUDE. THE question of how far a dramatist has power under a clause in his contract to dictate to the manager on the choice of his cast must = in all circumstances depend upon the wording + of the clause; and the question how far a dramatist is entitled to damages for breach of such a clause by the manager must in all circumstances depend upon the facts of each case, and the interpretation the judge and jury place upon the facts. This doctrine has been fully exemplified by the judgment in the case of Moffat v. Maude. The point has been laboriously considered in the Dramatic Sub-committee. It has again been raised by the Dramatists’ Club. The sub-committee desire to impress upon the dramatist members of the Society the necessity for insisting on a clause in their contracts giving them, if they can obtain it, the virtual control of the casting of the chief parts; if they cannot ‘insist so far, then a contract subject to a mutual right of veto. The sub-committee consider the matter is of great importance to Dramatists, and while they regret the decision in the case mentioned, they do not think that it upsets in any way the general recognised principles of law by which these questions are determined, nor is it likely to modify the value of such a clause as the one which they recommend. “Mary Goes First.” In the Observer of October 19 appeared an qe * ita fis b dhe igs ape at wea aE oe] and amusing letter, nearly two columns long, » written by Mr. Henry Arthur Jones, through his secretary, on the subject of ‘‘ Names in Plays.” It is stated that the letter is in answer to a threat of an action for libel if Mr. Jones’s play, ‘‘ Mary Goes First,” is published without certain revisions. As we junderstand the matter to be sub judice still, i we are precluded from comment upon it. But ve cannot refrain from registering our opinion hat the present condition of the law of libel s very serious for authors and urgently equires attention. Cases which have been ecided in court more or less recently have made this painfully clear, and authors cannot, n justice to themselves, remain apathetic. Tue U.S.A. AuTHors’ LEAGUE. __ WE read with interest the Bulletin of the Authors’ League of America, as it comes to us regularly, and we are exceedingly interested o see the gradual increase of the League, and ope to hear of its membership reaching |,000 very shortly. At present we find the members at 518, but fresh names are being dded steadily from month to month. There _. 31s not the least doubt that the Authors’ League, _. aithrough its executive, may be able to give the _ aAuthors’ Society very valuable information Mifrom time to time, and our committee have > gexpressed their willingness to give the Authors’ -o League every help and assistance that is in heir power. We hope that the two societies will be drawn closer together by the fact that ‘Hour Society has asked Mr. A. Train, the 9% General Counsel, to act as the Society’s legal “> = representative in the United States. ANTHOLOGIES. _ Our attention has been drawn to the Preface of a book entitled ‘‘ Lyric Masterpieces by i Living Authors,”’ which is published by Gowans and Gray, Ltd., Glasgow and London. From this Preface it appears that the editor who made the selection thinks it a mistaken plicy that certain living authors object to aving their works reproduced in other books without payment. This attitude seems to have annoyed him, and in carefully expressed phrases he has shown his annoyance. It is impossible, of course, to know whether the compiler of the selection has been paid for such compilation. Most probably he did not do the work for his own pleasure. But it may fairly be deduced that the publishers would not have put the book on the market unless they hoped to make it a commercial success and to profit by the sales. The Author has on former occasions dealt with this question of Antholo- gies. It does seem unfair that a publisher should make a profit out of the use of other é THE AUTHOR. 5 people’s property without paying for it. Why should. ‘‘some poets and _ publishers” . be generous in a matter of this kind, which is a matter purely of business. Many well-known writers have very strong objections to allowing the product of their brains to be taken from them for the financial benefit of others in whom they are not in the least interested. The editor of the book, as we have pointed out, thinks that the demand for payment by the poet is a mistaken policy. We wonder whether, having made the selection, he would like another publisher to produce the same selection without any payment whatever to himself for the work undertaken. ——_————_+—>——_-—__—_ PUTTING A NOVEL ON THE MARKET. + By F. G. Browne or F. G. Browne Co. [From the ‘‘ Bookseller, Newsdealer and Stationer,’ New York.] S HE author has made a very attractive book of this.” A reviewer on a western newspaper wound up his review of one of our latest publications with these words. The sentence well illustrates something of the confusion that obtains in the public mind regarding the art of book making. 2 Few persons reading the latest book of fiction ever give a thought as to how the book has been put into their possession. To the average readers a novel is a novel; they read. it, enjoy it, or condemn it, as an expression of individual taste, and put it aside. Its mission has been fulfilled. Beyond knowing the names of perhaps a half dozen of the ‘‘ stars,” probably nine out of ten persons do not give a thought to the personality behind the writing of a book, much, less the making of it... The work and planning and execution of the myriad details which have made it possible to put this latest volume in their hands for $1 or $1.25 rarely are considered. : The production of a book of fiction involves many personalities. First, the author, who conceives and writes the story; second, the publisher, who selects the story from among many, many manuscripts and decides to stake a portion of his capital and energy in making it 56 into a book; third, the artist, whose talents and imagination must be devoted for perhaps several months to the task of visualising characters and situations so that the man who runs may be attracted to read ; fourth, the printer, who, following the specifications of the publisher, converts the manuscript into type, and the type into electrotype plates, and on his presses prints the sheets that are to be the basis of the book ; fifth, the engraver, who places his technical skill at the disposal of the artist and ublisher in reproducing the illustrations in heautifal multicolour plates or simple black and white halftones, as the case may demand ; sixth, the paper maker, who must have his product finished and in the printer’s hands when the book is ready to print ; seventh, the binder, who takes the printed sheets and sews and stitches and trims them and incases them in the permanent cloth cover. SALE AND DISTRIBUTION. These and others are concerned in the making of the book. Its sale and distribution require the labour of another set of craftsmen— the publisher’s travelling representative, who lays the book before the bookseller and unblushingly asks for an order for it of twice the quantity he dares expect ; the bookseller, who gives the book a chance of reaching the eye of the public by tying up sundry dollars of his capital in an order usually one-fourth the size suggested (for he likely has looked at twenty new stories that morning and listened to glowing statements of the potential qualities of all as ‘best sellers ”); the newspaper, through whose advertising columns the enthu- siastic publisher announces the story as a discovery peculiar to the century, in order to anticipate and discount the judicial statements later of the same newspaper’s literary editor as to the book’s real value and reason for being. The finished typewritten manuscript _ is, therefore, but the beginning. The author has done his part. The labour of those who must contribute to the book’s success is just opening up, and in fact the publisher’s work began before the manuscript was submitted. First of all, the publisher must read hundreds of manuscripts. It is one of the routine labours of his day’s (and night’s) work. From a mass of a hundred manuscripts he selects perhaps one that he believes has “ the punch ” and may become a good “seller.” For the publication of fiction no longer is considered from the literary standpoint: it is published THE AUTHOR. from the viewpoint of dollars and cents, what it will make for the author and what it will net the publisher. It has developed into a § ©: commercial proposition pure and simple—the 61% merchandising of literature. : The recording, reading, considering, packing, | and returning of unavailable manuscripts alone Sic! involve work on the part of the publisher and Bus * his assistants which represents a large actual [jit loss of time and money. But it is all a part of To ww the game, for the publisher who lands one good Bue! seller out of a hundred manuscripts counts himself fortunate. : I am constantly reading manuscripts at all manner of odd times outside of my business © hours. I wouldn’t, under any circumstances, | publish a volume of fiction unless I personally had read it through. I think most successful publishers follow the same rule. That means that the manuscripts I read have been “ sifted ” by regular ‘‘ readers,” and those that have any promise at all laid aside for me. It is done on somewhat the same principle that a man © follows in buying horses—others may recom- _ mend, but he must examine the animal himself é4 and try him out before he invests his money |. in him. The manuscript accepted for publication, the 4 next point to be determined is, what kind of a - book shall be made of it ? This means the selec- -— © tion of type, the size of the volume, the choice OF of artist to illustrate it, and so on. Book manufacturing details are usually worked out carefully and nothing left to chance. The number of words is estimated, the size of type is decided upon—this being regulated by the number of words the manuscript contains and the number of pages the book is to have—the kind of paper, the style of illustration, the scheme for cover design and paper ‘“ jacket,” and the size of the edition. ....., ati re From a MercuaNDISE STANDPOINT. Nowadays, as I have said, fiction is treated ms from a merchandise standpoint. A story that can be made into a book of 400 pages can be retailed for about $1.25; a book of 500 pages for $1.85. In the manufacturing of the book [ele there must be a fixed relation between what the | = i) book is going to cost and what the probable |e returns from the sale will be. A margin of [%. profit must be set by the publisher below which s#@* ° he cannot safely operate. : The number of copies ordered for the first pe edition varies, of course, according to the pet prominence of the author. My experience is | % ° that a minimum first edition of at least 3,500 7a i copies is necessary, or the cost per copy will be too high to yield any profit. The manufac- turing cost naturally is affected by the number | of copies printed, because the cost of the plant ’’—typesetting, the making of electro- | type plates, the artist’s fee, the engraving, and the other items in getting the book ready to print—is just the same whether 1,000 or 10,000 copies of the book are printed. A 400-page book consumes about a pound and a quarter of paper. Our fiction is printed "on sheets of paper measuring 303 by 41 inches. “|. A sheet that size will print sixty-four pages of the book, thirty-two pages on each side, giving a volume 54 by 72 inches, which now is the popular fiction size. The revision of a manuscript and_ the 4 reading of the printers’ proofs often involve a heavy labour. I have known cases where as many as a thousand changes of individual words and phrases in a single manuscript have been made after its acceptance. As a rule, three proofs of the type are pulled. One of these is read by the printers to see that it con- forms to the manuscript copy, another set is read by the author himself in order that he may improve the work if possible, and the third set is read in the publisher’s office, and final changes made as necessary. All these changes cost money, and usually the publisher has to defray this expense himself. I have mentioned the paper “ jacket,” or wrapper. This theoretically is for the purpose of protecting the cloth cover, but really is treated purely from the advertising standpoint —that is, it is artistically printed and decorated attractively in order to catch the eye of the buyer looking over a table of new novels. These are some of the more essential details and problems involved in producing a volume of fiction. The author has, to be sure, made the volume possible, but his share in its produc- tion is not so burdensome as that of the publisher nor does he risk so much. The publisher risks his capital and his experience and energy, and for a time he must LIVE that book until he can feel that it is going to repay his investment by its sale. , The publisher, of course, has to attend to all the details of selling. Books are sold by means of advance samples which are carried by travelling representatives direct to the book trade. It is not an unusual thing for the publisher to secure, in advance, orders for an entire edition of a volume that is not yet off the press. The size of these advance sales, how- ever, depends a great deal upon the reputation and popularity of the author, but energy and THE AUTHOR. 57 confidence can make a successful sale for the first book of an unknown author. For the use of his own travelling representatives and the travellers of the book jobbing houses the publisher has to have made up at considerable expense a number of “dummy” books— showing the cover, properly die stamped, a sample picture, and a few sample pages of the contents—and this often months before the actual printing of the book has begun. Review Copies BEFORE PUBLICATION. The review copies for the newspapers and periodicals must be distributed shortly before the book is published. This work falls to the lot of the publisher. Some publishers give away a good many copies to men identified with the book trade—clerks, buyers, store managers, etc. These are sent out in advance in order that the persons who receive them may familiarise themselves with the volume before it is displayed on their counters. Every story has its own individual problems. They are problems which the publisher alone can unravel. Sometimes he sends out a thousand free copies of a new volume, and a fair average for books of fiction might be about 500 copies. The matter of advertising is and always will be the big problem with the publisher. He must decide in advance how much he is warranted in spending in promotion and publicity, and he must decide how and where to spend it. Certain trade journals that circulate chiefly among book dealers and librarians are necessary mediums. Adver- tising announcements are printed in these periodicals as a matter of routine. Cosmopo- litan newspapers of wide circulation in the territory in which they are published are the mediums relied upon to attract the buyer personally. Trade advertising also includes posters, circulars and window cards. Every book of fiction must be provided with an attractive poster, and these posters represent the outlay of considerable money, often being printed in several colours. The publisher must plan his newspaper advertising campaign so that he can assure the book trade in the different sections of the country that the book will be brought to the attention of consumers in those sections on the day of publication. Then he must judge from the advance orders he receives from different sections just how much he can afford to con- tinue to spend in each section, for he must, above all things, guard against the expenditure of a lot of money in a field which will yield only 58 small comparative returns. The usual method in exploiting a new book of fiction is to concen- trate on a few large cities. The representative papers of these big cities reach a multitude of small towns in and about them, as most of them circulate in a wide territory. EsTIMATES ON EXPENSE. The publisher must have a pretty good idea of the various proportions of the different items .of expense in publishing a book of fiction. For instance, if a volume wholesales at 75 cents— the publisher’s estimates always are based on the wholesale price of a book, not on the retail price—he must know how much of that amount should go for manufacture, how much for advertising, how much to general overhead expense—in other words, the book’s share of the firm’s expense of doing business—how much to the author and how much should be left for himself. An author receives anywhere from 10 to 20 per cent. of the retail price, and the usual royalty is 10 per cent. up to 5,000 copies and then 124 per cent. This is a fair royalty, and, as a matter of fact, a firm’s authors will receive a larger share of money returns in the year’s business than the publisher can make for himself. This statement may be challenged, ‘but the fact remains, nevertheless. To sum up, the successful publisher must be something of a Jack of all trades. He must have literary and artistic instincts sufficient to enable him to know the real from the false ; he must know something of the mechanical ‘processes by which a book is made—printing, engraving, paper making, binding; he must have the ability to invent advertising, he must have the selling ability; and, last and not least, he must have the courage to risk money on a gamble, for the publishing of popular “fiction nowadays is a great deal of a gamble. —_——_+-—~»—+ —____ PLAYS AND THE RIGHT TO A TITLE. , —— oe L. The Author of October, 1906, I was 4 allowed to make some observations upon the conditions which arise when an author -uses a title which has been applied to a work previously published by some one else, upon the law applicable to the situation and upon the remedies which, from time to time, have been proposed. Everyone knows that there as no copyright in a title, and I endeavoured to show that the proposal to give something in the nature of copyright was not likely to be granted by the legislature, and that protection THE AUTHOR. by some form of registration akin to that of a trade mark would be attended by practical difficulties disproportionate to the advantages — : which it might be expected to secure for those interested. It will be found also, by anyone who can refer to the back-number in which | my article appeared, that I made the further suggestion that anyone who differed from me ~ er and who thought that special protection for | titles might be granted by the legislature — should not merely make his proposals in outline but should give them a definite form by drafting the clauses in which he would like to see them ~ / r submitted to the House of Commons. I do not remember reading in The Author anything upon the lines suggested, so I am inclined to conclude that either what I wrote met with general acceptance or that those who differed | ~ from me as to the practical possibilities of the — | ease did not consider the matter of sufficient importance for the discussion to be carried © It has, however, been suggested to ~ further. me recently, that in the case of dramatic compositions there should be less difficulty than in that of books in securing titles from infringement, voluntary or involuntary, and _ that there is more opportunity for the author of a play to be damaged by a subsequent author * taking his title. That is to say, there should be less danger of the writer of a play taking a title already used because there are comparatively few plays, so that investigation should more * easily discover a previous user, but on the other hand, plays are liable to be revived and re-acted long after they are first produced, so that there is considerable difference between — their “‘ lives ’’ and the “ lives ”’ of novels. This matter of comparative longevity is, As the law stands — perhaps, worth considering. the writer of a book which has been published can prevent a second writer from using his— title if he can show that the second use of the title is injurious to him or is likely to be so, If he can prove that he has suffered damage by such use he can recover compensation. In practice this means that the author of a_ book which is being sold can prevent the offering of another book under the same title on the ground that it would be likely to be ~ mistaken for his, and that money intended to * be spent on his book might thus be spent on _ A great many . the work of another writer. books, however, when a few years have elapsed since their publication, are not being — sold any longer, and are, to all intents and — purposes, dead. There may be a possibility — of recovery, but, as a rule, the book that dies _ remains dead, particularly when it is a novel, > and its author suffers no damage and is likely to suffer none if another writer uses his title. i A play, however, which has been acted and laid aside, so far as London is concerned, may continue to be played, perhaps at intervals, in the provinces, and may be acted here and £ there by amateurs—let us hope with the knowledge and to the profit of its author. ) Or, again, when it has seemed almost forgotten in London, it may be revived there and again i win success. ‘‘ Diplomacy’? and “ Jim the ,|.. Penman” are recent revivals which may be “given as instances of a surprising kind of vitality and longevity in dramatic works. Robertson’s plays would supply a long list of revivals, and there is no reason why they should not continue to be acted at intervals in the Metropolis and elsewhere. All these, however, have no doubt enjoyed a steady and more or less continuous existence on the boards . elsewhere, apart from their appearances in “+ London. I do not know whether a really “ys unsuccessful play, laid aside and, in fact, |. forgotten by managers and audiences alike, has ever been revived and made successful some time afterwards, but it is conceivable that some might so recover, having owed their premature inanition to lack of capital on the part of their produccrs, want of advertising, and, more important still, to inadequate acting. It may, therefore, be submitted for considera- tion that infringement of the title of a play should be treated with greater stringency than is necessary in the case of books, and that the infringer should give way when he possibly ‘’ «an in order to prevent injuring a fellow writer. To give way in all cases where it is 0G possible must always be the more courteous “ig .and considerate course to adopt. i The comparatively smaller number of plays suggests the possibility of a register of all licensed plays being made capable of inspection 14 by dramatic authors, in order that they may see whether their titles have already been used. They should, however, still endeavour to ascertain whether they are adopting titles l@ already used by novelists as whether they can _ be prevented legally from doing so or not, no one should lay himself open to the charge of plagiarism or of lack of originality. E. A. A. eS op Ey Rost mm Rue ot ee A MORAL SENSE. SBCET ae N looking through almost any popular periodical, one must notice that authors and artists are having their work exploited for the benefit of the THE AUTHOR. 59 advertisers. The general tendency is for the articles, stories and pictures to improve, and for the advertisements to become worse. What the reading public gains in one way it loses in another, and, of late, it is taking greater risks of being deluded by the adver- tisers than of being uplifted by the work of the artists. Some periodicals are notorious, in that they admit to their advertising pages announcements which any person of average intelligence can identify as unfit for public perusal. Yet these periodicals contain con- tributions from some of the most eminent writers of the day. There is a certain incongruity between the printed words of the distinguished novelists and the invitations of notorious advertisers contained within the same covers. It is unlikely that the authors, whose work is bought, would care to be seen in the company of advertising quacks and get-rich-quicks, but authors seem to think it does no one any harm for the pearls of wisdom they produce to be used as the vehicle for getting known to the public various noxious drugs, opium, and alcohol disguised under trade names. It is as though the authors were too particular and respectable to be seen in the company of cheap-jacks, bucket-shop proprietors, quacks and gamblers, but, for a consideration, would allow themselves to be used for the purpose of introducing the public generally to these harpies. For, of course, the periodicals are bought and read for what the authors have contributed; and what the authors have written is bought by the owners of the periodicals only in order that the circulation may be increased and a larger revenue be derived from the advertisers. In former days a writer often knew his editor and publisher personally, and had sufficient confidence in character to under- stand that his ‘‘ effusion’? would not appear amidst matter which would harm either himself or the public. Now, with some agent as middleman, price is everything ; a “* good ” publisher or editor is one who can be depended upon to pay at the date named ; where, how, when, with what or without what, the “‘ stuf - shall appear is not the concern of the author. Divided responsibility is no responsibility. The author will contend that his responsibility is confined to his own work, and if that satisfies him, what the buyer does with it is no practical concern of his. In short, one may contend that an author is indifferent to the use made of his product. It may serve as a lure for innocents, it may lead the guileless into a trap from which 60 escape is impossible, it may be printed in the worst company, but the author 1s not respon- sible. He has parted with all control an exchange for a cheap-jack’s money. His such an author any moral sense ? : There is no necessity to uphold any particular morality, or the lack of it, except that it 1s inconsistent for the authors whose professed purpose it is to inculeate morality, to become a vehicle for advancing what is the opposite. It is no excuse to say that the newspapers are as bad, and that “‘ everybody’s doing ite —-most authors are ; but though they may lead the world in thought they are laggards in action. Some men still act in accordance with their principles. In a Tacoma gaol a prisoner went to the punishment cells rather than help in repairing the gallows ; in Mantova many bricklayers refused to work in building a gaol; in Milan, in Paris, and in Rome, compositors and press-men refused to produce papers containing comments which might prejudice the cause of workpeople on strike. These humble people had convictions, and acted upon them. With them any honest man would be proud to shake hands. They are the real leaders of to-day and to-morrow. The author is going to be relegated to a rear rank, having shown already that he is willing to go anywhere an “ agent ’’ recommends, or wherever pay is highest. WILuiAM GREENER. —___—_+~> + PROFESSIONAL JOURNALISM. ——— [T may prove to be somewhat difficult to eliminate the personal element in the discussion of the fine line which deline- ates the professional journalist and literary ** dilettante’; but the little that I have to say on the subject must perforce ring truer if the abstract and composite scribe is conscien- tiously substituted for the concrete and, per- haps, disappointed dweller in ‘‘ Grub Street.” The topic was suggested to me by a pro- fessional journalist, employed in the office of a big provincial newspaper, who holds, with me, that while the routine work of the newspaper office is well left exclusively to the regular staff, there should be no editorial or pro- fessional jealousy of literary competitors out- side. If my informant is correct, there exists in many offices some ill-defined but well- understood _ test of who is, and who is not, a professional author and journalist. Member- hip of this Society, or of the Institute of THE AUTHOR. Journalists, does not necessarily carry weight, and, indeed, the ‘‘ rose would smell as sweet a by any other name, if one could make sure of culling it. Over and over again we have been told, in this and other literary periodicals, that intro- ductions do not count, and over and over again the inexorable logic of facts, in concrete, cases, disproves the assertion, that only merit wins in the long run. And the “‘ run ” may be so very long that it culminates in the dead- stop that comes sooner or later to all workers in all vineyards, for we all constantly meet with or hear of mediocrities, as well as truly talented men and women, whose introduction to a big literary syndicate has resulted in regular work and a more or less calculable salary. Is there, therefore, no ‘‘ media via,” no “golden mean,” between the arbitrary label- ling of a writer, who joins a literary society or association as a ‘‘ dilettante’? man of letters, and the classifying of those who, having graduated in ‘‘ Grub Street ” and acquired or improved their gift, are worthy of the title ‘ professional journalists ” ? I should hardly advocate diploma work after the fashion of the Royal Academy, following | election, which neither there nor here would be | an all-sufficing test of efficiency, but it would | appear that, without lowering the status of | this Society or the Institute of Journalists, some form of declaration, based upon pub- — lished work, might assist in the legitimate introduction of competent writers to editors and publishers. And in this connection I would comment upon the enormous amount of unsigned work which, for various reasons, finds its way into print and into really high- class papers and periodicals, for we all know — and appreciate the value of the advertisement — which connotes the duly attested signature. Proof, then, of the various types of contri- butions to newspapers and periodicals might be either published in this organ of the Society, or furnished to editors, as desired, by members, who should have qualified by ‘bona fide” — work for this advertisement of their com- petency. B I do not suggest that such a policy would break down cliques and “ rings,”’ if such there — be; but, if a good understanding should thus — be established between members of the Society — and the purchasers of intellectual wares, it 15 _ more than likely that the beneficent action of the council would tend to open doors for ~~ eligible suitors. Nor would such a new depar- : ture transform the Society into a literary — Me THE AUTHOR. agency, as all that the responsible officials could affirm would be, that such and such a writer, being a member of the Society, had i tendered proof of having contributed to such and such newspapers and periodicals, and, on that basis alone, was forthwith recommended to editors in the monthly or quarterly list of u approved contributors. The Society would not force its opinions on any syndicate, firm ; or editor, but would merely advance adequate ~ . proof of the competency of the writer named, or otherwise dealt with, as a candidate for tr employment. r This suggestion may serve to recall Marshal Le Boeuf’s notorious ‘ dernier bouton,” but '» even a button or a label, aptly applied, may have their uses. F. C. Ormspy-JOHNSON. THE PUBLISHERS’ DICTIONARY.” TPFNHIS is a lexicon, in seven languages, of terms used in the publishing trade, and a work whose exhaustiveness, accuracy, Me and lucid composition assure its being of the very greatest value. The present volume replaces the ‘‘ Vocabu- laire International Technique de 1|’Editeur ”’ published, in accordance with a resolution of / the congress of publishers, in 1910, and will be v°. found to represent a great advance. The plan adopted is to give the key words, in French, in the first column, accompanied by the necessary definitions of the various meanings which are indicated by numbers, the same numbers accompanying the equivalents in the six other languages, placed in parallel columns. At the end are added appéndices containing the duration of copyright in different countries, an index of copyright enactments, a summary of the extension and limitations of the Berne Convention, the various formats of books, the names of the different founts of type, sizes of paper, examples of correction of proofs in the different languages, and alphabetical indexes of words in languages other than French, with cross references. We have tested both the text of the seven-fold lexicon, and the cross references of the indexes, and have in every * “Vocabulaire Technique de I’Editeur en Sept Langues: Francais, Deutsch, English, Espafiol, Hol- ' landisch, Italiano, Magyar.” Berne. Congres Inter- “ national des Editeurs. 1913. 4°. 61 ease found the results completely satisfactory. As the labour of compilation, of which very modest mention is made in the preface, must have been enormous, it is difficult to express adequate admiration of the excellence of the work. We regret only that the editors in the case of Magyar should have permitted them- selves the modern vulgarity of printing c for cz, a practice most justly condemned by the Hungarian Academy. The work is printed in London, by the Ballantyne Press, and no notice of the book would be adequate which did not mention that the volume is a marvel of exquisite typography. ——— +o CORRESPONDENCE. np UNREVIEWED Books. S1r,—I have read with interest Mr. Fursdon’s rejoinder. to my letter, not in praise of literary editors, as he implies, but in justice to them. The suggestion that I should be ‘‘ more at home in the editorial office of a popular daily ” I will pass as a pleasantry, remembering that Dr. Johnson once said that ‘the reciprocal civility of authors is one of the most risible things in the farce of life.”’ Mr. Fursdon is obviously vexed, first with literary editors and later with me. He says, ‘“There are literary editors and _ literary editors’; just so, as with eggs. Can Mr. Fursdon imagine himself the unhappy victim at whom is hurled some 13,000 volumes during the year’s 365 days? I fear it is not Reviews, but Mr. Fursdon that I err in taking “ too seriously.”” For any man seriously to expect an editor to indulge in what is obviously an unnecessary correspondence is scarcely reason- able. It is no argument to say that he must increase his staff. First of all his paper has to be made a commercial success, and increased staffs mean increased expenses. I quite agree with Mr. Fursdon, and I confess that the sensation is refreshing, that ‘ there are other tests, and if a book is temporarily disqualified by non-recognition in a certain number or section of august journals, it may yet win in the race of time.” I have no doubt that literary editors will be quite content to leave the verdict with posterity—the ever and overburdened. I am, Sir, Your obedient servant, HERBERT JENKINS. 62 * ONLY.” Sir,—There is a common use of the word “only,” scarcely less irritating than the split infinitive, to which I would politely draw the attention of writers, in the hope that they may be practical enough to profit by the hint. On my holidays I usually read a good many novels, and I find the fault to which I refer almost universal. For instance (and I purposely select my example from the work of a well- known writer), in “‘ The Last Hope,” which I am now reading, Mr. Henry Seton Merriman— may his shadow never grow less !—perpetrates the following, on page 213 (Smith, Elder, 1904): ‘‘. . . the tide had only turned half an hour ago.” Of course Mr. Merriman means nothing of the kind. He does not wish to tell the reader that ‘‘ the tide had only turned,” but that the tide had turned only “ half an hour ago.” And since he means this, why does he not say so? «= 1 am, Your obedient servant, RicHarD FREE. ee ee AutHuors AND FrEE LIBRARIES. Your correspondent ‘“‘ C. E. S.” has formed an extraordinary opinion about what he (or she) designates “ free librarians.” I say this after an intimate relationship with many librarians of so-called “‘ free ”’ libraries extend- ing to nearly half a century, and I emphatically rebut the suggestion that these gentlemen and ladies are actuated by the petty motives suggested by “ C. E. S.” Your correspondent gives his case away when he states that a certain book was unknown in a certain town until the fact of its existence was made known by the public library authorities. This was a grand advertisement for the book, and a cheap one, too. I venture to assert that rate-supported libraries give an impetus to general reading, and make it possible, through their support, for some books to prove a financial success. Does ‘“C. E. S.” know how many “ free ”’ libraries there are in the United Kingdom ; and has he thought about the enormous number of new books, including novels, that are purchased for them during any year? Then novelists are assisted through the con- stant renewals of soiled copies, , No, “C. E. D.,” libraries assist novelists very considerably. J. P. B. THE AUTHOR. CARRARA, Dear Avutuor,—In Mr. Wells’ letter in your last July number he writes: “T had to live—and so I learnt to write before I thought of a book.” According to Aristotle also, “To learn to play the lyre we must play the lyre.” ae. the bone of contention between author and publisher plus agent is— 1. That it is always superevident to the author, obscure or otherwise, that those who profess to be his allies won’t see to it that, as. Emerson says, ‘‘ He who does the work has the power, but he who does not the work has not the power.” 2. That between buying kitchen utensils. or a motor, for instance, and exchanging (?) “crim brains’? for lucre (that, chiefly, the author doesn’t get) there is a distinction with the difference. The one is mercantile. The other—vicarious. When Michael Angelo received orders from Lorenzo de Medicis he set off on foot from Florence to Carrara to select his own marble. At Carrara he personally supervised its quarry- ing so as to secure as far as possible a flawless block. Sometimes this took a year, some- times only six months. Having secured it, Michael Angelo trudged doggedly on foot again all the way home from Carrara to Florence so as to steady his precious purchase every inch of the way with his own hands to keep it from getting broken. There could be an amicable point of contact between author and publisher plus agent, that is, the exercise of conscience. We authors “‘ have to live.” We “ play the lyre.” We laboriously trudge every inch of the way to Carrara and back to supervise the perfecting of our tools. We don’t (save the mark !) fatten on the results of others’ labour. We don’t sweat anyone knowingly, for two reasons: (1) because to renounce one iota of our privilege we should damage our secret ideal; (2) because to walk every inch of the way ourselves is the only real way not to fail. Won't The Author adopt two devices for its escutcheon—the first, “‘ To learn to play the lyre we must play the lyre;’ the second, “ f had to live—and so I learnt to write before I wrote a book ’’ (the italics this time are not Mr. Wells’)}—and have authors, publishers and agents repeat them every night of their lives in unison with the Lord’s Prayer on their bended knees ? JUSTICE. Dublin Core 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. 24 Issue 02 (November 1913) Subject The topic of the resource The Author, Vol. 24 Issue 02 (November 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-11-01-The-Author-24-2 publications The Author https://historysoa.com/files/original/5/532/1913-10-01-The-Author-24-1.pdf 60f86912ca91b99663461ab736bc6a2a 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-10-01 Volume 24 Issue 1 Pages Page range in volume 1–32 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19131001 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMutbor. (The Organ of the Incorporated Society of Authers. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XXIV.—No. 1. OcToBER 1, 1913. [PRIcE SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. —_____+——__—___ NOTICES. —_—-—+— 7 the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The ‘Author are cases that have come before the- notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou, XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. On and after June 13 Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respecting advertisements after that date should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. —______——__—___ THE SOCIETY’S FUNDS. — ++ ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other 79 2 matter closely connected with the work of the Society. oe ‘ (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. ee THE PENSION FUND. oo ‘N January, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the eurrent price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule ;— Nominal Value. 8 Deca L0ans 2.5.2.2... 665. 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock .........<.; 250 0 0 Egyptian Government Irrigation Trust 4% Certifieates ........ 200 0 0 ‘Cape of Good Hope 34% Inscribed UOC os oc eee 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock 228 0 0 New Zealand 34% Stock ....... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% stock, 1927-57 ............. 438 2 4 Jamaica 34% Stock, 1919—49 .. 18218 6 Mauritius 4% 1987 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ...... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- . dinaty St0ck = ......-.e:c001. Be OG THE AUTHOR. Nominal Value. 2 28 $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........... 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .........:; 250 0 0 55 Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914 (fully paid) ..........-. 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue.. 80 0 6 Total PENSION FUND. ee Tue list printed below includes all fresh dona- tions and subscriptions (t.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from January 3, 1913. It does not include either donations given prior to January, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913, - #8 Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). . . ~ O16 0 Jan. 9, Gibson, Frank . 0 6 8 Jan. 29, Blaikley, Miss E. L. Oo Ss 6 Jan. 31, Annesley, Miss Maude 010 6 Feb. 6, Rothenstein, Albert . 0 7 & Feb. 10, Bradshaw, Percy V. 010 6 April 8, Caulfield-Stoker, T. . 0 5 0 June 12, Wimperis, Arthur . fg June 16, Ballantyne, J.W. . » 0.5 0 June 16, Thorold, Rupert 1 @ 0 Donations. 1913. : Jan. 1, Risque, W. H. ‘ . 910 8 Jan. 1, Rankin, Mrs. F. M. . . @ 6 06 Jan. 2, Short, Miss L. M. 05 0 Jan, 2, Mackenzie, Miss J. 0 5 0 Jan. 2, Webling, Miss Peggy . O15 0 Jan. 8, Harris, Mrs. E. H. . 0 5 0 Jan. 3, Church, Sir Arthur, K.C.V.O., ete. ~ Fo 2 © Jan. 4, Douglas, James A. . - 8 8 0 Jan. 4, Grant, Lady Sybil . ~* 2.2 8 Jan. 6, Haultain, Arnold é ~ ok 21 6 Jan. 6, Beveridge, Mrs. : <0 8 6 Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan, Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Mar. 7, Keating, Lloyd ; Mar. 7, Tharp, Robert C. Mar. 10, Hall, H. Fielding Mar. 18, Moffatt, Miss Beatrice Mar. 14, Bennett, Arnold 6, Clark, The Rev. Henry 6, Ralli, C. Scaramanija . 6, Lathbury, Miss Eva . 6, Pryce, Richard 7, Gibson, Miss L. S. 10, K. : : 10, Ford, Miss May 12, Greenstreet, W. J. . 14, Anon : : 15, Maude, Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 20,P.H.andM.K. . 22, Smith, Herbert W. . 25, Anon. . . : 27, Vernede, R. E. . 29, Plowman, Miss Mary 81, Jacobs, W. W. 1, Davy, Mrs. E. M. 8, Abraham, J. J. 4, Gibbs, F. L. A. 4, Buckrose, J. E. ‘ 4, Balme, Mrs. Nettleton 6, Machen, Arthur 6, Romane-James, Mrs. 6, Weston, Miss Lydia . 14, Maunsell, A. E. Lloyd 14, O'Higgins, H. J... 15, Stephens, Dr. Ricardo 15, Jones, Miss E. H. 17, Whibley, Charles 22, Probert, W. S. 24, S. F. G. ; 27, XX. Pen Club Mar. 17, Michell, The Right Hon. Sir Lewis, K.C.V.O. Mar. 17, Travers®Miss Rosalind Mar. 26, Anon. . . . April 2, Daniel, E. H. . April 2, Hain, H. M. April 7, Taylor, Miss Susette M. April 7, Harding, Newman . April 9, Strachey, Miss Amabel April 10, Aspinall, Algernon . April 15, Craig, Gordon June 12, Peel, Mrs. 29, Todd, Miss Margaret, M.D. 6, Coleridge, The Hon. Gilbert 14, Saies, Mrs. F. H. (in addi- tion to her subscription) Phe Hev. «3: THE. AUTHOR. . waoroo Ormmoooooo CORRE OF OH ONHFOCOCOCOBRHOHFOGCOCOCOROWO SOmocoooourore n _ _ ht OO HK OH OR ONE NEF OOREKF OF GUM OUR aw Oo: _ i bt fen _ BOF CUNO O, OS Ore or Or Com Om Oa O OH Ore SSSCSTSTOSOHMASOARSCSOHASOAASCSOSCSOSOCOCOCOSCOSCOOCOe SOS ACAaARSS QOooscoescoaoceceo oooce oo = June 13, Barlow, Miss Hilairé : June 13, Kynnersley, E. M. Sneyd. July 5, Williams, Robert : July 11, Broadbent, D. R. . July 22, Cameron, Mrs. Charlotte . Hae ooctk _~ bet eet Ot Oe escooo™ Oi COMMITTEE NOTES. —+-——+-—_ HE last meeting of the Committee of Management before the vacation was held on Monday, July 7, at 1, Central Buildings, Tothill Street, S.W. Following the reading of the minutes, the committee proceeded with the elections. Eigh- teen members were elected, bringing the total for the year up to 207. The committee received, with regret, three resignations. The solicitors then reported the cases to the committee. In regard to two cases tried during the month of June, they reported that in the case of Corelli and Gray, the defendants had appealed, and in the case of Pett Ridge and The English Illustrated, that the defendants had gone into liquidation. Two claims, one against a publisher, and the other for infringe- ment of performing rights, they stated had been satisfactorily settled, the amount of the debt and costs being paid in both cases. They then gave a detailed report concerning the investigation of accounts on behalf. of one of the members, which had become rather a complicated matter, owing to the business of the defendants lying to a great extent in Germany. They hoped to carry the case through without any serious expense to the Society. There were three cases of infringe- ment of copyright. In two of these, which referred to dramatic rights, the amount to be paid had been settled, and the payment by the defendants was to be made by instalments. In the other case, an infringement of literary copyright, the solicitors stated they were awaiting a report from an expert reader, which report had to be carefully considered before any action could be taken. The com- mittee authorised the expenditure of £5 on this report. The solicitors then reported on three small County Court cases that were being carried through. The secretary then drew the committee’s attention to some serious questions which had arisen between authors and agents. It was decided that the secretary should draft an 4 article to appear in T'he Author, setting out in full the facts of the case, which article should be considered at the October meeting. : The secretary reported two cases In which, during the month, he had obtained the chair- man’s leave to act. In the first, the chairman had sanctioned an application for an injunction (if necessary) for a copyright infringement. The secretary was glad to report that the infringement had been acknowledged, and that the matter would be settled without legal action. The second case arose owing to non- delivery of accounts by an American publisher. The committee confirmed the chairman’s decision to place the matter in the hands of the Society’s American lawyers. Another case, relating to copyright infringement in the United States, was laid before the committee, and they agreed that action should be taken if necessary. In a case of arbitration between author and publisher, which had been referred to the Committee of Management, the com- mittee nominated an arbitrator to act in the matter. The question of Canadian copyright was then raised on one or two important points con- nected with colonial copyright which had come before the Society. The secretary was in- structed to communicate with the Board of Trade on the matter, and to report to the next meeting. Owing to the resignation of the present lawyers of the Society in the United States, the secretary submitted the names of others, who were elected subject to a satisfactory report being received. A vacancy on the committee having occurred owing to the regretted illness of Mr. J. W. Comyns Carr, Mr. Charles Garvice was nomi- nated to fill the vacancy, subject to his willing- ness to serve, The secretary then made a full statement concerning the office management and expenses, and was instructed by the com- mittee thereon. The committee’s attention was drawn by the secretary to Mr. H. G. Wells’ lette#in The Author on the subject of model agreements. He was instructed to draft a model form of royalty agreement during the vacation. This form was to be laid before the committee in October. A legal question was next placed before the committee arising out of the mechanical reproduction clauses of the new Copyright Act. After hearing the report of the solicitors, the committee decided that no action could be taken. The committee delegated its powers, t cat ovh a vol ¥¥Ir THE AUTHOR. during the vacation, to the Chairman, to act in case of emergency, and finally passed votes of thanks to Mr. Alfred Sutro for a donation of £5, and to Miss Jeanette Marks, for a dona- tion of $5 to the Society’s Capital Fund. Dramatic SuB-COMMITTEE., Tue Dramatic Sub-Committee held its July meeting on Friday, July 11, at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster. After the reading of the minutes, the seere- tary reported that he had forwarded to Mr. Vedrenne, secretary to the Society of West End Managers, the Managerial Treaty, setting out the alterations made at the meeting between delegates of that society and delegates of the sub-committee. He read to the sub-committee Mr. Vedrenne’s letter acknowledging receipt of the document, and stating that he would show the agreement to his colleagues. The secretary then reported what had passed at a meeting he had attended of the Dramatic Clubs’ Association as delegate of the Society. He was instructed to write to the secretary and express the hope of the sub-committee, that it would be possible for delegates of the association to attend a meeting of the Dramatic Sub-Committee in the autumn. The question of foreign agents was then discussed, and the Dramatie Sub-Committee, subject to the approval of the Committee of Management, elected Mrs. Pogson, the agent of the Society in Germany. Various cases dealing with dramatists’ matters were brought before the sub-committee. The first case referred to a difficulty which had arisen between members of the Society and their agents. The secretary was instructed to write an article for The Author, setting out the points in dispute, but first to submit the article to the members concerned. In another case the sub-committee regretted they were unable to take any action, and fhe secretary was instructed to advise the member accordingly. The last case was a question of appropriation of title. The Chairman was instructed to write a letter on the subject to the member con- cerned pointing out the serious difficulties, legal and otherwise, that might follow from such appropriation. It was finally decided to adjourn the con- sideration of the ‘‘ Draft Dramatic Agreement for a term of years’? to the autumn meeting. THE AUTHOR. 5 ComposErs’ SuB-COMMITTEE. Tue Composers’ Sub-Committee met at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster, S.W., on Saturday July 12. Following the reading of the minutes of the previous meeting, the arrangements for the general meeting of composers in the autumn were discussed. It was decided to call the meeting for Saturday, October 11, at 2 o’clock. The terms of the circular were settled, and the names of certain speakers were suggested and approved. The question of the price to be paid by the mechanical instrument trade on records repro- ducing selections from certain works was fully discussed. The secretary read the opinion of the Society’s solicitors, and the sub-committee came to the same conclusion as the Committee of Management, viz., that it would be im- possible to argue that a symphony, concerto, or opera did not form one musical work, although the different movements or parts could be dealt with independently. The secretary was instructed in sending out stamps to act in accordance with this opinion. The question of foreign agents was brought forward, and the secretary was instructed to write again to the French Society, and to obtain further particulars from the German Society. On a further question as to the assignment of mechanical rights, it was decided to refer the matter to the general meeting in October. — Cases. Durinc the vacation the secretary has dealt with forty-four cases. This keeps the monthly number at about the usual average. Seventeen of the claims put in his hands were claims for money. Of these eleven have ter- minated successfully ; the money has been obtained and forwarded to the authors in- volved. Five have been placed in the hands of the Society’s solicitors, and will be dealt with in due course; one it has been impossible to carry further, as the defendant cannot be found, and one has only recently come to the office. The claims for MSS., of which eleven cases have been dealt with, come next in number. Six, that is over half, have been successful ; the editors have returned the MSS. and the MSS. .have been forwarded to the authors. In one case it was impossible to —~Bax, Clifford . ; find the defendant and the matter had to be dropped. One ease is still unsettled, and three cases have only come into the office on the verge of going to press. Of seven cases of accounts four have ter- minated successfully, two have been placed in the hands of the solicitors, and one has only recently come to hand. There have been six disputes on agreements. Four of these have been settled, and the remaining two are in the hands of the solicitors to be dealt with. In two claims for infringement of copyright the damages claimed have been obtained, and the matters have been concluded. There was one case of unauthorised use of an author’s name, but, as the matter lies in the United States, the issues are still pending. The Society has obtained counsel’s opinion on an important dramatic case dealing with cinematograph rights, and the cases the solicitors have had in hand during the vacation will be reported at length in the November issue. But little court work is carried on in the summer either in the high courts or in the county courts. —_+—<—+ —_ Elections. Ball, W. Valentine - ft; Brick Court, Temple, E.C. The Manor House, Broughton-Gif- ford, Wilts. Royal Societies’ Club, London ; and The Cross Roads, Mt. Kisco, New York, U.S.A. 2, Porchester Gar- dens, W. 7, Old Deer Park Gardens, Rich- mond, S.W. 40, Tregunter Road, W. Chagford House, 209, North End Road, West Ken- sington, W. William 62, Station Colchester. Swan Hill Court, Shrewsbury. Matron, Salford Maternity Train- ing School. Davis, Richard Harding Farquharson, R. Ganthony, Richard Ganz, Wilhelm Harvey, Henry Leslie . Harwood, Road, Henry. Humphreys, Rachel. Macdonald, Sarah Miss 6 THE AUTHOR. Makgill, Sir George, Bt. (‘‘ Victor Waite” and ‘“‘ Francis Grant ’’). Maude, Graham K. Yaxley Hall, Suffolk. Eye, 56, Stanwick Man- sions, W. Kensing- ton, W. Forest Hill, West Kirby, Cheshire. “Invergordon,” Warrior Gardens, St. Leonards-on- Menzies, Mrs. M. I. : Moodie, Walter Wolston Sea. Richardson, Leslie . ‘Ker Avelek,’’ Con- carneau, Finis- tere, France. 15, Sloane Gardens, S.W. 57, Gwendwr Road, W. = Kensington, W. Whinyates, Miss Amy . Whitley, William T. ——_———_1+—— > —__——_- BOOKS PUBLISHED BY MEMBERS. — While every effort is made by the compilers to keep this list as accurate and exhaustive as pomille, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCH AXOLOGY. Tue XIrn Dynasty Tremere at Derr EL-BaHart. Part III. By E. Navmie and H. R. Harr. (32nd Memoir of the Egypt Exploration Fund.) 124 x 10. 36 pp. xxxvi. Plates. Kegan Paul. Inscriptions From Swiss Cuaxets. A collection of Inscriptions found outside and inside Swiss Chalets, Storehouses and Sheds. By W. LarprEn. 8} x 5}. 208 pp. Milford. 15s. n. IntustRATIVE Descriptive Account oF THE MUSEUM OF ANDALUSIAN PorreRy AND Lacr. Antique and Modern, with notes on Pre-Roman Seville and Lost City of Tharsis. By B. and M. ELLEN WuisHaw. 8} x 53. 43 pp. Smith, Elder. Is. ART. CHuronoLocicaL List, with Notes oF PAINTINGS AND DRAWINGS FROM DANTE BY DANTE GABRIEL ROSSETTI. By Pacet ToynBer. 12} x 84. Pp. 135—166. Turin Fratelli Bocca. BIOGRAPHY. Tue Lire AND WRITINGS oF Puitip, DUKE oF WHARTON. By Lewis MELVILLE. 8} x 5}. xx. + 336 pp. Lane. 168. n. Tue Lire or Jonn Goopwin. By Henry W. Cuark, D.D. 7} x 43. 68 pp. Congregational Union of England and Wales. 6d. n. IncipENTS IN THE LirE or MADAME BLAVATSKY. piled and edited by A. P. Srynett. The Theosophical Publishing Co. Com- 74 x 5. 256 pp. 2s. 6d. . Lire or Kircnener. By Frepk. Wm. Hacxwoopn. Author of ‘‘ William Hone: His Life and Times,” ete. Anew pocket volume of Collins’ “‘ Wide World” Library. William Collins, Sons, & Co., Ltd. 7d. n. VINCENT DE Pav, PRrest AnD PHILANTHROPIST, 1576— 1660. By E. W.Sanpers. 9 x 54. 419 pp. Heath, Cranton & Ouseley. 16s. n. A Court PaInTER AND His CrrcLe: Francois BoucHER (1703—1770). By Mrs. BEarng. 9 x 53. 388 pp. Fisher Unwin. 15s. n. My Days with THE Farries. By Mrs. Ropotpn STawE LL. 8} x 6. 169 pp. Hodder & Stoughton. 6s. n. BOOKS FOR THE YOUNG. Tue Cracsmen. A Story of Smuggling Days. By Dl _ Cooxr. 84 x 53. 316 pp. Cassell. 8. 6d. Piays CoMPILED By Girt GuipEs. Suitable for Perform- ance by Girl Guides. Edited by Miss A. BapEN PowrELtt. 5} x 4}. 137 pp. Brown. 6d. n. Kine or THE Arr. By Herpert Strange. 272 pp. Jack Harpy. By Herperr Strang. 232 pp. THE Lost Istanp. By Capt. Girson. 288 pp. Lorp or THE SEAs. By Herpert Stranc. 238 pp. (The Boys’ New Sevenpenny Library.) 62 x 44. Frowde & Hodder & Stoughton. 7d. n. each. : LirtLe Wars. A Game for Boys. By H. G. WELLS. 9 x 62. 111 pp. F. Palmer. DIVINITY. Tue FourroLp GosreL. Section 1. Introduction. By Epwix A. Assotr. Cambridge University Press. 2s. 6d. n. 2s. 6d. n. DRAMA. Apvent. A Play in Five Acts. By Aveust StRinDBERG. Translated by CraupE Fretp. 7 x 4}. 110 pp. Holden & Hardingham. ls. n. , Tue Emancipation. A Playin Three Acts. By LEoNaRD Inkster. 7} X 4}. xii. + 95 pp. . Sidgwick & Jack- son. ls. 6d. n. Tue Divine Girt. A Play in Three Acts. By H. A. Jones. 74x 5. 178 pp. Duckworth. 3s. 6d. n. Tur Harpy Kryapom. A Comedy in Three Acts, written in blank verse and prose. By ArruuR MaQvuaRIE. 74 x 54. 150 pp. Bickers. 5s. n. JosEPH AND His BReTHREN. By Lovis N. Parker. 74 x 5. 154 pp. Lane. 2s. 6d. n. Eicut o’CLtock AND OTHER STUDIES. Ervine. 7} X 5. EDUCATIONAL, Tue Tracepy or Epvucation. By E. G. A. Hormzs. 74 x 5. 100 pp. Constable. 2s. 6d. n. By Sr. Joun G. 128 pp. Maunsell. 2s. 6d. n. ENGINEERING. FurTHER PROBLEMS IN THE THEORY AND DESIGN OF Srrucrures. An advanced text-book for the use of Students, Draughtsmen and Engineers engaged in con- structional work. By Ewart §. AnpRrews, Lecturer in Theory and Design of Structures at the Goldsmiths’ College, New Cross. 8} x 54. viii. + 236 pp. Chap- man. 7s. 6d. n. Irniagation Works. By E. 8. Beruasts. M.Inst.C.E. 8% x 54. vii. + 195 pp. Spon. FICTION. Jenny: A Novel. By Roy Horniman. 7} x 5. 335 pp. Hurst & Blackett. 6s. Swrrting Waters. By Max RitrEenBerc. 312 pp. Methuen. 6s. 2 : | % 4 : : 3 a ao 2 | THE AUTHOR. 7 Tue Hour-Guass Mystery. 320 pp. Ward, Lock. 6s. CLeopaTRA. By H. Riper Hacearp. 259 pp. Havoc. By E. Pumurms Opprennem. 258 pp. 6} x 44. Hodder & Stoughton. 7d. n. each. THE Cockatoo. A Novel of Public School Life. By Max Rirrenserc. 7} 5. 309 pp. Sidgwick & Jack- son. 5s. A Marssar, Haut. By Joun MaAsEriep. 189 pp. Elkin Mathews. 3s. 6d. n. THE Sty or Jasper Stanpisn. By “Rrra.” 318 pp. Long. 7d. n. each. Furze THE Cruret. By JoHN TREVENA. 391 pp. (Popular Edition.) Alston Rivers. THE GARDEN or Mystery. By RicHarp 316 pp. Long. 7d. n. THe Rep Hovsz. By E. Nessir. Methuen. 7d. n. THe Patapry. As beheld by a Woman of Temperament. By H. Annestey Vacuett. 64x 4. 474 pp. Nelson. 1a. 1. A Son of THE Peopite. 340 pp. Tau Tancuep SKEIN. 332 pp. By Baroness Orczy. 7} x 4}. Hodder. Is. n. each. THe Patchwork Papers. By E. Tempte Tuurston. (New and Cheaper Edition.) 7} x 43. 268 pp. Chap- man. 2s. n. By Srroke or Sworp. By A. Batrovr. 319 pp. (Cheap Reprint.) Methuen. 7d. n. A Bep or Roses. By W.L. Grorer. 7 x 43. Palmer. ls. n. THE OLD Man IN THE CorNER. 340 pp. By THE Gops BeLoveD. 310 pp. 7} x 44. By Baronzss Orczy. (Cheap Reprint.) Hodder. 1s. n. FEviciry iy France. 377 pp. Ils. n. THE Wipow’s Neckiacr. By Ernust Davies. 315 pp. Duckworth. 6s. Tue Por or Bast. By BrERNarD Capss. Constable. 6s. Lity Macic. By Mary L. Penperep. Mills & Boon. 6s. Raven, V.C. By Coratre Stanton and Heatu Hosken. 7s x 5. 400 pp. Nash. 6s. THe Vieer or Minan. A Romance of Lombardy. By Margorie BowEn. (Cheap Reprint.) 7k X 5. 348 pp. Alston Rivers. Is. n. PeTer, A Parasitre. By E. Marra ALBANESI. Reprint.) 6} x 4}. 224 pp. 7d.n. Tue Mystery or HetmMstey Grane. By Aice and CraupE Askew. 7} x 5. 254 pp. Pearson. ls. n. Tue CounTrY oF THE BLIND AND OTHER STORIES. By H. G. Wxis. 6} x 4. 574 pp. (Cheap Reprint.) Nelson. 7d. n. THE Woman Tuov Gavest Mz. O'Neill. By Haun Carne. mann. 6s, Evporapo. A Story of the Scarlet Pimpernel. By Baroness Onczy. 73 x 5. 374 pp. Hodder & Stoughton. 6s. Tue Stricrty Trarnep Motuer. By F. F. Monrresor. 73 x 5. 221 pp. Murray. 3s. 6d. Tue CLup oF QuEER TRADES. By G. K. Cuesrrerron. 192 pp. Hodder & Stoughton. Is. n. THE Way oF Ampition. By Ropert Hicuens. 7% x 54. 476 pp. Methuen. 6s. Tue Reminaton Sentence. By W. Pzrr Ruivaz. 7% x 5. 300 pp. Methuen. 6s. Tue Miscuter-Maxrer. By E. Pamurs OppenneErm. 7% x 5. 332 pp. Hodder & Stoughton. 6s. Tue SHapow or Evi. By Cartron Dawe. TE x 5. 312 pp. Werner Laurie. 6s. By Heapon Hm. 7? x 5. 7% x 54. 64 x 4. 74 X 5. ls. n. Marsa. 64 x 4}. 212 pp. 64 x 4. 384 pp. 75 X 43. 320 pp. 7k X 5. 372 pp. (Cheap Being a Story of Mary 73 x 5. 586 pp. Heine- By Constance ExizaBeru Mavp.. THE Grey Countess. By Tuzo Dovanas (Mrs. H. D. Everett). 73 x 5. 311 pp. Cassell. 6s. Tue Netuer Mitztstone. By G. Lrrruestons. 380 pp. Ward, Lock. 6s. Gov’s Pray. By Atice and CLaupEe AsKEw. 31l pp. Fisher Unwin. 6s. A Mrxep Marriace. By Mrs. Frank Penny. 263 pp. (Cheap Reprint.) Methuen. 7d. n. Tue Brass Borrte. By F. Anstey. 256 pp. Reprint.) Hodder & Stoughton. 7d. n. PrerRE AND His Propte. By Smr Gmsert ParKeEr. = pp. (Cheap Reprint.) Hodder & Stoughton. 7d. n. Hypocrites AND SINNERS. By Vioter TWrEbDALe. 63 x 4. 318 pp. (Cheap Reprint.) John Long. 7d. n. A Woman Perrectep. By R. Marsu. 318 pp. 63x 4. (Cheap Reprint.) John Long. 7d. n. THe Fourrow on tHE Hutz. By Ftorence Bore. 83 x 53. 128 pp. (The “Leisure Hour” Library.) OLIVER SaAnpys. Cutcanzn. By 74k x 42. (Cheap Reprint.) John Long. An AvERAGE Man. By R. H. Benson. 380 pp. Hutchinson. 6s. THane BRANDON. By Francis BANCROFT. it xX 43. 326 pp. Hutchinson. 6s. THE SWASHBUCKLER AND OTHER TALES. By Mrs. Baim Reynoups. 8 x 5. 343 pp. Mills & Boon. 6s. Mrs. Murpyy. By Barry Pain. Werner Laurie. Is. n. THe ParaDIsE or Foots. Everett & Co. 6s. THE Man Wuo Par. By Rearyatp C. Borsrer and Mason Ausrey O’Brign, C.I.E. 74 x 43. 332 pp. Alston Rivers. 6s. THortEy Weir. By E. F. Benson. 73 x 5}. 336 pp. Smith, Elder. 6s. BaRBARA OF THE THORN. 314 pp. Chatto & Windus. 6s. Brtow Srams. By Mrs. Atrrep Smewicx. 72 x 6. 304 pp. Methuen. 6s. THE GOVERNOR or Encuanp. By Margorrz Bowen. 72 x 5. 376 pp. Methuen. 6s. Tipe Marks. By MarcarutT WESTRUP. 7% x 5. 380 pp. Methuen. 6s. THe CHars or Harton. A Tale of Frolic, Sport and Mystery at Public School, By Benrypa Biiypers. Edited by Desmonp Coxz. 7} x 43. 159 pp. Chap- man & Hall. 2s. 6d. n. Winns or Gop. By Hammron Drummonp. 321 pp. Stanley Paul. 6s. One WonpeErFuL Nicut. By Lovis Tracy. 74 X 5. 321 pp. Ward, Lock. 6s. THRovcH Wat AND THrovaH Wor. By Err Apz- LAIDE Rowxanps. 74 x 5. 317 pp. Ward, Lock. 6s. Hieas anp Porrer. By Brarp FRANCIS. 74 xX 5. 296 pp. Drane. 3s. 6d. Tse Crry or Brautirut Nonsense. By E. Tempe Tuurston. (New and Cheaper Edition.) 6} x 4}. 360 pp. Chapman & Hall. ls. A Prizstess or Humanity. By Mrs. Stanuey WRENCH. 7% X 43. 319 pp. (Popular Edition.) John Long. ls. n. Links in tue Cuarn. By Heapon Hu. John Long. 7d. n. Tur Ossornes. By E. F. Benson. 6} x 4}. 378 pp. Nelson. 7d, n. ALLAN QuaTEeRMAIN. By H. Riper Haccarp. Hodder & Stoughton. 7d. n. ASERVANT or THE Pustic. By ANTHONY Hops. Hodder & Stoughton. 7d. n. 72 x 5. 7% X 5. 64 x 44. (Cheap 287 pp. 7k xX 43. 74 x 43. 114 pp. By Derrek Vane. 320 pp. 7} x 5. 72 Xx 5. 256 pp. 320 pp. 317 pp. 8 THER AUTHOR. ASENATH OF THE Forp. By “ Riva.” 83 x 53. Stanley Paul. 6d. 196 pp. HISTORY. Sures aND Ways or OTHER Days. By E. KeBLEe CHATTER- TON, 9% xX 7. 308 pp. Sidgwick & Jackson. 16s. n. JorRQUEMADA AND THE SpanisH_ INQuIsiTION. By R. SaBATINI. 9 X 53. 404 pp. Stanley Paul. 16s, n. LITERARY. Tae Story or THE ALPHABET. By E. Ciopp. Revised Edition. 63 x 4}. 234 pp. (Useful Knowledge Series.) Hodder & Stoughton. ls. n. Unxiversity and HisroricaL AppREssEs. By JAMES Bryce. 8 x 54. 433 pp. Macmillan. 8s. 6d. n. MATHEMATICS. PROCEEDINGS OF THE FrerH INTERNATIONAL CONGRESS OF Maruematicrans (Cambridge, August 22, 28, 1912). Edited by E. W. Hopson and A. E. H. Love. Two vols. 104 x 7. 500 x 657 pp. Cambridge University Press. 30s. n. MEDICAL. Tur Huarruy Marrracse. A Medical and Psychological Guide for Wives. By G. T. Wrencu, M.D., B.S. 74 x 5. Tur Nervous AND CHEMICAL ReauLaTions oF Mura- BoLIsM. Lectures by D. Norn Paton, M.D., B.Sc., Professor of Physiology in the University of Glasgow. 9 x 54. 217 pp. Macmillan. 6s. n. NATURAL HISTORY. Tue Birpsor Avstratia. By G.M.Maruews. Vol. III. Part Ill. 144 x 10}. Pp. 205—300. Witherby. NAVAL. Turn Krye’s Sutres. Together with the important His- torical Episodes connected with the successive ships of the same name from remote times, and a list of names and services of some ancient war vessels. By H. 8. Lzoxy. In six volumes. Vol. I. 11} x 8}. 327 pp. H. Muirhead. £3 n. each volume. POETRY. My Lapy’s Boox. By Greratp Goutp, 7} x 5. 54 pp. Sidgwick. 2s. 6d. n. Sart Water Batyaps. By JoHN MasEFIELD. 112 pp. 73 x 5}. Elkin, Matthews. 3s. 6d. n. Rasmie’s Buppre: Porms iN THE SHETLANDIC. By J. J. HAtpaNE Buresss. 74 x 5. 129 pp. Manson. A SELECTION FRoM THE Love PorTry or WILLIAM Burter Years. 8} x 6. 30 pp. The Cuala Press, 2 Dundrum, Co. Dublin. To subscribers, 7s. 6d. Maytime Sones. By ANNIE MATHESON. Max Goschen. 2s. 6d. n. Prers THE Plowman. An English Poem of the Fourteenth Century. Translated into Modern Prose, with an Intro- duction, by Kare M. Warren, Lecturer in English Language and Literature at Westfield College (University of London). Arnold. 2s. 6d. SOCIOLOGY. A PLEA FoR THE YOUNGER GENERATION. Hamirton. 7? X 5. 2s. 6d. n. Woman, Marrtace AND MotHernoop. By ELiIzaBETH 8 x 5h. 67 pp. By Cosmo 63 pp. Chatto & Windus. Stoan CHESSER. 8} x 5}. 287 pp. Cassell. 6s. n. SPORT. Women tn THE Huntina Frevp. By Mrs. Sruart Menzizs. 734 x 5. 269 pp. Vinton. 7s. 6d. n. THEOLOGY. Hymns," Lirantes AND PRAYERS FOR A VILLAGE. By J. Hunrutey Sxrre. 63 x 4}. 85 pp. Mowbray. Tene \ Tur Porr at Home. By Doveras StapEN. 7} X 43. 222 pp. Hurst & Blackett. Is. n. Lessons ror THE CuuRcH’s CHILDREN. Book I. By Tne Rey. J. Hastocn Potter and Tue Rev. A. E. W. Suearp. 74 x 5. 262 pp: Skeffington, 1s. 6d, n. TOPOGRAPHY. Tur New Foresters. By Witttam Carne. 8} x 5}? 248 pp. Nisbet. 5s. n. Quiet Roaps anp Suenpy Vittaces. By ALLen FEa. 9 x 53. 292 pp. Nash. 7s. 6d. n. TRAVEL, A Tourn Touramr. By Raymonp NEEDHAM. Second Edition. 7} x 4}. 300 pp. 5s. n. From a PunsavuB PomrGranate Grove. By C. C. Dyson. 9 x 54. 289pp. Mills& Boon. 10s. 6d. n. Tue LanD oF VEILED WOMEN. Algeria, Tunisia and Morocco. 7k x 5. 288 pp. Cassell. Some Wanderings in By J. Foster Fraser. ls. 6d. n. —_—_—_—_——_+——_+-_—_—_—__ LITERARY, DRAMATIC, AND MUSICAL NOTES. —+— + HE novel-publishing season is now in full swing. Mr. Maurice Hewlett’s ‘“‘Bendish: a Study in Prodigality,” appeared on September 19, through Messrs. Macmillan & Co. Mr. H. G. Wells’s “ The Passionate Friends” was published by the same house. Mr. Hall Caine, with his ‘“‘ Woman Thou Gavest Me” (Heinemann), has had _ the distinction of being the first author this season to come into conflict with the Circulating Libraries’ Association, The matter is referred to in another column. Sir Arthur Conan Doyle’s “‘ The Poison Belt’ is published by Messrs. Hodder & Stoughton. Mr. Robert Hichens’s new novel, ‘‘ The Way of Ambition,” has been published by Messrs. Methuen & Co. The same firm has produced Mr, Arnold Bennett’s “‘ The Regent” (re-introducing the reader to “* The Card ’’); Sir Gilbert Parker’s “The Judgment House”’; Mr. Pett Ridge’s “The Remington Sentence’; Miss Marjorie Bowen’s ‘‘ The Governor of England”; Mrs. Belloc Lowndes’s ‘‘The Lodger’’; Miss Dorothea Conyers’s ‘‘ Sandy Married”; Mr. Putnam Weale’s ‘“‘ Romance of a Few Days ”’ ; and Mrs. A. Sidgwick’s “‘ Below Stairs.” Mr. W. B. Maxwell has brought out “* The Devil’s Garden,” through Messrs. Hutchinson | HAR ENO SRS THE AUTHOR. 9 & Co. This firm publishes also Mrs. Wilfrid Ward’s ‘ Horace Blake.” From the same publishers come “ The Power Behind,” by Miss M. P. Willcocks; “An Average Man,” by Mr. R. H. Benson; “ Sandy’s Love Affair,” by Mr. S. R. Crockett; and * Thane Brandon,” by Mr. F. Bancroft. Messrs. Chatto & Windus publish ‘“ The Door that has no Key,” by Mr. Cosmo Hamilton; ‘Love in the Hills,” by Mrs. F. E. Penny; ‘ Barbara of the Thorn,” by Miss Netta Syrett ; “‘ Prodigals and Sons,” by Mr. John Ayscough; and “ The Price Paid,” by Miss Effie Adelaide Rowlands. Mrs. Florence L. Barclay’s “The Broken Halo,”” was published by Messrs. G. P. Put- nam’s Sons, on September 16. “Anne of the Marshlands,’’ by the Hon. Mrs. Julian Byng, and “ Daffodil’s Love Affairs,” by Mrs. L. M. Stacpoole Kenny, are published by Messrs. Holden & Hardingham. Major Aubrey O’Brien, C.I.E., and Mr. Reginald Bolster, authors of ‘Cupid and Cartridges,” have collaborated again in a novel entitled “‘ The Man Who Paid” (Messrs. Alston Rivers). Miss Florence Bone’s autumn novels are, “The Valley of Delight,” and “‘ A Burden of Roses.” Her new serial, ‘‘ The Golden String,”’ commences in the October number of The Sunday at Home. Mr. Frankfort Moore has had two novels published since our last issue—‘‘ The Narrow Escape of Lady Hardwell ” (Constable) ; and “The Rescue of Martha ” (Hutchinson). Mrs. L. Allen Harker’s new novel is ‘‘ The Ffolliots of Redmarley.”” Mr. John Murray is the publisher of this, and also of ‘“ The Strictly Trained Mother,” by Miss F. F. Montresor. “ Myles Calthorpe, I.D.B.,” by Mr. F. E. Mills Young, is announced by The Bodley Head as already in its seventh edition. The Baroness Orezy’s “‘ Eldorado,” another story of the Scarlet Pimpernel, is published by Messrs. Hodder & Stoughton. Miss Edith C. Kenyon’s historical tale, “ Christine the Huguenot,” is being published by the Religious Tract Society. The same author’s “Ashes of Honour,” and ‘“ The Mystery of Blackstone Mine,” have been brought out by Messrs. Holden & Hardingham in sixpenny form. Messrs, Greening & Co. have brought out a sixpenny edition of Miss May Wynne’s “ Henry of Navarre,”’ the novel adapted from the play by Mr. William Devereux. “The Old Time before Them,” is Mr. Eden Phillpott’s title for a new collection of West Country stories, which Mr. John Murray publishes. Miss Edith L. Blaikley’s new novel, ‘ Alone in a Crowd,” will appear early this autumn through Messrs. Heath, Cranton & Ouseley, who published the same author’s “ Dorothy Eayle ” last October. Messrs. Stanley Paul & Co. are the pub- lishers of ‘‘ The Watered Garden,” by Mrs. Stepney Rawson; ‘ Winds of God,” by Mr. Hamilton Drummond; ‘ The Eyes of Alicia,”’ by Mr. Charles E. Pearce; ‘‘ Youth will be Served,” by Miss Dolf Wyllarde: “The Cloak of St. Martin,” by Miss Armine Grace (sister of Miss Dolf Wyllarde); ‘The Adventures of Mortimer Dixon,” by Mrs. Alicia Ramsey ; and ‘“‘ The Painted Lady,” by Miss Arabella Kenealy. Miss Constance Serjeant’s ‘‘ Where the Saints are Gone’ has been republished by Mr. W. Nicholson. “The Sentence of the Judge,” by Miss Hilaré Barlow, is published by Messrs. Lyn- wood & Co. E. M. Channon (Mrs, Francis Channon) calls her new novel “Miss King’s Profession.” Messrs. Mills & Boon are the publishers of this, and of Mrs. H. H. Penrose’s ‘t The Brat.” “The Call of the Past,” by Fflorens Roch, is published by Messrs. Sands & Co. “The Pot of Basil,” by Mr. Bernard Capes, is published by Messrs. Constable & Co., as also are “No Place Like Home,” by Mr. John Trevena; and ‘‘ The Judgment of the Sword ” (previously announced as “‘ Retribution *), by Mrs. Maud Diver. Shilling editions of Mr. Clive Holland’s stories, “My Japanese Wife,” ‘‘ The Spell of Isis,” and ‘‘ Marcelle of the Latin Quarter,”’ are issued by Messrs. Lynwood. Mr. Roy Horniman’s “‘ Jenny ”’ is published by Messrs. Hurst & Blackett. Miss Mary B. Sandford’s story for young people, *‘ The Young Gordons in Canada,” was published last month by the Religious Tract Society. Miss Violet A. Simpson’s new novel, ‘‘ Flower of the Golden Heart,” will be published by Messrs. Chapman & Hall this autumn. This story deals with life and manners in London immediately preceding the Great Fire of 1666. We regret an error in the chronicling of Miss Marriott Hodgkins’ tragedy, “ Cyrus,”’ in the July issue of the Books published by Members, which was erroneously described under the title “‘ Cyprus.” Messrs. Macmillan & Co. are about to 10 publish the second of Mr. Douglas Ainslie’s translations of Senatore Benedetto Croce’s system of the Philosophy of the Spirit. This volume will deal with the will in its various manifestations, and notably with its two forms of ethic and economic, showing how the former depends upon and is developed from the latter. The chief title of this work is ‘“‘ Philosophy of the Practical.’’ Mr. Ainslie’s next translation will be that of Croce’s profound and creative critique of Hegel, and will be entitled, ‘‘ What is Living and what is Dead of the Philosophy of Hegel.” The third and last volume of the Crocian system will be the ‘‘ Logic,” to be issued next year. The introduction to the ‘‘ Philosophy of the Practical’ appears in the October number of the North American Review. Mr. Douglas Ainslie’s last volume of poems, ‘“‘ Mirage,” has now been transferred to Messrs. Constable & Co., who have also published his “Moments,” “John of Damascus,” and ‘‘ Song of the Stewarts.” Mr. Havelock Ellis writes the introduction to Miss Ellen Key’s life of Rabel Varnhagen, who has been described as the greatest woman genius that Germany has produced (Putnam, 6s. net). Mr. Lewis Melville’s new biography is ‘“* Philip, Duke of Wharton ”’ (John Lane, 16s.). Messrs. Hutchinson & Co. are on the point of producing Mr. Philip W. Sergeant’s ‘* Mrs. Jordan, Child of Nature,” a new attempt to pierce the mystery surrounding the unfortu- nate actress. There will be twenty-one illustrations. Mrs. Edith Cuthell’s ‘A Vagabond Courtier ’’—a biography in two volumes of the Baron von Polnitz, of whom a rather acid portrait appears in Thackeray’s ‘‘ Virginians ”’ —is announced by Messrs. Stanley Paul & Co. Mr. Yoshio Markino, the Japanese artist, is producing through Messrs. Chatto & Windus ‘““ My Recollections and Reflections,’’ with nine illustrations in colour and several in mono- chrome. Messrs. Chatto & Windus’s autumn cata- logue includes also ‘‘ Browning’s Heroines,” by Miss E. C. Mayne (6s. net); “* Under the Greenwood Tree,” an edition, illustrated by Mr. Keith Henderson, of Mr. Thomas Hardy’s novel (6s. net); and ‘‘ A Plea for the Younger Generation,’’ by Mr. Cosmo Hamilton (2s. 6d. net). f *“ Quiet Roads and Sleepy Villages,’’ pub- lished recently by Eveleigh Nash, is another of Mr. Allan Fea’s touring rambles in search of the picturesque. Like last year’s volume THE AUTHOR. several counties are included in these rambles. Again Barnet is taken as a starting-point, but this time we journey across Herts into Bedfordshire, and thence to south Northants, through Oxfordshire and eastern Gloucester- shire to northern Wilts, and thence by Berks again to the narrow “ waist’ of Oxon. As before, there are several views of old-world villages. Messrs. Chapman & Hall have published a new book by Mr. C. E. Gouldsbury, author of “Life in the Indian Police,” ete.. It is entitled “ Tiger Land: or Reminiscences of Forty Years’ Sport and Adventure in Bengal.” There are twenty-four illustrations, and an introductory chapter deals with big game shooting in India. Mr. Archibald B. Spens and has lately been travelling across India, and writing an account of his trip. This is to be published by Messrs. Stanley Paul & Co., under the title “‘ A Winter in India.” The book contains 100 photographs by the author. A book is to be published this month by Messrs. Stanley Paul & Co., under the title ‘“More about Collecting,” by Sir James Yoxall, M.P., the author of ‘“‘ The A. B. C. about Collecting.”” His new work, which is very thoroughly illustrated, gives many practical hints about books, glass, pictures, porcelain, lace, clocks, and furniture, among other subjects, and is written ‘ for the help of amateurs smitten with the passion for picking up things which are odd, pretty or rare.”’ ‘Ships and Ways of Other Days,” is the name of Mr. E. Keble Chatterton’s new book (Sidgwick, 16s. net). Mr. Wynford Dewhurst has _ written “Wanted: A Ministry of the Fine Arts,” attacking the national attitude toward art (Rees, 1s. net). Miss Jeanette Marks’s “‘ Vacation Camping for Girls” is a practical manual issued by Messrs. Appleton of New York at $1 net. The Rev. F. W. Coulter has republished in pamphlet form his articles on ‘“‘Some Causes of Modern Unbelief,’’ which appeared serially in the Lancaster Guardian. ‘The price of the pamphlet is 1d. Mr. S. M. Franklin and Miss Alice Henry, both Australian members of the Society of Authors, are the joint editors of Life and Labor, which is published in Chicago by the National Women’s Trade Union League of America. Mr. and Mrs. Bernhard Whishaw, authors of ‘** Arabic Spain,” have published through Messrs. Smith, Elder & Co., at the price of Is., an illustrated descriptive account of the 7 THE AUTHOR. 11 Museum of Andalusian Pottery and Lace at Seville. Mr. Francis Gribble’s ‘‘ Romance of the Oxford Colleges,’ with twelve illustrations, is published by Messrs. Mills & Boon, 2s. 6d. net. Mr. George Grossmith’s “‘ Gaiety and George Grossmith: The Random Reflections of an Apostle of Pleasure,’’ will be issued this month by Messrs. Stanley Paul. A new edition has appeared of Mr. J. J. Haldane Burgess’s “‘ Rasmie’s Biiddie,’’ poems in the Shetlandic dialect (T. & J. Manson, Lerwick, 2s. 6d. net). Dr. Elizabeth Sloan Chesser, M.B., has produced a work entitled ‘‘ Woman, Marriage, and Motherhood ’’—dealing with her subject from all points of view, sexual, hygienic, legal, political, social, economic, industrial. The price is 6s. net. “*Goldwin Smith: A Study,” is the name of a biographical sketch of the late Professor by Mr. Arnold Haultain. The publisher will be Mr. T. Werner Laurie. Captain J. Stuart has published, through Messrs. Macmillan, ‘‘ A History of the Zulu . Rebellion, 1906, with maps, and illustrations. The price is 15s. Messrs. J. D. Symon and S. L. Bensusan together are the authors of ‘‘ The Renaissance and its Makers” (T. C. & E. C. Jack, 10s. 6d. net). “Women in the Hunting Field,” by Mrs. Stuart Menzies, is published by Messrs. Vinton & Co. at two prices, 7s. 6d. net, cloth ; and 10s. 6d., leather. The volume of *‘ Reminiscent Gossip of Men and Matters,’’ announced by Messrs. Chapman & Hall, is by Mr. James Baker, who for over forty years has travelled widely, coming in contact with many famous men and women. Mr. E. M. Beardsley is the author of ‘‘ Rome versus Jesus ’’—described as an indictment of the Papacy from a new point of view (Andrew Melrose, 6s. net). _Mr. Wilfrid C. Thorley has just published, through Messrs. Macmillan, an ‘English Reader for Foreign Students.” It is an attempt to give, by means of selections from about fifty of the best writers of the nineteenth century, a microcosm of Anglo-Saxon life and thought during that period. “The Rainbow Book,’ by Mrs. M. H. Spielmann, was issued in a third edition last month. Although published at a cheaper price, this collection of stories for children retains its original format, and has all the illustrations (by Mr. Hugh Thomson, Mr. Arthur Rackham, and others) that distin- guished the first edition, issued in 1909. The plans, new issue forms a companion volume to “ Littledom Castle,’’ of which a third edition appeared last year, when it was placed upon the prize-list of the London County Council. Mrs. Charlotte Cameron, author and traveller, has returned recently from a 26,000-mile trip. Not only has she circumnayigated the entire East and West Coast of #Africa, but traversed that continent as well with the exception of a few hundred miles. The story of her adven- tures in Logoland, Cameroons, Liberia, French Congo, as well as in our own colonies, entitled ““A Woman’s Winter in Africa,” will appear this autumn. Mr. E. A. Reynolds-Ball edits ‘“‘ Bradshaw’s Through Routes to the Chief Cities, Bathing and Health Resorts of the World” (Henry Blacklock & Co., 6s. net). Mr. S. Leonard Bastin has _ published, through Messrs. Cassell, a book upon “‘ Flower- less Plants.” Mr. John Masefield’s new long poem, “‘ The River,”’ will appear in next month’s issue of the English Review. Mr. William Watson’s ‘‘ The Muse in Exile ”’ is issued by Mr. H. Jenkins at 3s. 6d. net. ‘**In Arcady, and Other Poems”’ is the title of a volume by Mr. W. J. Cameron (Erskine Macdonald, 3s. 6d. net). Mr. H. Cooper Pugh calls his volume of verse ““Les Chausans d’un Ingénu” (J. & J. Bennett). In the September number of the West- minster Review appeared a new poem by Mr. Alfred Smythe, ‘Our Royal Betrothal,”’ commemorating the announcement of the marriage of Prince Arthur of Connaught and the Princess Alexandra. Mr. K. C. Spiers has had a book ‘‘ The Soul of a Doll, and Other Poems” published by Messrs. Chapman & Hall, at 2s. 6d. net. :: DrRamMatTIc. On September 1, at the St. James’s Theatre, there were seen for the first time, Mr. Bernard Shaw’s ‘“‘ Androcles andthe Lion,”’ and ‘‘ The Harlequinade,” in which Mr. Dion Clayton Calthrop collaborated with Mr. Granville Barker. On September 2 Mr. Louis Parker’s “‘ Joseph and His Brethren”’ was staged by Sir Herbert Tree at His Majesty’s Theatre. On September 3 ‘‘ Love and Laughter,” a comic opera by Messrs. Frederick Fenn and Arthur Wimperis, with music by Oscar Strauss, began a season at the Lyric Theatre. September 4 was the first night, at the Duk of York’s, of ‘‘ The Will”? and ‘* The Adored One,” both by Mr. J. M. Barrie. 12 THE AUTHOR. At Drury Lane, on September 11, Messrs. Cecil Raleigh and Henry Hamilton produced a new melodrama entitled ‘‘ Sealed Orders.” “The Fugitive,” by Mr. John Galsworthy, made its appearance in the matinee bill at the Court Theatre on September 15, under the management of Messrs. Greig & Rosmer. Mr. Henry Arthur Jones’s new play, “ Mary Goes First,” was put on at the Playhouse on September 18, with Miss Marie Tempest as the heroine. On the evening of September 22 Miss Horniman opened a short season at the Court Theatre with Mr. Stanley Houghton’s “‘ Hindle Wakes.” Mr. Forbes Dawson has been spending a fortnight in New York, in order to arrange for the production of a play there. In the July number of The Author Mrs. Florence Eaton was described as the author of ‘‘ The Triumph.” She should have been called part-author, Mr. William Crossing having collaborated with her in that play. Mrs. Irene Osgood’s drama, ‘“‘ Une Aventure du Capitaine Lebrun,” was published in Paris by the Comedia—the last two pieces in that paper having been by Hauptmann and Balzac respectively. Mr. Anthony P. Wharton’s idyll in three acts, “‘ At the Barn” (produced for the first time at the Prince of Wales’s Theatre on August 11, 1912), has appeared in book form, published by Messrs. Joseph Williams at 2s. 6d. net. Under the title of ‘‘ A Living Theatre,” a 1s. booklet has been published in Florence to set forth Mr. Gordon Craig’s aims as prosecuted at his school and in his journal. M. Lugné-Poe’s Théatre Subventionné de 1CEuvre, Paris, will re-open in November with M. Maurice Bourgeois’s sole authorised French translation of the late J. M. Synge’s “ The Playboy of the Western World.’’ The French title will be ‘“‘ Le Baladin du Monde Occiden- tal.” M. Bourgeois’s ‘‘ John Millington Synge and the Irish Theatre’ is being published immediately by Messrs. Constable & Co. $$$. PARIS NOTES. se ARELY has any woman writer had the world-wide appreciation and success of the late Pierre de Coulevain. The announcement of her death has caused real grief to thousands of her readers in many countries. To those of us who had the great privilege of knowing her intimately, her loss is irreparable. Her five novels were all written after her fiftieth year. Her last one, “Au Coeur de la Vie,” is in its 85th edition in French, “‘ L’le inconnue” in its 1381st edition, and “Sur la Branche,” in its 179th. Translations of her books have been published in Dutch, English, German, Italian, Norwe- gian, Portuguese, Spanish, Swedish and Tchek. One of the finest articles written on Pierre de Coulevain comes to us from Constantinople. ‘All her works,” says the writer of this article, ‘‘ the outcome of individual energy put forth with the sole object of endeavouring to comprehend the true meaning of life, are so many sources of energy for those who consult them attentively... . / According to her, moral strength took higher rank than all the other advantages an individual might have.” Fortunately she had completed her last book, ‘‘ Le Roman merveilleux,” in June. She was at work on another one, for her brain was ever active and the problems of life were of absorbing interest to her. Her whole life had been noble and dignified, and she faced death consciously and unflinchingly. The French literary world has lost another woman writer of great value in Lucie Felix- Faure Goyau, the daughter of the late Presi- dent. Madame Goyau’s books were all on subjects that would appeal to intellectual men and women of any nationality. The writer of them was an extremely cultured woman and a great linguist. In her “ Ames _ paiennes, Ames chrétiennes,”’ she studied the psychology of Christina Rossetti, of Eugénie de Guérin, and of Catherine de Sienne. Her book on the life and works of Cardinal Newman has been very widely read. ‘‘ Les Femmes dans l’GEuvre de Dante,” ‘‘ Méditérranée ”’ and *‘ La Vie et la Mort des Fées ”’ all represent years of patient research, thoughtand work. Besides all this literary activity and her social obliga- tions, Madame Goyau was deeply interested in all social problems. She founded the Children’s League and was on the committee of many philanthropic associations. Her lectures on literary and sociological subjects were always crowded. Fortunately her husband, Georges Goyau, the well-known sociological author, had kindred tastes, so that their home was the rendezvous of the intellectual élite of Paris. Independently of her literary and public work, Madame Goyau will be sincerely regretted, as her charm of manner and her wide sympathies made her a great favourite in Parisian society. 4 + * 1 | | THE AUTHOR. The Autumn publishing season is now commencing and there seems to be no dearth of books ready for publication. A volume compiled by O. G. de Heidenstam, entitled ** Marie-Antoinette, Fersen et Barnave—Leur Correspondance,”’ will, no doubt, be much read, as there is always some fresh light to be thrown on the great revolutionary period of French history. A book has been written by Daniel Chenneviére on ‘“‘Claude Debussy et son Chuvre.”” The publisher who is bringing this out has given us a volume on Vincent d’Indy and on Paul Dukas. All who have been following the Balkan question closely will, probably, be glad to read a volume just published, entitled “‘ La Conférence de Constantinople et la Question Egyptienne en 1882,” by Sayed Kamel. The theatres are beginning to announce their programmes for the winter. M. Antoine intends putting on some of the French classical plays at the Odéon, with the staging of the epoch to which they belong. At the Athénée ““La Bourgeon’”’ is being given; at the Vaudeville, ‘‘ Le Menuisier ’’ and ‘‘ La Dame du Louvre’; and at the Gymnase, “ La Demoiselle de Magasin.”’ Atys HAuuarp. **Le Roman meryeilleux.” (Calmann-Lévy.) “ Ames paiennes, Ames chrétiennes.” (Perrin.) “ Marie-Antoinette, Fersen et Barnave—Leur Corres- pondance.” (Calmann-Lévy.) * Claude Debussy et son (Euvre.” (Durand.) “Ta Conférence de Constantinople et la Question Egyptienne en 1882.” (Alcan.) — se AUTHORS AND EDITORS. te . the July issue a resolution was published passed at a meeting of the Committee of Management and Editors. This resolution was subscribed to by the editors of ten papers. Since then the Society has issued a circular to those who did not happen to be present when the resolution was passed, and is pleased to state that the following have allowed their names to be added to the list :— Mr. John Stead, of Review of Reviews. Mr. James Parmerlee, of Vanity Fair. Mr. J. E. Harold Terry, of the Onlooker and Throne. Mr. C. R. Simpson, of the Weekly Telegraph, who, however, agrees with the editor of the Quarterly Review (see note to list appended). 13 Mr. St. Loe Strachey, of the Spectator. Mr. J. S. Wood, of the Gentlewoman. The Society has also had answers from the Fortnightly .Review—Mr. Courtney is kind enough to state that he is unable to give his sanction without the approval of the board, and it is hoped that that approval may be obtained—from Mr. E. M. Bunting, of the Contemporary Review, who has been kind enough to write expressing his interest in the action that has been taken, and stating that he will be glad to hear what goes on further, and from Mr. Arthur Hutchinson, editor of the Windsor Magazine. We have pleasure in quoting Mr. Hutchinson’s letter in full, as the Windsor Magazine appears to. be one of the few magazines in England that follows the recognised American custom : Dear Sir,—In repiy to your request that we should add our name to the list which you are preparing for your October number, of those who wish to establish the new rule for the date of payment for articles or illustra- tions, I write to point out that as our custom is to pay on the Saturday of each week for all work accepted or delivered to us, if previously commissioned, within that week, it would be very retrograde on our part to support any rule which establishes so long postponed a date for payment as either of those suggested in your resolution. We cannot help thinking that our method is much fairer to authors and artists than any such postponement, even though the latter may be an improvement on older customs of deferred payment in the ease of offices whose methods you may be considering. Yours truly, ARTHUR HUTCHINSON, Editor, the Windsor Magazine. The editor of Punch is in favour of the more elastic resolution, and in order that this reference may be clear to the readers, we append the original resolution with the signatures as they at present stand and repeat the rest of the article as it appeared in the July issue. Resolution. “The authors and artists whose articles, stories, or drawings may have been accepted, shall be paid for those accepted articles, stories, or drawings, at the next official pay- day after the publication, or within six months from the date of acceptance of such articles, stories, or drawings, whichever is the shorter period.” 14 THE AUTHOR. In favour. J. I. Bailey, The Connoisseur. Vivian Carter, The Bystander. F. Chalmers Dixon, English Review. L. J. Maxse, National Review. *G. W. Prothero, Quarterly Review. Harold Cox, Edinburgh Review. C. E. S. Chambers, Chambers’s Journal. F. H. Fisher, Literary World. Chas. Hyatt-Woolfe, Science Siftings. G. Binney Diblee, The Field ; The Queen. John Stead, Review of Reviews. James Parmerlee, Vanity Fair. J. E. Harold Terry, Onlooker and Throne. *C. R. Simpson, Weekly Telegraph. Mr. St. Loe Strachey, Spectator. J. S. Wood, Gentlewoman. * There was a reservation by the editor of the Quarterly Review that the word “shall” should be altered to “should.” With this reservation the editor of the Weekly Telegraph agrees. The rest of the article is as follows :— “ After this resolution had been put forward, it was proposed—owing to the fact that many editors, while approving the spirit of the resolution, objected to the letter, and that no voice was raised in opposition to the principle of obtaining a more uniform and businesslike practice—to discuss, either by circular or by means of an adjourned meeting later in the year, the following :-— ‘“¢* We consider that it should be under- stood by all authors and artists whose con- tributions have been accepted, that they shall be entitled to make requisition for pay- ment at any period six months after such acceptance, and that such requisition shall not be considered in any way contrary to established precedent.’ “It is hoped by the committee that it will be possible to get a still larger number of editors to consent to this more elastic resolution, which will give great relief to contributors, Many editors are quite willing to pay within a reasonable time if they are asked, but they fail to understand the author’s point of view. It is not so much natural modesty, as a fear— in many cases, we regret to say, well-founded— that any step they may take to disturb the equanimity of the editor will result in their future contributions being set aside. ‘“‘ Another point was put forward, which the committee hope to deal with in the autumn, namely, the possibility of arranging between authors and editors some form of conditional acceptance in those cases where editors feel they could not give an immediate and unconditional decision.” COPYRIGHT AND BANKRUPTCY. —— he of The Author may call to mind the case of Deeping v. Grant Richards#of which a report appeared in our May, 1907, issue. Judgment delivered in that case demon- strated that if an author transferred his copy- right to a publisher subject to the payment of royalty his only remedy if the publisher went bankrupt was for damages for breach of agree- ment against a bankrupt estate. Briefly, it was laid down that in cases of bankruptcy the agreement could be assigned by the trustee in bankruptcy without the assignee being respon- sible to the author for payment of royalties. The result of subsequent cases of a similar character served to confirm the ruling given in Deeping v. Grant Richards. An attempt was made to get this grievance of authors, dramatists and composers removed while the Copyright Act of 1911 was being discussed in Parliament, but the Government, whilst sympathetic, regretted they could not deal with the matter in a Copyright Bill, stating it could only be dealt with as an amendment to the Bankruptcy Laws. Accordingly, for the time the matter was dropped. In the spring of this year, however, the attention of the Society was called by Mr. Mackinder to the fact that Amending Bills dealing with bankruptcy were before Parlia- ment, and he suggested that they afforded the Society an opportunity of attaining a removal of the peculiar hardships inflicted upon authors, dramatists and composers by the Warwick Deeping decisions. Mr. Mackinder called upon the secretary and had a long conversation with him, with the result that, with the sanction of the chairman, counsel was instructed to draft certain clauses designed to protect authors not only from the results of the judgments referred to above, but also from the losses arising out of the bankruptcy of magazines and other periodical publications. Mr. Mackinder very kindly undertook to take charge of these clauses on behalf of the Society and to use every effort to get them accepted by the Government. As it was found impossible to get the clauses affecting contributions to magazines accepted, these clauses had, perforce, to be dropped. The committee, however, are pleased to report that the clause relating to the transfer of copyright under royalty agreements was accepted by the Government and that the Bills which have now become law each contain this - Sfb Peeprns v. Mora (Be Trnotee ) THE AUTHOR. clause. Inthe English amendment of the bankruptcy law it runs as follows :— “Where the property of a bankrupt comprises the copyright in any work or any interest in such copyright, and he is liable to pay to the author of the work royalties or a share of the profits in respect thereof, the trustee in bankruptcy shall not be entitled to sell, or authorise the sale of, any copies of the work, or to perform or authorise the performance of the work, except on the terms of pay- ing to the author such sums by way of royalty or share of the profits as would have been payable by the bankrupt, nor shall he, without the consent of the author or of the court, be entitled to assign the right or transfer the interest or to grant any interest in the right by licence except upon terms which will secure to the author pay- ments by way of royalty or share of profits at a rate not less than that which the bankrupt was liable to pay.” It appears with a slight modification in the amendment of the bankruptcy law for Scotland, but the effect is the same in both cases. The Society must thank Mr. Mackinder most heartily for drawing the attention of the Com- mittee of Management to the point, and for the energy and care with which he piloted the clauses through to a triumphant success. The issues are perhaps of more importance to composers than to authors or dramatists. Nowadays authors very seldom assign their copyright. They have been taught by the work of the Society through the past twenty- five years ; but composers still suffer severely, and there are but few who do not recklessly assign their copyright. This is no doubt partly due to the composers’ ignorance and partly to the yoke that music publishers have for many years past thrown on their shoulders. It is the duty of composers to move shoulder to shoulder with a view to overcoming the difficulties that surround them and prevent them from getting a fair return for their life’s work. In the meantime all members of the Society must join in thanking Mr. Mackinder for the work he has done on their behalf. —_—_———__+—>—_+____—_- STOCK COMPANY RIGHTS. HE attention of the Dramatic Sub-Com- mittee has been called to the value of the stock rights in the United States. Mr. Walter C. Jordan, the agent of the Society in New York, was the first to impress upon the members the importance of retaining their rights, and he has reiterated his warning at every opportunity. Every member who has dramatic rights of value in the U.S.A. should take special note, because there are companies existing ready to purchase stock rights, and the author in his ignorance may be willing to sell for a lump sum 15 —a sum which may appear to him to be large— rights which, if retained, might through the years bring him many times the amount. It would appear that managers in the U.S. try very hard to get control of stock rights in the original contract. This they do by obtaining the sole right of performance which the author often conveys in ignorance of the existence of stock rights ; but, even if he knows, the manager puts forward the argument— sometimes with success—that he contributes towards the establishing of the play and creating a demand for. it by stock companies. It is, therefore, advisable either that the author should withhold all rights whatever to lease out his plays for stock company purposes, and should grant to the producing manager only the right to produce and perform the piece under his own management (not including any right to the producing manager to lease out the play at any time for stock company purposes) : or should he think the manager’s argument, set out above, of any value, should stipulate in the original contract that after the producing manager has produced and performed the piece under his own management for not less than 100 performances, that for a specified period the manager shall be entitled to receive a fixed share of the net royalties earned by the play being leased out—by the author—for stock purposes, but that the play shall be handled for stock purposes by the author himself, or by his authorised agent without the intervention of the manager. The author had better place his work for all stock purposes in the hands of an agent exclusively, who should be thoroughly reliable, and the agent should proceed to lease out the play for stock companies for the best royalty terms obtainable, according to the size of the cities, the season of the year, the size of the theatre, and the prices charged at the theatre. What can be obtained for stock engage- ments must vary under these different circum- stances. It is most important also that while the author employs an agent, that agent should have exclusive power to act. This not only stimulates the agent but prevents two agents crossing one another in the same market, prejudicing the author’s position, and perhaps losing the contract. It will be seen, therefore, how important it is that the agent should be thoroughly reliable and trustworthy; that he should have no interest as principal in other joint stock rights, that he should be agent pure and simple, honest and above all with a full knowledge of his work 16 Over and over again in these columns the position of agents has been referred to. In many cases it is safest for the author to do his own work, backed with the advice and help of the Society, but in the placing of stock rights in the U.S.A. an agent is no doubt essential. There is one other important point that it is necessary to put before authors. It has already been mentioned that the managers in the U.S.A. make every effort to obtain the stock rights from the author in the original contract. If the author parts with these through ignorance or for any other reason, he should not be paid the same fees on the per- formances as he is paid in the ordinary contract. There are two reasons why he should not be paid in this manner. To begin with, if, as an -author, he is in a position to claim a high percentage, then his stock rights are con- siderably prejudiced, because the American manager won’t let out to stock companies unless he can make something himself by the trans- action. Therefore, if he is paying to the author a very high percentage, he would have to ask the stock companies a percentage so high that they would not be able to pay it—therefore the author would lose the chance of gaining a large sum which he might otherwise obtain. If, however, the manager is paying the author a small percentage, then it is essential also that a different system should obtain for the stock rights, and it is important that the author should receive a certain fixed share of not less than half of the royalties accruing from the use of his play in stock. The following example will suffice to show the reason of this :— When a producing manager has established a certain play by producing it for a certain number of weeks, and has the authority to sub-lease the play subject only to the author’s percentage, if that percentage is small then the manager frequently not only gets double the amount from the stock company, but also exacts from the manager a minimum guarantee. The matter works out as follows: The pro- ducing manager controlling a certain play leases to a stock company the play for one week for royalty terms of 10 per cent. of the gross receipts, with a minimum guarantee to be paid by the stock company to the producing manager of $500. If, then, the producing manager is paying the author only 5 per cent. on the first $3,000 gross receipts,, and the stock company plays the said play for one week to gross receipts of $2,500 (which would be very fairly good business to the average stock com- pany) the producing manager would only have to pay the author $125, and he would retain THE AUTHOR. for himself the balance of $375 as his share from the said engagement. But if the author’s agreement was that he should receive at least half of all the royalties accruing from stock company engagements, the author would get just double the amount out of the week’s stock engagement. Very successful plays often com- mand weekly guarantees of more than $500 a week, and the less successful plays which lease to the smaller stock companies command minimum weekly guarantees of from $200 to $400. It is clear, therefore, that in the majority of cases the author’s best interest lies firstly in holding the entire stock company rights himself, and secondly, if he is foolish enough to transferthem to a producing manager, that he shall receive a certain percentage of the total amount received, rather than accept his ordinary percentage royalties on the gross receipts on the stock company engagement, as on the gross receipts of other engage- ments. The advantage is two-fold, first, that in most cases the author would get more, and secondly, that it gives the producing manager a freer hand with which to contract. We are indebted for the substance of this article to the information forwarded to the Society by Mr. Walter C. Jordan, the Society’s agent in America, —_+——o —_____ WHAT IS A VALUABLE RIGHT OR INTEREST ? Crauz v. SHEARD. N this case an important question arose as to whether a right or interest in a musical composition was ‘valuable and sub- sisting ’’ at a certain date, when the Order in Council relating to Austria-Hungary came into operation. The plaintiffs, a firm of music publishers in Vienna, sued the defendants, an old-established firm of music publishers in London, for damages for infringement of the copyright in “ Die Fledermaus”? waltz by Johann Strauss, the Austrian composer. The waltz, which was written in 1874, was first published in Austria, and the plaintiffs became the owners of the copyright. No steps were taken to secure copyright in the United Kingdom, and in 1877 . the defendants published the waltz in London ; but after a year or two, the sales diminished, and there was little or no demand for the work, although the defendants kept a small number of copies in stock. THE AUTHOR. 17 In 1893 a copyright treaty was concluded between Great Britain and Austria-Hungary, and under the Order in Council, which came into operation on May 11, 1894, the plaintiffs became entitled to the copyright in the waltz in the United Kingdom. But owing to a proviso in the Order in Council, the plaintiffs’ copyright was subject to any right or interest of the defendants, which was “‘ valuable and subsisting ” in May, 1894. In 1912, when “ The Nightbirds ” was pro- duced at the Lyric Theatre, the waltz was introduced into the piece, and there was a new demand for the music. The defendants accordingly republished the waltz, and it was contended on their behalf, that they were entitled to do so, because they had originally produced it in the United Kingdom, and had a right or interest which was valuable and subsisting in May, 1894, and were therefore protected by the proviso in the Order in Council. On the other hand, it was urged that in May, 1894, the sale of the waltz by the defendants was practically dead, and that the defendants’ right or interest in the work had no market value, and could not be described as “‘ valuable.” Mr. Justice Scrutton held that although the defendants had a right or interest in the waltz which was “‘ subsisting ”’ in May, 1894, it could not be regarded as “ valuable,’ because it would not have been marketable at that time. The music had become saleable again in England owing to the production of ‘“ The Nightbirds’’ in 1912, but the defendants could not have obtained a price for their right or interest in the work in May, 1894. On these grounds, his Lordship granted an injunction, and gave judgment for the plain- tiffs for £5 damages and costs. Haroutp Harpy. a “A. M. BURGHES.” a N The Author for December, 1912, we reported the result of the prosecution, undertaken by the Society, of C. M. Burghes, who carried on business ‘under the style of “ A. M. Burghes ”’ as a literary agent at 34, Paternoster Row, E.C. C. M. Burghes was convicted by the jury of obtaining money by false pretences, but, for some reason which we did not appreciate, the judge only bound him over to come up for sentence when called upon. The result has been unfortunate. <, M. Burghes continued to carry on business at the same address, and, probably in ignorance of what had happened, various authors entrusted him with MSS. and, we believe, paid him fees. In a number of cases the Society were successful, through their solicitors, in getting back the MSS., although in no case was a MS. delivered up until proceedings had been taken. Now, however, things have taken a fresh turn. An author (not a member of the Society) not only sent Burghes certain MSS., but paid him sums amounting to £70—as to £50 for payment over to a publisher in fulfilment of an arrangement Burghes stated he had made, and as to the remainder for fees. Hearing nothing further he became alarmed, and inquiry then revealed the fact that C. M. Burghes was not to be found at his place of business and that his address was unknown. He had not paid over the £50 to the publisher nor, in fact, had he ever made any arrange- ment with the publisher under which £50 or any other sum was payable. The copy letter- book found at the offices showed no business letters since June, and Burghes had not for a considerable time come to the office at all, though he had sent a messenger for letters, and had thus, it would seem, obtained possession of the cheques for £70 which the author had sent to him. Comment is needless. The money has gone, and not even the MSS. in this case can be found. The landlords have dis- trained for their rent and sold the contents of the office. The Society’s solicitors, being aware of the position, arranged with the landlords for any MSS. in the safe and elsewhere to be kept back when the premises were emptied, and at present a considerable number are lying there. They cannot, of course, be kept indefinitely, and if any members of the Society have left MSS. with Burghes they should give particulars to the secretary without loss of time, so that inquiry may be made for them. We cannot but think that if the judge had given effect to the verdict of the jury at the trial last year by passing a sentence of imprisonment the sub- sequent losses would have been avoided. SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.) Frout Page aes ide = . «24 0 0 Other Pages ae as agi eae see axe sie Half of a Page ... aay ie wes ie ais wie ee Quarter of a Page : ow. 016 Eighth of a Page ie ce 0 70 perinuch 0 6 O Single Column “Advertisements Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for Twelve Insertions. 0 0 1 15 6 All letters respecting Advertisements ,should be addressed to Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C. 18 THE AUTHOR. HOW TO USE THE SOCIETY. Ase L, VERY member has a right toask for and to receive EK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them, (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9, The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ope WARNINGS TO THE PRODUCERS OF BOOKS. —+—< + ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continenta) rights. (5.) Not to give up serial or translation rights, (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor |! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. — es WARNINGS TO DRAMATIC AUTHORS. a ee EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- vetent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :-— : (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters inte such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name-on the play-bills. : : 4 THE AUTHOR. (b.) Sale of performing right or of a licence te perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. («.) Sale of performing right or of a licence to perform on the basis of royalties (7.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play s highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ———__+—<>_—_____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. + ere typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for _at the price of 22. 6d. per act. 19 DRAMATIC AUTHORS AND AGENTS. ee oe ee RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, de equally well or better for himself, The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ——_—__—_+— 0 WARNINGS TO MUSICAL COMPOSERS. ees ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ee STAMPING MUSIC. ee The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ——$$§$§_— —e_____ THE READING BRANCH. —1—~o—+ — EMBERS will greatly assist the Society in this M branch of its work by jnforming young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —————_ «> ¢ REMITTANCES. oo The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, 20 THE AUTHOR. COLLECTION BUREAU. — a f | \HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works an! amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument vecords. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the of! ce, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission, For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Amsterdam ‘ ; . A. REYDING. New York : ‘* WALTER C. JORDAN. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. — to Liprary CENSORSHIP. WE have pleasure in publishing herewith a letter addressed by the chairman of the Com- mittee of Management to the editor. The contents of the letter set out the reason for its publication. The members of the Society are entitled to know the action that is being taken by the Committee of Management. The chairman, in consequence, has put forward this statement for the perusal of all members. Why the committee have not thought fit to write to the papers and join in the public controversy is here fully explained. To the Editor, “‘ The Author.” Dear Sitr,—As I understand that various letters have been received by the secretary of the Society with regard to the attitude of the ‘Committee of Management on the question of library censorship, I think it well, as chairman -of the Society, to give the members the follow- ing information :— The library censorship, as at present con- ‘ducted, has on several occasions in past years been very seriously considered, not only by the Committee of Management of the Society, but also by sub-committees especially ap- pointed for that purpose. The Committee of Management feel that it is not a question of this book or that book, written by this author or that author, but that the question involved is an important question of principle which stands above all books and all authors. The reason why the Committee of Manage- ment have not on this or on former occasions written letters to the papers, is because they appreciate that, in a matter of this kind, letters to the papers are of little permanent value, though such letters may draw attention to some particular book and regain for it a cir- culation to which it was no doubt entitled, but which it had lost by the action of the libraries. The practical issue is the only issue with which the Committee of the Society intend to deal. In every case in time past they have asked the authors concerned to make any proposals or suggestions that might seem good to them, and such proposals as have been made have received consideration. In the same way at the present time any proposals put forward by the authors concerned, or any suggestions made by any member with a view to bringing about a practical issue, will be most carefully and gratefully considered. I understand from the secretary that he suggests that there shall be a small permanent council of authors, publishers, librarians and booksellers, which should sit once or twice a year to consider any important questions which may arise in this connection. If the Committee of Management could organise such a council, the question of library censor- ship would no doubt then be adequately dealt with, and it is possible that the combination of the four bodies referred to might find a solution which would be satisfactory to all parties. Because the Committee have not entered the arena of newspaper discussion, it does not mean that they have not the whole matter very much at heart. Yours, etc. (Signed) HeEskeTH Pricnarp, Chairman of the Committee of Management. AUTHORS AND EDITORS. In the article under the same title, printed in this month’s issue, in the last paragraph but one, it is pointed out that many authors have a fear (in many cases well founded) that if they make a demand for money, their future con- tributions to a paper may be set aside. This remark was made apropos of contributions j ; i i ‘ i j ; 4 i i a ro LESSEE ES. THE AUTHOR. 21 which have been accepted and not published. The ordinary editor and the ordinary author would hardly think that the same fear would be justified in the case of a MS. which had actually been published, but in support of the contention the following example is quoted : A member of the Society sent some verses to a paper called The Literary Monthly. The poem was accepted, and printed in the July issue of that paper. During the month the author wrote to inquire the terms on which contributors were paid, and the editor replied stating that all contributions were paid for in the month in which they appeared. As the author did not receive the amount in accord- ance with this statement, a letter was written to the editor, drawing attention to the fact that payment had not been made, and saying a remittance would be esteemed a favour. To this no reply was received, and ultimately the author wrote pressing for payment, and that unless a cheque was received within seven days, the matter would have to go into the hands of the Society of Authors. In answer to that letter the contributor obtained a reply, dated September 1—that is a month after the time when the editor said he would pay for contri- butions—which ran as follows :— “The editor encloses cheque for , for poem published in July issue. No further contributions will be received from Hes The fair deduction to make from this letter is that because the author refused to wait longer than the time mentioned by the editor himself for the payment of contributions, and because, in consequence, the author threatened to put the matter into the hands of the Society, the editor refused to take any further contri- butions. It is quite clear that the refusal did not arise from the fact that the author’s work was not sufficiently good, otherwise the first poem would not have been printed, It would be interesting to know whether the editor has got any other explanation that he would like to put forward. INTERNATIONAL CONGRESS OF PUBLISHERS. AN interesting paper was read by Mr. William Heinemann before the International Congress, of Publishers at Budapest. It dealt with the danger to the maintenance of the published price of books arising out of excessive discounts to the retail trade which were frequently offered by certain publishers as an inducement to the bookseller to stock their publications to the exclusion of the works of their competitors. The matter, as Mr. Heinemann stated, concerns authors equally with publishers, for it is clear that, in the end, if the retailer is given an excessive discount, the royalties paid to the author will be reduced in proportion. Obviously, if one publishing house yields to the pressure of the bookseller, others will, in sheer self-defence, be bound to follow, with the inevitable result that the author will lose what the bookseller gains. The only possible action is for the Publishers’ Association to bind themselves to take joint action on the lines taken by the United States publishers. What sometimes happens when the publisher goes to the bookseller is best told in Mr. Heinemann’s own words :— ** Who of us has not been told that Mr. X. gives better terms than we do, and that unless equal terms are conceded the bookseller in question must give preference to Mr. X.’s books ?. Who of us has never yielded to such pressure ? Who of us has never found such a statement inaccurate? And who of us, having yielded to untruthful representation, has not afterwards heard the same argument used against the very rival who was described as so much more liberal than ourselves ? Such demands may go on ad infinitum: demands which seem to me, even if they are honestly made, contemptuous towards ourselves and our goods.” Reverting, however, to the position of the author in this matter, we should like to drawt he attention of authors to the prac- tice of one of the publishing houses and to its form of contract. This house provides in its contract with the author for the pay- ment of a certain royalty on the published price. So far, so good. But in a subsequent clause it also provides for the payment of a reduced percentage on those sales at less than half the published price, and a still further reduced percentage on sales at a quarter of the published price. Moreover, the percentage is paid, not on the published price, but on the nett returns. As we have shown in a previous issue of The Author, it often happens that it pays the publisher better to give a large dis- count to the bookseller, paying less to the author, than to keep the price to the book- seller up to the normal standard, paying the author the agreed royalty on the published price. Here there is a conerete case demonstrating that the special terms allowed to booksellers result in very material loss to the author. Even if an increased sale results, the author gains nothing under these conditions by the increase. And, as we have already stated, we 22 do not think, in the last resort, authors gene- rally would gain by these improved terms to the retailers. While it is improbable that their royalties would be reduced in_ the manner favoured by the publisher referred to, it is certain that their royalties would tend to be reduced on the published price, and the whole book trade would be upset and finally ruined. We notice that at the same Congress a reference was made to the question of copy- right and cinematographs, and that pub- lishers were advised to provide for cinemato- graph rights in their agreements with authors ; further, that an association of authors and publishers should be founded to protect these rights from infringement. In the absence of more definite information on this matter we defer detailed criticism of the proposal till a later issue. We would, however, counsel all authors to keep very close control of the cinematograph rights of their stories, as these rights are likely soon to become valuable, and there is no more reason why they should be given to the publisher than that the dramatic rights should be given to him. The publisher’s work should begin and end with the publication of the author’s MS. in book form. THE NEW POET LAUREATE. -\INCE the last issue of The Author appeared the much-discussed vacancy in the office of Poet Laureate has been filled up. The appointment of Dr. Robert Bridges took the general public by surprise. His name had, indeed, been mentioned in the literary press as that of a possible candidate, and the July number of the Quarterly Review contained a warm recommendation of his claims, from the pen of Mr. John Bailey. But to the man-in-the-street he was unknown, and probably the ordinary comment on his appointment was, “I’ve never read a line of him!” Now publicity has been given to the facts that Dr. Bridges is sixty-nine years old, was educated at Eton and Corpus College, Oxford, has been a practising physician and has produced a body of poetry which includes plays and masques, metrical experi- ments, lyrics, and even a few hymns, which appear in the “ English Hymnal.” If, however, the man-in-the-street has only just been helped to the discovery of Dr. Bridges, THE AUTHOR. among his fellow-poets he has long been honoured. He may certainly be called “a poet’s poet.” It is remarkable that the contributors to the volume entitled “‘ Georgian Poetry, 1911—12,” unanimously inscribed it with the name of Robert Bridges. Mr. Asquith’s selection of a Laureate, there- fore, may certainly claim the approval of an influential band of artists ; for the ‘* Georgian poets’ included more than one who was looked on as a possible Laureate himself, and not one who had not done something worthy of note. Before the appointment there was an agita- tion, on the part of a few revolutionary folk, that the Poet Laureateship should be abolished as obsolete and meaningless. In resisting this demand and choosing for the office a man with whom the public was practically unacquainted the Premier has taken an interesting step. ————— <> —____—_ AUTHORS AND AGENTS. — + I.—FrEES AND ACCOUNTS. ISPUTES between authors and their agents are constantly coming before the secretary of the Society. These disputes are of many different kinds, but attention should be called to one serious difficulty which is of frequent occurrence. After an agent has placed a work, either a dramatic piece with a manager, or a novel with a publisher, all that remains to be done in the future is to see that the accounts are regularly rendered, to check them when they are re- ceived to see that they agree with the former accounts and are in accordance with the agreement which has been fixed up between the author and the party of the other part. For this he draws 10 per cent. on the moneys | received under the contract during the life | of the author and fifty years afterwards. | As, however, he is entitled under the form of agreement on which he usually insists, from which it is impossible for the author or drama- tist to get free, to this 10 per cent. as soon as he has placed the work, he often takes but little trouble with the rest of his duties. In many cases where the publisher delays sending in the accounts, the agent does not push the publisher for an immediate delivery, but makes one or other excuse to the author. If he was too exacting with the publishers, he might prejudice his position so far as placing other ~ for the author. THE AUTHOR. contracts is concerned. It seems unfair that the author should suffer because of this, as the agent is, after all, the agent of the author and not the agent of the publisher, though from some of the agreements that are made, the opposite deduction might be possible. But when the accounts do come in the agent has still no need to trouble. His 10 per cent. is safe. So, as it would appear, he sends them on to the author without any comment whatever, whether they are right or wrong, whether they are in accordance with the agreement or opposed to it. Sometimes, in fact, the agent sends on copies of his own accounts without allowing the author to vouch them by the sight of the accounts which have been forwarded to him by the publisher or manager. It would have been unnecessary to draw attention to these points if many and serious difficulties had not arisen owing to the fact that an author by his own insight has dis- covered lapses and mistakes in the accounts which ought to have been checked by the agent. If the author has continuously to watch the agent’s accounts to see that they are rendered on the proper dates, to see when they are rendered they are in accordance with the agreement, he might as well not employ an agent at all. It seems, therefore, that there ought to be two distinct transactions and two distinct fees _in order that an agent’s position might be | clear and unsullied ; to confuse the placing of the work with the collection of monies may be a good business for the agent but disastrous The agent should receive: (1) a certain fee for placing the work, and he should be paid this fee by say, a slightly raised percentage on the returns until the fee is reached ; (2) after the fee has been covered, he should receive a continuing percentage so long as the author gives him the authority to collect the money under the contract. For this his percentage should not exceed 5 per cent. ; but the second part, that is the authority for collection of monies, should be able to be terminated immediately by the author if he found the agent was careless with the accounts or indifferent to his interests, playing for the hand of the publisher rather than for the hand of the author. It should not be possible for an agent to benefit by an action which would be likely to prejudice the author for whom he is working. If some such arrangement as the one sug- gested could be come to, then the agent would not be taking 10 per cent. during the whole term 23 of copyright for merely placing the play or making a contract for the production of a book. Such terms are clearly extravagant ; but if he continued, with the author’s authority, to collect the moneys, and in collecting the monies, to check the accounts carefully, he would be, no doubt, saving the author from a great deal of trouble and would be entitled to his percentage so long as the author felt it was worth paying for the protection. At the present the agent, once secure in his 10 per cent., is inclined to neglect his future duties. II.—WuoseE SERVANT. Tue author’s agent is constantly appearing under a new character and in a new part. We have had reason to complain that on some occasions he acts as principal, on some occasions for editors and on some occasions for publishers when he ought to act solely for those from whom he takes his percentage. It is as well to draw attention to the difficulties that may arise from this complex action. First, when the agent acts as principal. When he does so even in the purest good faith he is taking away from the author that very advice and assistance for which he is being paid and causing the author a great deal of extra trouble. But it has been known that the agent has acted as principal without letting the author know either that he is the purchaser, or, if not the purchaser directly, is interested in the purchase. Again, an agent who is interested as principal will natu- rally be more interested in pushing forward those works in which he has sunk his capital than those on which he merely gets a percen- tage. This position is unfair to the other authors who employ him. There are still worse possibilities, but as they seldom occur it is perhaps unnecessary to mention them. Secondly, when the agent acts for editors. Editors sometimes come to agents and ask them if they can supply a story by a certain author. If the author is not on the agent’s books it not infrequently happens that the agent does not say so, but tries to draw the author into his net by holding before him tempting offers. This occurs more frequently when the agent himself goes round to editors and asks them whether they want a story from Mr. or Mr. If the answer is in the affirmative the author is pestered with letters and worried 24 till he finally yields, often to find that the con- tract cannot be obtained. Thirdly, when the agent acts for publishers. There are certain agents who act for publishers in selling those rights beyond the book rights which the latter have taken from the author. No wonder it pays the agent in settling a contract to allow the author to give away his minor rights to the publisher if the publisher immediately hands them back to the agent to place. In addition to making it easier for the agent to settle with the publisher it enables him to obtain a double fee. Again, there are agents who appear to give certain publishers the first refusal of the good work that comes to their hands and in other ways to hamper the freedom of the author. The following example appears to represent the very latest development. An author offers a book to a publisher. The publisher inquires when making a proposal for the acceptance whether the author is employing a certain agent whom he names. Resenting somewhat the inquiry, the author replies that if an agent were necessary the choice would be with himself. The publisher then informs the author that in that case he will be unable to handle the book. It is an interesting question whether the publisher receives any consideration for his sturdy championship. But one point is certain —that such a position increases the author’s servitude to the agent. There are no doubt good agents and bad agents, but no agent is good for all his authors if he is employed by many and does not limit his scope. Such an agent is bound to bring his authors into competition and to assist one at the expense of another. This has been clearly pointed out by another hand in these columns, but while in many cases an agent’s livelihood depends upon his not being an ideal agent, authors should be strongly warned against many of the practices indulged in which tend to make an agent a bad agent. BOOK PUBLISHING IN THE U.S.A. ——_—— + E have received a letter from a well- known American author dealing with ; some points put forward in an article in the June number on “ Book Publishing in the United States,” and we have much pleasure in putting forward his views. We regret that it was impossible to insert it in the July THE AUTHOR. issue, and in consequence have had to hold it over to the autumn. He rather smiles at Mr. Brett falling back on the old excuse ‘‘ that all the fault is due to the rapacity of those derned authors ... .!” and continues :— “Mr. Brett points out that too many books are being published and too few being sold; that the methods of distribution employed by publishers are crude and anti- quated, and that no improvement in conditions is possible without improvement in those methods. And _ then, appalled by his candour in confessing his incapacity for the job he holds, and in deadly fear lest he be drawn into adding something incriminating or degrading on the subject of over-production, he lights hastily across the street, and slams the unhappy author over the head for wanting to make money enough to pay for his typewriter’s ribbons—both kinds ! ”’ And he goes on to explain that the real fault is with the publishers and not the authors, and we think that these remarks may well apply to the same conditions at present standing in the English market. He says :— “The public never kicks about paying $1.50 or thereabout for a novel it thinks it really wants to read, but it is getting awtully sick of being fed with novels (and works of general literature—at a higher price, usually) which it has been misled into purchasing by the imprint of a respectable publishing concern, a flashy make-up, or the appetite for something to read coupled with sheer human inability to discriminate between one book and another of the thou- sands that are annually shoved under its poor nose. And this is so because the publisher, in his wild anxiety to miss no bets, publishes three or four times as many books as he ought to, simply on the off-chance that one or two of them may pick up and prove winners; and then he advertises them all (if he does advertise at all) in terms of the most glowing praise, overprints in order that he may fill the bookseller’s show-windows with “ displays,” and make a respectable showing in quantity alongside the output of other publishers on the bookseller’s shelves ; thereby confusing the public until it can’t tell one book from another, and stops buying through weariness of the lottery. ‘* Several years ago Mr. Brett’s concern boasted that it was publishing 365 books in the calendar year. Two years ago (circa) another old-time firm announced (but not publicly) that they had finished with being conservative and were hereafter going to publish a great many books per annum, regardless of merit, with small first editions and no advertising to speak of, simply in order not to miss any winners that might chance their way in disguise. Not that this was any new thing; Appleton’s had been doing the same thing for years, to their own profit, but unhappily for authors, and to the confusion of the public. At the same time Doubleday, Page & Co. were fomenting a project, through the medium of the future ambassador to England, to induce publishers to band together and agree to publish fewer books, under the slogan ‘ Fewer books and better!’ They even gave a luncheon to boost the project— and the next season came forward with a list of fiction longer than any they had ever fathered previously ! “The point of this business (of publishing a great many books of small editions and with scanty advertising) is as follows: The publisher doesn’t do it altogether because he is afraid of losing a winner, but because it really pays him. It works out this way: the average publisher puts out THE AUTHOR. upwards of twenty or thirty books every- spring and autumn—I mean novels. He spends as little as he can— naturally—on their make-up, advertises the titles, along with a dozen others, only meagrely, and prints a first edition of each that seldom exceeds 1,500 copies. Of this edition he is almost sure of disposing among the several thousand booksellers of the United States. He has a mighty poor book salesman if he can’t induce each book- seller to take a chance on at least one copy. All of which nets the publisher a modest profit on each book, and a comfortable one on the season’s output, with the minimum of risk. And there is always the chance that one book out of his score or so per season will on its own merits forge ahead, make a hit with the public, and by word of mouth advertising—one reader passing it on to another—create a demand which will warrant the publisher in spending a little more money giving it individual advertising, to push it into the best-selling list. If this doesn’t happen, he hopes it will next season; and meantime he hasn’t lost anything—the authors are the only losers in this game.” Thestatement contained in this last paragraph is very interesting as it demonstrates so clearly that what is happening in America has been going on for a long time in the English market, owing to the curse of the publishers demanding in their contracts a series of books, and authors being foolish enough to bind themselves to the publishers for a series. The publisher puts the book on the market. He does not take much trouble in the matter except to push it through sufficiently to cover his expenses and to bring him in a profit ; he then lets the book drop because he knows he is quite safe as the author is bound to him for several more books. If, as suggested by our correspondent, the book looks like going, then he takes it up as a winner and gives it individual advertising and turns round and says to the author: ‘ Look what I have done for you!” The fault is a very serious one ; whether the publishers will make any effort to remedy it, or whether the authors will take any united action by refusing to bind themselves in this absurd manner remains to be seen. Our correspondent follows :— “The truth of the matter is that two-thirds of us haven't any right to be writing at all—we do it so poorly— and would long since have turned, in warranted discourage- ment, our abilities to some more profitable field of endea- vour, if it were not for the rapacity of the publisher who leads us on to believe we have some excuse for sticking to the game simply that he may make his insignificant profit per book and so swell his handsome profit per annum.” He seems to sum up the position so far by saying :— “The solution is not cheaper books. Brett had only to investigate the conditions here and in France and Germany to find that out ; assuming that he was ingenuous in making the suggestion on the basis of conditions in those countries as he understood them. The real solution is that of Doubleday, Page & Co., ‘ Fewer books and better, and a revolution in the method of attacking the public.’ ” then continues as 25 He then gives an example of a certain pub- lisher in Chicago who devotes himself exclu- sively to selling the books of one man and with unexampled success, both for the author and for the company. American publishers, he says, know of this thing, but they seem unable to profit by the lesson it teaches, that even a second-rate book at $1.50 can be unloaded by the hundreds of thousands by concentration and the employment of available, if new to the publishing trade, avenues of distribution. And he finally sums up by repeating what he has already stated, that the cheap book is not what is wanted in America any more than it is wanted in England or in France, and that after a time it is impossible to unload the numbers of cheap books which it is necessary should be unloaded in order to make a profit for the publisher, for the author and for the bookseller. And he points out by example, that those American publishers who have already endeavoured to make a success of the cheap book have produced nothing but failure. Perhaps it is as well to add that he ends up his letter in the following words: «These tumultuous thoughts are now beginning to sub- side and it is nearly time for me to break off and chew three Pepsin and Bismuth tablets and drink a bucket of hot water and sit down at the luncheon table and hat> a piece of dry toast, but if any of the stuff is useful, I allow you to make free use of it.” We have quoted his letter at some length as the writer is not merely a person who writes and then, leaving the work, places it in the hands of an agent, but he writes as one in authority with full knowledge of the trade n the United States and the capacities of th» publishers to endeavour, though unsuccess- fully, to meet the real demands of the public. ——_—_1+—> +___ ARTISTS AND THEIR CRITICS. —_— FTER the correspondence which took place last summer in the Morning Post and other newspapers, or, indeed, with- out reference to it, it is not necessary to prove laboriously that artists at the present time, or a large proportion of them, are discontented with the conditions of art criticism, or rather with the criticism which is produced under those conditions, and that, on the other hand, a certain number of art critics are profoundly contemptuous with regard to the productions of the artists who thus express their discon- tent. The term artists is here used to include all who earn, or try to earn, a living by painting, 26 sculpture, engraving and other similar arts, without any attempt to define an “ artist,” or to draw invidious distinctions between those whose art is of the highest order, and those not so gifted—mere academicians, perhaps, who are just what they are, with no hope or perhaps ambition for better things. It is not proposed to discuss here the basic essence of art, or whatever it may be, which should inspire the artist before he is worthy of the name. It is enough to say that if reviewers are sometimes not altogether beloved by the reviewed, the art critic, or art journalist, as some one has recently labelled him, has even fewer admirers in proportion to his enemies among those to whom (according to some of them) he should be guide, philosopher and _ friend. Why is this ? - Is it possible to point out a reason— an easier task than to suggest a remedy ? It is a feature of art criticism, or art jour- nalism, distinguishing it from book criticism, that it is in very few hands. Dramatic criticism, to some extent, resembles it in this, but is produced under different conditions, to which reference may be made hereafter. Book criticism on most newspapers is entrusted to a variety of reviewers. The author in a particular instance may believe that his work has been foredoomed by the selection of a critic known to be hostile to the opinions likely to be found in it, or may ascribe a lack of appreciation of his virile style to the prejudices of the editor’s, or proprietor’s, lady relatives and friends. This, however, should be in exceptional instances. On the whole, books are distributed with a desire to discriminate among persons believed to be suited by taste and capacity to the task of reviewing them. The same person would not be likely to review for a leading daily or weekly paper a work on military history, a novel written to prove marriage superfluous, and a volume of rhymes for the nursery. On most newspapers, how- ever, in which art criticism is published, there is but one art critic. On some there is not quite so much—there is only part of one. The same gentleman, or, possibly, lady, ‘‘ does the art notices ”’ for two or possibly more papers, and it may be insisted upon, though it should hardly be necessary to labour the point. that the fact of several criticisms of the same work being written by one critic, whether in art or literature, tends to create the idea that there is a consensus of well-informed opinion with regard to that work. That is to say, if the critic writes to the same intent in two or more papers he gives an impression of un- animity that does not exist. . If he writes quite THE AUTHOR. differently in two or more articles, he must almost necessarily be insincere in some of his observations. Apart, however, from this multiplication of one man’s opinion, the fact of there being but one art critic on a newspaper, and conse- quently a very limited number of critics writing on art topics, must have its effect. It is not intended to discuss here whether such a system is necessary, or desirable, or con- venient, or conducive to consistent criticism. It may be all of these, but at the same time it may be responsible for much of the discontent with art criticism certainly felt by many who, whether it would be right to apply to them the term “artist” in a laudatory sense or not, are trying to make a living by art, and in the popular meaning of the word are artists. The art critic may be an acknowledged authority on old masters, and he may be very much more interested in them than in any modern work. He may be warmly in sympathy with the methods of our senior Royal Academicians, or may have grasped and clasped to his bosom the inner inwardness of Post-Impres- sionism. The exhibitions of the Royal Water Colour Society may be his ideal of what such exhibitions should be, or he may find nothing really to please him outside the new English Art Club. Anyhow, he has got to have a pretty catholic taste if he can assimilate them all with enjoyment, and the cards for press views that are showered upon him from the editorial office will take him to more than these. Bond Street and Regent Street, Pall Mall, Piccadilly and the by-streets of St. James’s are full of one-man shows, and the exhibitions of minor clubs and societies. It is not sug- gested that all are worthy of praise, or, indeed, of notice at all. It is, however, submitted that the works shown differ quite as widely among themselves—in their aims, and in their claims to public attention—as do the works put upon the market by publishers, and that to hand over all varieties for comment to one critic is not very different from sending all varieties of books to one reviewer. The practice, no doubt, is due in part to convenience, and in part to different concep- tions of the functions of an art critic and those of a literary critic—or should they be called an art journalist and a book journalist? As a rule, it is apparently thought that the book journalist should be able and willing to accord praise or blame to a book judged by the stan- dard of books of its class; but that the art journalist should judge all art productions by canons of art formulated by him and others no 16 rid uq od te ue dé ud on ue 3 1 d slg sd ad. sd 0% og dd oe ak dd 03 ry Or si Te ad 96 1h as | BL ie te Te fe lye te tw yi | ad he 1G a A ob through the assiduous study and appreciation of masterpieces. He may judge everything that is submitted to him for criticism in the public press according to standards which he honestly believes are of universal application, and may accord nothing but contempt, outspoken or silent, to everything. which falls Short of them. He is quite entitled to do so, but at the same time men and women who make no extravagant pretence of -conforming to such lofty standards, but who are merely trying to earn a living, perhaps. successfully by selling pictures to persons who are quite pleased to buy them, may think it a little hard that: their admirers should be informed that they are incompetent and futile charla- tans. An artist of this class may say with some show of reason that he does not pretend to be a Rembrandt or a Turner, not to mention the names of members of the newest art societies of to-day, and that all he asks for is to be judged according to the standard of those with whom he obviously enters into competition. Of course, he may be quite wrong in this, but the point is worth putting forward on his behalf. Dramatic criticism has been referred to, and, no doubt, there is on most papers one dramatic critic, Just as there is one art critic. Something, however, Seems to temper the wind in the matter of dramatic ciiticism ; perhaps the comparative importance of dramatic advertising, or the fact that first nights clash and that thus very often a variety of criticism and an allocation of plays to the persons most likely to be in Sympathy with them are brought about. At any rate, one of the causes of the ill-feeling which exists between a large body of artists and a large proportion of the gentlemen writing (often very ably) modern art criticism has been suggested. One of its results has been that recently an important society of artists sent out no invitations to art critics for one of its exhibitions, and another did not assign the usual special day for the press view. Recent outbursts of acrimonious correspon- dence in newspapers have already been referred to. Of course, a good deal may be ‘“e said in favour of art criticism being conducted on from the point of view of the loftiest ideals in “™% art, but would it not be equally right to say no right to complain of critics who more or less the same with regard to literature? It may be said that a great many persons are trying to make a living by art who had much better be otherwise employed, and that these have plainly tell them so. But might not the same be said of many who live, or. try to live, by THE AUTHOR. 27 literature, if similar principles of criticism were applied to their works under a similar system ? Se ase AUTHORS AND FREE LIBRARIES. a N UCH advance has been made of late in the matter of protecting authors’ copyright. But that is not the same thing as protecting the rights of authors. At least one other form of much-needed protection seems to have been overlooked: protection from free libraries. Perhaps a case in point will make this clearer. A work of fiction was published in April of the current year. It was in the free library of a certain manufacturing. town within a month of publication. Enquiries elicited the fact that the library copy was in eager demand, though the book was not selling in that par- ticular town. It is easy to see that a librarian promotes his own popularity by promptly securing the newest fiction for free circulation, but is such action fair to the writer? I sub- mit that it is neither fair to author nor pub- lisher. The money which pays for the books in free libraries, is public money, raised by local taxation. This differentiates the case of the free lending library from that of private lending. Now as things are, there is nothing to prevent an enterprising free librarian, by the clever use of a few copies of a book, and a shortened time limit, from absolutely barring the sale of that particular book in his particular area. This is not as it ought to be. A rule in force in the library of the British Museum bars access to fiction within a certain space of time after publication. A similar rule should be legally in force in every free library ; and the time limit should be so fixed, that a book should be kept out of free circula- tion for two years after publication. A book is printed to sell. Supposing the author is so full of the lofty aim of setting right a perverted universe, as to be quite indifferent to remunera- tion for his labours! Is it reasonable to expect a publisher to take that point of view? I think not. Unlike the plutocratic author, the publisher has to eke out a precarious livelihood by selling books. When he can no longer sell books, he has finished with publishing. I believe I could demonstrate—given time that a book which cannot be published, had better not be written. This is a question of the public sense of 28 justice—concerted action on the part of authors and publishers, and a small measure passed through Parliament. Planting trees on your own sand heap is a noble and soul- lifting amusement. But the law does not support you when you plant trees to shut out the light from your neighbour’s window. It is a fine thing to supply the free citizen with taxed literature; but to do that, the dis- bursers of public money have first to take scisin of the regular meals which might other- wise fall to the lot of a number of authors. This legal gap in that fine old mandate “ Thou shalt not steal ” ought to be filled up. C. KE. S. ——————_-—~>— > —____ A ROMANCE OF WORDS.* ——»—+ —. HETHER highly gratifying instances of the rapid sale of works of real merit are common is a question that it might be dangerous to put before a body of authors. The reply would be only too likely to be some equivalent of the parliamentary circumlocution “The answer is in the nega- tive.” Indeed, it is difficult in the present days not to be troubled with many misgivings respecting the relations of popularity and real value in the case of a book. All the more cheering, therefore, is the prompt welcome which has been given to Mr. Weekley’s “Romance of Words.” Published first in March, it reappeared in a second edition in May, a most welcome indication of a sound taste for work of substantial value, and of a distinctly cultivated kind. The author has been at great pains to make his treatment of his subject appeal to those to whom it may be new, and has been in this respect completely successful, but he has, at the same time, had the courage to treat his subject as it ought to be treated, and we may say frankly that new hope for the English reader has been inspired into us by the revelation that a book about words (of strictly philological value) can so readily find itself a market. The experienced philologist will not expect to mect here any- thing that is new to him. What are to him familiar words, familiar ‘‘ laws,” and familiar phenomena occur on every page; but he will be none the less delighted to think that an author has had the courage, and the ability, so to handle the history of words as to make“it * «The Romance of Words,” London. Murray. THE AUTHOR. popular. To all who are not philologists the book will prove full of novelties, and must be recommended as one of the very best of its kind. The various phenomena of word- wanderings, word-manufacture, and so forth, are explained in ‘several chapters, amongst which by no means the least interesting will be found to be the chapters on “ Semanties,”’ though the name may seem a strange one, and that on Family names. The introduction of a chapter on semantics is particularly laudable, as the subject is of primary importance, and in all teaching of languages generally over- looked. In conclusion, amongst the many merits of the book, must be mentioned this one, that it lends itself readily to perusal in odd moments, whilst no one can scan a page of it without becoming better acquainted with his own language. ————p---~«e BOOK-PRICES CURRENT,* —— Ne T., II. and III. of Book-Prices 7 | Current for 1913 are lying before us. It is unnecessary to say that the pub- lication maintains its high level of accuracy and interest ; but most necessary to add that no notice of the publication can convey an adequate idea of the amount of valuable information and the mass of interesting matter to be discovered in these volumes. Our practice has been always to select for notice some of the more striking “lots,” or such as seem most likely to be of more immediate interest to authors; but this amounts to merely skimming over the surface of the subject, and looking out for what may be of general interest, whilst the publication is one that appeals essentially to individual tastes. The book lover is very seldom bent upon hearing of what is popular alone; he has his own tastes and his own interests, often of a very special and uncommon kind, and it is these that he will find gratified if he will for himself peruse the pages of Book-Prices Current, where the enormous diversity of the entries provides matter of the greatest interest for every serious bookman whatsoever his speciality may be. Numbers IL., II. and III. for 1913 contain records of the book sales for October 8, 1912, * A bi-monthly record of the prices at which books have been sold at auction. Vol. XXVII. » London: Elliot Stock. 1913. of THE AUTHOR. 29 to March 13, 1913. At the sale of a selection from the libraries of Mr. S. R. Crockett and Mr. G. E. Cower (Sotheby), first editions of Borrow’s works fetched prices running as high as £125 (‘The Zincali”’). In the same sale was offered Lewis’ ‘“‘ Tales of Wonder,” 1801, containing the first poems published by Sir Walter Scott (12s.). Lady Napier’s library, sold on November 11, 12, 18 (Sotheby), con- tained, among a number of interesting lots, twenty-eight different works (art books and others) by Stirling Maxwell, among which were many privately printed or presentation copies. In a miscellaneous sale (Sotheby, November 20, 21) “ Poliphili Hypnerotomachia,” 1499, sold for £111. A few days later the same salesman sold the “* Kelmscott Chawcer,’’ 1896, for £61. The library of Mr. H. J. Adams, of Enfield (Sotheby, December 2, 3, 4), exhibited a highly interesting collection of works on_ natural history. On December 16 Christie sold a first edition of Charlotte Bronté’s ‘‘ Jane Eyre ”’ for £27. Another particularly interesting collec- tion of books was that of Mr. H. Clutton (Puttick, December 17). It comprised a number of first and rare editions of Dickens, and the first English translation of ‘ Don Quixote,” by Thomas Shelton; the latter fetched £300. In a “Miscellaneous Collec- tion” sold by Sotheby on December 20, were included the rare second edition of ‘‘ Othello,” 1630 (£85), and Lord Byron’s “ Fugitive Pieces,” 1806. Of this work only three other copies (one of them imperfect) are known, and the present copy must have been one of the earliest printed, for it contains words that have been altered in the others; it sold for £445. This high price was exceeded by that paid for the first edition of Walton’s ‘‘ Compleat Angler,” 1635 (£500). Original drawings by various artists for ‘‘ Nicholas Nickleby,” “Old Curiosity Shop,” “‘ Our Mutual Friend,” were sold by Puttick (January 23, 24, 1913) for prices ranging from £4 15s. to £21. On February 13 the same firm sold other original drawings for the ‘“ Household Edition” of “Old Curiosity Shop,” ‘‘ Our Mutual Friend,” and “ Little Dorrit,’ at prices ranging from £1 7s. 6d. to £9 10s. On February 11 and the following days the very remarkable library of Mr. M. G. Dunn was sold (Sotheby), consisting of 684 lots of early manuscripts, incunabula, and old bindings. Here we can only regret that space does not permit of our quoting many of the entries at full length. On February 24 Messrs. Sotheby sold a large collection of books illustrating British and foreign military cos- tumes formed by Mr. S. M. Milne. The collec- tion sold for £2,759 14s. 6d. Another collection abounding in interesting books was a miscel- laneous collection sold by Messrs. Sotheby, March 5, 6, 7. Among them is the very noticeable entry, ‘‘ Erasmus Alphabetum Hebraicum et Grecum. Gaza (Theodore) de lingue Greece institutione liber secundus Erasmo Roterodami interprete,”’ 1518; a work that is apparently hitherto unknown. From the prices paid at various sales it is evident that among the works of recent authors first editions of books by Kate Greenaway, Andrew Lang, R. L. Stevenson, and Oscar Wilde, are much sought for and command high prices. The owners of such works should treasure them, as they are certainly valuable. Here, however, it may be added that Book- Prices Current is the only work from which any man can learn which of his books are valuable and which are not, and what is the actual value of those which are precious. Prices vary capriciously, and reliance can be placed only on this record, which is carefully brought up to date. ———__+-—.—_ ——_ THE STAGE CENSOR.* a " ESSRS. FOWELL AND PALMER have 7 produced a book which is at once entertaining and instructive. With the entertaining side of it we are not concerned here. Of the instructive side we shall attempt to give an idea by sketching, after the picture drawn by our authors, the origin of the Stage Censor. (Although the book is called simply “Censorship in England,” it deals only with the stage censorship.) We shall not follow the story down to the present day, but stop short when the historical merges into the modern and controversial. The Censor of Plays is a descendant of the old Lords of Misrule, who figured prominently in the Christmas festivities of medizeval times, both at Court and in the houses of the nobility. The earliest reference which can be traced to such a personage under the title of ‘** Master of the Revels ” isin a document of Edward III., dated 1347. Such a title did not at first imply permanence of office. In an account written in Elizabeth’s reign we read as follows: ‘* The Office of the Revels, as it shoulde seeme by reporte, hath in tymes past bene in that order that the prince beinge disposed to pastyme woulde at one tyme appoynte one persone, at * “Censorship in England,” by Frank Fowell and Frank Palmer. London: Frank Palmer. 30 sometyme an other, suche as for creditte, pleasaunte witte, and habilitye in learnynge he thought meete to be the master of the Revelles for that tyme, to sett fourthe suche devises as might be most agreable to the princes expectacion.”’ Since, however, people as eminent as the Earl of Essex acted as superintendent of the revels, we may, as Messrs. Fowell and Palmer say, be sure that it was not long before a minor, and possibly permanent, official was appointed by the superintendent, ‘‘ bothe to his own ease and the prince’s good service’; and, as the work of the office increased, several subordinate posts were created. The love of the Court for masquing provided the Master and his assistants with a good deal of drudgery, for ““masks, dresses, stuffs, and ornaments had to be obtained, architects, builders, carpenters, tailors, and embroiderers to be engaged, and the actual performances chosen and_ piloted to an acceptable conclusion.”” So far we can scarcely discern the germ of the censor. With the appointment in 1544 of Sir Thomas Cawarden as Master, the office became more important. Cawarden was appointed for life, his patent styling him Magister Iocorum Revelorum et Mascorum-omnium et singularium nostrorum vulgariter nuncupatorum Revells and Masks. His jurisdiction did not extend beyond the Court, though he tried to stretch his powers, and the terms of the patent (which were adopted as a model) were interpreted by one of his successors, Sir Henry Herbert, Master from 1623 to 1642 and from 1660 to 1663, as giving him a licensing authority over shows and performances generally. Both under Mary and under Elizabeth proclamations had been issued against the too great freedom of the stage, but the Revels office had not been specially associated with such action. The Masters exercised their selective and censorial rights with regard to entertainments pre- sented to the Sovereign. In 1574, however, a definite extension of authority was made necessary, when Elizabeth granted a patent to the Earl of Leicester’s players to act in all towns of the realm without molestation from the local magistrates. As a check on possible abuse of this privilege, the players were to have their plays “ seen and allowed ”’ by the Master of the Revels. Tilney, who became Master in 1579, seems to have given similar licences to other companies, but thereby brought himself into conflict with the Lord Mayor of London, who claimed, and indeed exercised, a censorial power within the City limits. So arose “a struggle between the Court and the representa- THE AUTHOR. : tives of the people for the control of the popular stage.” In this struggle the Court prevailed. A commission was appointed in 1589, the Arch- bishop of Canterbury and the Lord Mayor -being asked to nominate a representative each to act with Tilney. Before these three all companies of players were compelled to come and submit their books. The result was to make Tilney Licenser of Plays, his two co- adjutors soon ceasing to take an active share in the work. His successor, Sir George Buck, continued the process of magnifying the office, beginning tentatively to issue licences for the printing of plays in 1606. But it was Sir Henry Herbert who saw the real possibilities of the job. Acquiring the Mastership by purchase in 1623, he determined to interpret the vague wording of the Cawarden patent to the utmost personal advantage. He began to claim the right to license every form of public show or performance, including ‘‘ two droma- daries,” ‘‘a show of pictures in wax,” “a musical organ with divers motions in it,” ete., etc. He raised the fee for reading a play, once only 7s. per play, to £1 and sometimes £2. That this was a reading, not a licensing, fee is shown by an entry made by Herbert himself in his diary : ‘‘ Received from Kirke for a new play which I burnte for the ribaldry and offence that was in it, £2.” He revived Buck’s plan for printing licences ; and in every way grasped at what money could be made out of authors and actors, so that previously to the Civil War his income as Master was £4,000 a year. He bought the office, we may add, for £150 a year. After the Restoration, Herbert only nominally resumed his old position. The practical control of the stage passed by Royal warrant to Sir William Davenant and Tom Killigrew. Herbert fought against this usurpa- tion, as it seemed to him, for a time, but finally compounded with Killigrew and in 1663 abandoned his office to deputies of no import- ance. When he died, ten years later, Killigrew became Master of the Revels—‘ though it is doubtful if his authority was in any way increased by the appointment ’’—and_ con- tinued in the post till his own death in 1683, exercising his duties with extraordinary laxity. His son Charles succeeded him, and under William and Mary was obliged to be a very different kind of Censor. It was the era of Jeremy Collier’s “Short View of the Profane- ness and Immorality of the English Stage”; and the rake Tom Killigrew’s son “ assisted the reforming movement with embarrassing energy,’ indeed with oppressive austerity. THE AUTHOR. 31 On his death in 1725 he was succeeded by Charles Henry Lee, who “during nineteen years exercised such authority as was not opposed, and received such fees as were willingly paid.” The tendency was for the authority 1 in connection with the general con- trol of the theatre to revert to the Lord Chamberlain (who was all along the real power behind the Censor), and the Revels Office was discredited. The last Master seems to have been Lee’s successor, Solomon Dayrolle; but in 1737 the ancient jurisdiction of the office was transferred to a legally appointed Stage Licenser—who, by the Theatres Act of 2 George II., was ““the Lord Chamberlain of the King’s household for the time being.” The Duke of Grafton was Lord nee at the time, and he, in February, 1738, appointed W illiam Chetwynd as eae of the Stage, with a salary of £400 a year, and with a ‘deputy to assist him at £200 a year. And so, through Larpent, Colman, Charles Kemble, J. M. Kemble, Donne, Piggott, and G. A. Redford, we arrive to-day at the censorship of Charles Brookfield. +8 ++ CORRESPONDENCE. — + AUTHORS AND AGENTS. I. Dear Mr. WEtts,—I write to say that after thirty years of authorship, I find myself in agreement with you, rather than with Mr. Bennett, on the subject of the likely agent. I have never employed but one, once, and I think I could show that I have not lost by doing my business myself. The essential informity of the position of the agent as the representative of the author, is admirably shown in the paragraph of your Jetter in The Author, beginning, ‘“ Also let me assure the beginner.” It is the beginner who does not (perhaps may not) see that it is the necessity “ for keeping in’’ with the publishers, which makes the agent indifferent as to whose 19 per cent. he takes, except when the capital sum is going to be a large one, and then it is the beginner who suffers. If an author could have an agent entirely to himself, the situation would be quite different. My experience (on the whole) has been, that the agent is apt to become the servant of the other man, though he is paid by you—and that he is not generally of much use to you until you can do without him. At the same time I was well served by my one agent in my single transaction, and have on two occasions been truly well served by a dramatic agent. With kind regards, Hau Carne. P.S.—I can, however, very easily talk of circumstances in which an intermediary may do better for a man than he can do for himself. But the handing of yourself over, body and bones, in all the literary affairs of life, seems to me, with all respects for Mr. B.’s opinion, a childish absurdity. [We have much pleasure, with Mr. Hall Caine’s consent, in printing the above letter, in continuance of the correspondence that appeared in the July issue.—Ep1rTor. | at IL, Sir,—Since the stars of the first magnitude in the literary firmament have had their say, the views of one that is scarcely visible may be of interest. Before I was so fortunate as to get into the hands of one of the leading, if not the leading, agents, I did my own business, and was hundreds of pounds out of pocket thereby ; indeed, I have paid somewhat heavily to buy back rights I should never have signed away. Since that time, my income has trebled, and all business worries have been lifted from my shoulders. And this is the experience of most authors I have spoken with who are in the hands of good agents. Quite as a matter of curiosity, it would be interesting to know which of Mr. Wells’ books was mishandled by an agent and valuable rights parted with. Yours, etc., Horace W. C. NEwrtme. UNREVIEWED Books. Dear S1r,—Mr. Herbert Jenkins takes up the cudgels so valiantly for ‘ distressed literary editors”? that one would almost imagine him more at home in the editorial office of a popular daily than on the turf—as his closing paragraph implies! I do not think that literary editors have so hy been very mercilessly attacked in The Author, but perhaps Mr. Jenkins feels himself vulnerable in this matter and has haunting visions of piles of neglected and unreviewed books—for I prefer to look upon him as a littérateur (in spite 32 of his letter) and not as a “‘ bookie”! But, to be serious, I don’t think his letter throws much light on the vexed question, and I consider a great deal of what he says is beside the mark altogether. I like to think that literary editors are guided by principles of sanity, commonsense, and justice, and Mr. Jenkins’ remarks anent such incline one to infer that those he alludes to are hardly qualified for their responsible posts. But there are literary editors and literary editors, and the class that would be demoralised, and sit agape when confronted with problematical ‘‘ Golden Agates ’? by obscure authors, are outside the ale. Editors have their rules, customs, and prece- dents, but the question is whether some of these cannot be improved upon. But so many aspects of the subject of reviews of books have been already dealt with in The Author that I suppose it leaves nothing fresh to Mr. Jenkins to suggest, or he would point out a satisfactory solution. I do not see why literary editors should be singled out from among all members of the human race for special care and con- sideration; if they do their work conscientiously and methodically, why in the name of all that’s wonderful cannot they deal seriatim, day by day, in a businesslike spirit, with their share of the 18,000 books—a matter that comes within their province? If the staff, or the auciliary staff, is not adequate, the sooner things are readjusted the better. Surely, if 13,000 books are published, a publisher has to deal annually with a very large percentage of a much bigger number of MSS. ? and publishers either publish, or return unavailable manu- scripts at their own expense. The “ sorting out of ten thousand lots of stamps ”’ is too trivial a point to dwell on, though it suggests straining at a gnat and swallowing a camel !—for, somebody’s conscience is elastic over the volumes which have been perverted to some mythical, though no doubt praiseworthy, purpose ! It is refreshing to be told that books sent in are acknowledged under the heading of “Books Received,” but Mr. Jenkins should not take ‘‘ Reviews” too seriously, and imagine that in all cases they are inspired ; neither should he confound a few inches of space in a periodical with the winning post at Epsom! for there are other tests, and if a book is temporarily disqualified by non- recognition in a certain number, or section of august journals, it may yet win in the race of Time. : Yours faithfully, F. R. M. Furspon. THE AUTHOR. Epirors AND THEIR CONTRIBUTORS. Str,—Is there no unwritten law, no code of manners for editors with regard to their treatment of manuscripts? Have they no rules for, no authority over the menials to whom they entrust the task of returning the work they cannot or will not use? These emphatic queries have been engendered in me by receiving in a torn, soiled, or disfigured condition many a manuscript I had sent out in an immaculate state. Sometimes when the manuscript is too thick, it escapes the maltreatment of being folded in new places, but almost invariably when a thin new manuscript of one or two pages, all crisp and clean, is submitted, it is returned (when not accepted) in a crumpled condition and folded, with malice prepense, into a new shape. This occurs even when envelopes of the proper size are enclosed. What diabolical wantonness actuates the office factotum needlessly to fold an innocent manuscript into new and tell- tale creases—thus ruining or debasing the copy for use elsewhere—is beyond me. Perhaps an author’s black list might do something towards enforcing the rules of the game ? Editors have a certain right to refuse to consider or read manuscripts, but in the light of modern journalism and fair play they have no right to damage, destroy, or confiscate the property of others. Another rank abuse which cries aloud for regulation is the interminable length of time a manuscript is sometimes retained before publication. One of my own was held over for more than six years. Then there are the pericdicals which keep the author waiting for weeks and months after publication ere they deign to send him payment. Lance-HEab. EEG REVIEWS IN FRANCE. Srr,—If any authors who read this care to receive notices of their books in La Nouvelle Revue, will they ask their publishers to send a review copy to the Editor, Monsieur Paul Louis Hervier, 23, Rue de Beaumont, Bourges. (Cher), France? He takes a great interest in English literature, and gives interesting and painstaking reviews. He cannot give space to novels, but welcomes all other kind of books. La Nouvelle Revue is one of the best known reviews in France. Yours truly, Paris, MauprE ANNESLEY. September 16. 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. 24 Issue 01 (October 1913) Subject The topic of the resource The Author, Vol. 24 Issue 01 (October 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-10-01-The-Author-24-1 publications The Author https://historysoa.com/files/original/4/531/1914-The-Author-24-index.pdf b4e333fc4d365aaeffae9ad7d116095b 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/. 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Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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 The Author, 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 https://historysoa.com/files/original/5/529/1913-06-01-The-Author-23-9.pdf fb1b8dccdb4a8611e1586bcac1888654 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-06-01 Volume 23 Issue 9 Pages Page range in volume 249–278 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130601 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che FOUNDED BY SIR Muthor. (The Organ of the Incorporated Society of Authors. Monthly.) WALTER BESANT. ay) : Vor. XXTII.—No. 9. JUNE 1, 1913. [PRIcE SIXPENCE. TELEPHONE NuMBER: 374 VICTORIA. + TELEGRAPHIC ADDRESS: : AUTORIDAD, LONDON. a 0 NOTICES. —_+-~> + OR the opinions expressed in papers that 4 are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND: CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not _ forward to the Secretary the modest 5s. 6d. _ subscription for the year. ' Communications for The Author should be _ addressed to the offices of the Society, 1, Cen- ' tral Buildings, Tothill Street, Westminster, $§.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 shouid be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. eg THE SOCIETY’S FUNDS. ee ek “[_\ROM time to time members of the Society K desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other "2 250 matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. Ce See oe THE PENSION FUND. ———1 — le January, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld, The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. £ os. 2. Local Loans ........+5.2+005+% 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ............ 250 0 0 Egyptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Cape of Good Hope 34% Inscribed Stock. 0.0.0.5. ten 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock . 228 0 0 New Zealand 34% Stock ....... 247 9 6 Trish Land 22% Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1927—57 ........-.45- 4388 2 4 Jamaica 34% Stock, 1919—49 .. 182 18 6 Mauritius 4% 1987 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1938 ...... 198 8 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- Aynary Stock ..64.....5.5.55. 232 0 0 THE AUTHOR. ‘prior to October, nor does it include sub- Nominal Value. s. d. $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds .......-.+- 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares ..........-- 250 0 O 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ..........-- 8 Central Argentine Railway £10 Preference Shares, New Issue.. 30 0 O- PENSION FUND. age Tue list printed below includes all fresh dona- tions and subscriptions (7.é., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October 1, 1912. It does not include either donations given scriptions paid in compliance with promises made before it. Subscriptions. 1912. £ 5. 4 Oct. 10, Escott, T. H. S. . . 0-5 @ Oct. 10, Henderson, R. W. Wright. 0 5 0 Oct. 10, Knowles, Miss M. W. - 0 5 8 Oct. 11, Buckley, Reginald . 0 5 O Oct. 12, Walshe, Douglas 010 0 Oct. 12, ‘‘ Penmark”’ . : 010 0 Oct. 15, Sinclair, Miss Edith. 010 6 Oct. 16, Markino, Yoshio 1 1°06 Oct. 20, Fiamingo, Carlo 70s 8 Oct. 29, Henley, Mrs. . 4 yo ia 8 Nov. 8, Jane, L. Cecil . . 0 8 6 Nov. 14, Gibb, W. 0 5 0 Dec. 4, De Brath, SS. . : 0 5 0 Dec. 4, Sephton, The Rev. J. 0 5 0 Dec. 4, Cooper, Miss Marjorie 010 0 Dec. 7, MacRitchie, David 0 5 OF Dec. 11, Fagan, James B. 10 04 Dec. 27, Dawson, Forbes. . 010 6 1913. Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). . . Jan. 9, Gibson, Frank . Jan. 29, Blackley, Miss E. L. ‘. Jan. 31, Annesley, Miss Maude . Feb. 6, Rothenstein, Albert . ‘ Feb. 10, Bradshaw, Percy V. . April 8, Caulfield-Stoker, TT. ‘ 2° eeocescsceo — Aontonane SAaAanDSSS vtDec. | 7 ec | \oafDec. oatDec. THE AUTHOR. 251 Donations. 7 1912. ‘oyNov. 20, Kennard, Mrs. N. H. : A, McEwan, Miss M. S. . 4, Kennedy, E. B. . : 11, Begarnie, George ; 11, Tanner, James T. . : 11, Toplis, Miss Grace . ve(Dec. 14, Watson, Mrs. Herbert A.. - \9afDec. 14, French, Mrs. Warner : (Dec. ri iofDec. aa(Dec. 17, Smith, Miss Sheila Kaye . 17, Marras, Mowbray . ‘ 27, Edwards, Percy J. : oan 1913. ag Jan. ‘a Jan. igJan. is Jan. ‘eiJan. + aed an. : ald an. Jon. ‘elJan. .asiJan. aelJan. _asiJan. al Jan. ‘si Jan. ialJan. we isi Jan. atl Jan. 48 Jan. A alJan. ' agLJan. 48 Jan. ‘cal Jan. | “i Jan. 1, Risque, W. H. ‘ 1, Rankin, Mrs. F. M. 2, Short, Miss L. M. 2. Mackenzie, Miss J. A 2, Webling, Miss Peggy Z 3, Harris, “Mrs. E. H.. : S, Church, Sir Arthur, K.C.V. O., ete. : 4, Douglas, James A. : ; A, Grant, Lady Sybil 6, Haultain, Arnold 6, Beveridge, Mrs. 2 6, Clark, The Rev. Henry 6, Ralli, C. Scaramanja . : 6, Lathbury, Miss Eva . 6, Pryce, Richard - 7, Gibson Miss L. S. : 10, K. ‘ : 10, Ford, Miss May 12, Greenstreet, W. J. 14, Anon 15, Maude Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame , 20, P. H. and M.K. . : . 22, Smith, Herbert W. . ‘ .25, Anon. . ‘ ‘ . 27, Vernede, R. E. : . 29, Plowman, Miss Mary . . 29, Todd, Miss Margaret, M.D. , 31, J acobs, W. W. c : 1, Davy, Mrs. E.M. . . 8, Abraham, J. J. . . 4, Gibbs, F. L. A. : . 4, Buckrose, J. E. ‘ : . 4, Balme, Mrs. Nettleton : . 6, Coleridge, The Hon. Gilbert . 6, Machen, Arthur i . 6, Romane-James, Mrs. . . 6, Weston, Miss Lydia . : . 14, Saies, Mrs. F. H. (in addi- tion to her subscription) Feb. 14, O’Higgins, H. J. é a aH Ooo eeoceoogaonoonoancoooooecooooeooooooo cooooo ocooooeoooce: a oe OR Or OLOLO O- _ i COOCSCSCO CHOCO CONMSCSCOMM OHTA A OO bent tet a oot QQaQek Ke OH OM ONE NPR OOCOHR EK ORM AAO OOOOH NS OH ooo COFMPRF OF OCrFONFOSCOCOCOBE OF COOCOCOBROWOORNWH! = et & ed Ror oN: Feb. 15, Stephens, Dr. Ricardo Feb. 15, Jones, Miss E. H. Feb. 17, Whibley, Charles Feb. 22, Probert, W. S. Feb. 24, S. F. G. Feb. 27, XX. Pen Club : Mar. 7, Keating, The Rev. J. Lloyd. . - Mar. 7, Tharp, Robert C. . : Mar. 10, Hall, H. Fielding . : Mar. 18, Moffatt, Miss Beatrice Mar. 14, Bennett, Arnold . Mar. 17, Michell, The Right Hon. Sir Lewis, K.C.V.O, . Mar. 17, Travers, Miss Rosalind : Mar. 26, Hinkson, H. A. A 5 Mar. 26, Anon. . : . : April 2, Daniel, E. J. . : ‘ April 2, Hain, H. M. : April 7, Taylor, Miss Susette M. April 7, Harding, Newman . April 9, Strachey, Miss Amabel April 10, Aspinall, Algernon . April 15, Craig, Gordon naomoso OrRoooh SO Or Or moocoocoourorF ececooconooeoso SSeSoSoo cocoa eo oe SK Oranano ore ar oH CoMMITTEE’S CONFERENCE WITH EDITORS AND . NEWSPAPER PROPRIETORS. ene Durrine the past few months a considerable correspondence has passed between the Com- mittee of Management of the Society and the editors and publishers of papers, in order, if possible, to agree to some _ standardised arrangement for the payment of accepted contributions. It will be remembered that the committee notes published in the May issue of The Author contained a reference to a proposal to hold a conference on the subject in that month. Accordingly a circular was forwarded to the editors of magazines, putting forward the following proposal, that accepted articles, stories and illustrations should be paid for on publication or within six months from acceptance, whichever should be the shorter period. A number of letters were received in response and an influential gathering met to discuss the question. It was found impossible to pass any definite resolution at the meeting owing to the fact that some of the editors present were bound to refer the matter to the proprietors of the papers they represented, but they promised to do this, and the meeting accordingly was adjourned till Thursday, 252 June 19, when it is hoped that some definite issue may be reached, which it will be possible to announce in The Author. Dramatic SuB-COMMITTEE. Tur May meeting of the Dramatic Sub- Committee was held at the offices of the Society on Friday, May 23. After the minutes of the previous meeting had been read and signed, on a letter received by Mr. Bernard Shaw from Sir Herbert Beerbohm Tree the question of meeting delegates of the West End‘ Managers’ Association was discussed. It was decided that Mr. Shaw, Mr. Carton, Mr. Jerome and the secretary, subject to their consent, should act as delegates of the Dramatic Sub-Committee, and the secretary was instructed to write to the Society of West End Managers with a view to a meeting, if possible, early in June. The question of amateur rights was next dealt with, and a letter from the Association of Amateur Dramatic Clubs was laid before the mecting. The secretary was appointed as delegate to meet the association, and to discuss with that body the possibility of getting into touch with their members for the produc- tion of plays by the dramatists of the Society. A letter from Mr. H. M. Paull was also laid before the meeting, as also was a letter from Mrs. Maxwell Armfield. The secretary received instructions to reply. The questions contained in both the letters referred to amateur performances and the Collection Bureau of the Society, which is about to circularise the amateur clubs on behalf of the members. The secretary then reported to the sub- committee the plays with which the Bureau was dealing, and the number of dramatists for whom it was acting. The question of foreign dramatic agents appointed by the Society was considered and the sub-committee suggested that their names and addresses should be published monthly in The Author. It was decided to adjourn the Dramatic Conference till the autumn, after the meeting with the delegates of the West End Managers’ Association. The sub-committee decided to ask the Committee of Management to obtain the opinion of a Dutch lawyer on the peculiar position arising out of the fact that Holland had only just joined the Berlin Convention. It appears that the Dutch are anxious to produce THE AUTHOR. English plays, but the question has arisen ag to the rights both of English dramatists and Dutch translators. The secretary then reported the legal cases — which had been taken up by the Society, After the discussion of the details of one case the sub-committee passed a recommendation ~ to the Committee of Management that it — would be advisable to submit the matter to arbitration. i The consideration of the Dramatic Contract and Pamphlet was next commenced, and after considerable discussion the secretary was instructed to draft a fresh contract, for a period of years, between dramatists and managers. as this seemed to the sub-committee a more suitable form of contract for the benefit o members than the contract already embodied in the pamphlet. —_+ =< ComposERS’ SUB-COMMITTEE. A MEETING of the Composers’ Sub-Com. mittee was held at the offices of the Society o Saturday, May 26. After reading the minute of the former meeting, a circular, which it wai proposed to send round to composers, wa considered and settled. The secretary wai instructed to send it round as soon as possibl that composers might be given an opportunit of answering the questions put before them, with a view to a closer combination of the profession. The sub-committee then considered thi names of members of the Society who might b suggested to the Committee of Managemen to fill the vacancy caused by the resignatio of Mr. Herbert Sullivan, and the secretary wa instructed to put forward their recommen dation at the next meeting. It had been suggested that the Mechanica Instrument Trade should be _ invited co-operate with the Society in order to obtai a joint opinion from counsel on question relating to copyright and mechanical repro duction. The secretary reported to the sub committee that the trade’ were unwilling adopt the suggestion, giving as their reaso the fact that they had, already, taken man opinions and that they did not see that an, good purpose would be served by taking further opinion. The sub-committee regrette they had adopted this view, as it seemed them that a joint opinion might have bee very useful to all parties and, if all parties ha decided to abide by it, would have saved considerable amount of litigation in the fut THE AUTHOR. ‘A contract proposed by a German Society _ fin respect to the collection of mechanical ‘epinstrument fees was next considered, and sathe secretary was instructed to write for “pfurther particulars in the hope that a satis- ioefactory agreement might be settled, by which ermembers of the Society could have their »rmechanical instrument fees collected in *o»Germany. A letter from a French society for the lecollection of fees was also considered, and the ‘ssecretary was instructed to ask for further jaidetails. ! The replies from music publishers to a ovicircular sent to them, on the instructions of eithe sub-committee, on the question of the “uniform rendering of accounts, were next soconsidered, and the secretary was instructed / eto tabulate the answers and to print an article son the matter in The Author. : After due consideration it was found “impossible to adopt a proposal to circularise Jpvillage musical clubs with a list of composers’ tovworks suitable for reproduction by their com- ‘“semunities. With regret the sub-committee felt “compelled to abandon the idea. The view of sdthe sub-committee was that the matter was afone for the publishers rather than for the sor Society. —_ + <-> — Cases. Durie the month twelve cases have passed «i through the secretary’s hands. It is curious '@ to note the increasing number of cases abroad. iC Of the twelve, four are foreign cases, two being “in the United States, and two in France. *s Last month four of the total number were ’# cases in foreign countries, one beingin Hungary, +7 two in the United States and one in Russia. 1The majority of cases this month are disputes fon terms of agreement. Five come under this so head ; of these, two have been settled, but the 1% other three are still open. Disputes on agree- of ments generally take a longer time to arrange sf than ordinary claims for money and accounts, 9% because, as a rule, a considerable amount of ‘1, correspondence is necessary. (There are four cases of claims for the ‘9 return of MSS. Two of these have been om successful and the MSS. have been returned 9 to the members ; in the third case, the person 6 to whom the MS. was sent has made every »-effort to find it, but the author had no evidence © to show that it actually came to hand. The ‘a6 last case has only recently come to the office. "There are two cases for money and accounts. ‘one being in France and one in the United r 253 States. These are both open, as sufficient time has not yet elapsed in which to receive a reply. The last question is one of accounts which has only come to the office just before going to press. There are two cases open from former months, one being in Hungary. As it is a dispute on an agreement and therefore a matter for negotiation, some time must elapse before it is finally settled, but the Socicty’s lawyers in Hungary have been successful in getting into favourable communication with the defendants. The second is an ordinary question of settlement of ageeement and as has already been stated, settlements of disputes on agreements take a longer time than mere questions of claims for liquidated amounts. Elections. Arthurs, George . . 22, Shandon Road, S.W. : Ivy Cottage, Clare- morris, Co. Mayo. 97, Finborough Road, Earl’s Court. Knocke - sur - mer, Belgium. The Towers, dlesham. Oaklands, Elstree. Lyceum Club, Picca- dilly, W. 43, Chisholm Road, Croydon. Aylward, Frank Banner, Joseph Brentwood, Evelyn Elvey, G. F. Handel Win- Everett, P. W. . S Graham, Miss Bertha N. Hardy, Dr. H. Nelson, F.R.C.S., Edin. Hosie, Miss Lillie C. Jerningham, Charles E. 14, Pelham Crescent, Thurloe Square,S.W. c/o Messrs. H. Massie & Co., 21, Tavistock Street, Covent Gar- dens, W.C. Landi, Caroline F. M., Countess Zanardi Louis, Edward Z Manahan, William A. . 110, Seville Place, North Strand, Dub- lin. 12b, London Road, St. Albans. Whitehall Hotel, 18, Montague Street, Russell Square, and Summit, W.C. ; New Jersey, U.S.A., 36, Priory Terrace, Stamford, Lines. Nuttall, G. Clarke , Porter, Grace Cleveland Raythorne, Miss Valerie 254 Temple, The Rev. W. . The Hall, Repton, Burton-on-Trent. . The Towers, St. Stephens Road, Bath. West, Mrs. Katherine East S: Sussex. Willis, William 20, Belmont Road, Nicholas. Twickenham, S.W. Talbot, Mrs. : Grinstead, ——_+—>—_+—___—_ BOOKS PUBLISHED BY MEMBERS. —— + While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ART. Wantep: A Mruistry oF Fine Arts. DewHurst. Reprinted from the 84 x 54. 101 pp. Hugh Rees. 1s. n. BIOGRAPHY. Wui1am Morris. A Study in Personality. By A. Compton Rickert. 82 X 5}. 325 pp. Herbert Jenkins. 7s. 6d. n. Goxtpwin SMITH’s CoRRESPONDENCE. Haviram. 9 x 53. 540 pp. Werner Laurie. BOOKS OF REFERENCE. Tue SraresMan’s YuAR Boor. 1913. Edited by J. Scorr Kerrie, LL.D. Assisted by M. Epsrzrn, Ph.D. 74 x 43. 1452 pp. Macmillan. 10s. 6d. n. DRAMA. Prays or Onp Japan. Tue “No.” By Mane C. Sroxzs, D.Sc., and Proressor Jogi SakuRal. With a Preface by His Excettency Baron Karo. 8} X 54. 103 pp. Heinemann. 5s. n. Tus Marrrep Woman. A Play in Three Parts. By Cc. B. Fernatp. 74x 5. 111 pp. Sidgwick & Jackson. 3s. 6d. n. Toe “Minp THE Paint” GIRL. Acts. By Arraur W. PINzERO. Heinemann. ls. 6d. FICTION. Lorz or PROSERPINE. By MauricE HEWLETT. 288 pp. Macmillan. 5s. n. TurovcH THE Winpow. By Mary E. Many. 319 pp. Mills & Boon. 6s. Tue Bonp or Freepom. By A. B. SPENS. 316 pp. Everett. 6s. Bistine Dawn. By Hanoitp Bzcain. 7} x 5. Hodder & Stoughton. 68. Tun Destroyine ANGEL. By Louis J. VANCE. 309 pp. Grant Richards. 68. Ix tue Grre or Destiny. By Cuaruzs E. 74 x 5. 301 pp. George Allen. Tue Sxy-Line. By ErueEL CaNNIne. Digby, Long. 6s. By WyYNFORD Art Chronicle. Edited by ARNOLD 18s. n. A Comedy in Four 62 x 5. 234 pp. 72 x Sh. 72 x 5. 7% x 5. 312 pp. 7} x 5. SrERNY. 7h x 5. 381 pp. THE AUTAOR. Hearts at War. By Erris ADELAIDE ROWLANDS_ 72x 5. 336 pp. Hurst & Blackett. 6s. Oncz Rounp. By SterHen Knorr. 73 x 5. 366 pp, Murray & Evenden. 6s. Love Lerrers or A WorLDLY Woman, By Mrs. W. K. Cuirrorp. Newand Enlarged Edition, 277 pp. Con- stable. 2s. 6d, n. Tur Pursuit or Mr. Favret. 6} x 4}. 380 pp. Nelson. 7d. n. Tur Sprvster. By Husert Waxes. (Cheap Edition) 74 x 43. 320 pp. John Long. Is. n. I wut Repay. By Tae Baroness Onczy. 74 x 44. Hodder & Stoughton. Is. n. So ir Is WITH THE DaMSEL. By Nora VYNNE. Stanley Paul. 6s. Tun Kryepom. By H. ErspaLe Goap. pp. Heinemann. 6s. Tur Hovse or Sanps. By L. M. Wart. 312 pp. Martin Secker. 6s. Mr. Laxwortuy’s ADVENTURES. By E. P. OPPENHEIM 7% x 5. 312 pp. Cassell. 3s. 6d. Tur Mixp Reaper. By Max RITTENBERG. 325 pp. Appletons. 6s. : Tus Gops ARE Atuirst. Authorised Translation. B A. Attinson. 8} x 5}. 285 pp. Lane. 6s. Tue Pomp oF THE Lavierres. By GisERT PARKER 64 x 4}. 223 pp. Methuen. 7d. n. : Tue STRENGTH OF THE Hits. By HaLirwELt SUTCLIFFE- 732 x 54. 307 pp. Hatr anp Harr TRAGEDY. By A. R. Horn. 8 X 5}. E1iza’s Son. By Barry Pain. 7} X 5. Cassell. Is. n. ] Tas Woorne or Miranwy. Second Edition. By Eprru C. Kenyon. Holden & Hardingham. 6s. THe WINNING oF GwENoRA. By Epira C. Kenyon- Holden & Hardingham. 6s. HISTORY. A GxgweraL History oF THE WORLD. By Oscar BROWNING, Senior Fellow of King’s College, Cambridge,. ete. With Maps and Genealogical Ta les. 74 X 5. 799 pp. Arnold. 7s. 6d. n. School Edition. 5s. n. it x 5 Stanley Paul. 6s. Scenes in Black and White. 58, 8 119 pp. 340 pp. Black. LAW, Pmorace Law. Being the Pilotage Act, 1913. With Introduction, Notes and Appendices. By E. AYLMER. Diasy, Lieutenant R.N. (retired), Secretary to Depart- mental Committee of Pilotage, 1909—11. Barrister-at- Law, and 8. D. Corz, Member of the Departmental © Committee on Pilotage, 1909—11, Solicitor of the ~ Supreme Court. 8} X Bf. 108 pp. Sweet & Maxwell.” _ 56. nD. LITERARY. Jovous Garp. By A. C. BEnson. 7x 5. 235 pp- Murray. 3s. 6d. n. THe VULGATE VERSION OF THE ARTHURIAN RoMANCES. © Edited from Manuscripts in the British Museum. By — Hi. Oskar Sommer. Vol. VI., Le Aventures ou las: Queste del Saint Graal: La Mort de Roi Artus.. 12 x 94.’ 390 pp. Washington : The Carnegie Insti tute of Washington. : Tan Joy or THE THEaTRE. By GitpeRT CANNANS 7x 5. Batsford. 2s. n. , Tur Country. By E. THomas. 7 X 5. 60 pp. Bats ford. 2s, n. MISCELLANEOUS. ‘Tan Perrect GentLEMaN. A guide to Social Aspirants. By Harry GRraHAM. New Edition. 7$ x 5. 212 pp Arnold. 2s. 6d. n. NATURAL HISTORY. ‘oul FLowrrLess Puants. How and Where they Grow. i ‘By S. Lzonarp Bastry. 8} x 5}. 152 pp. Cassell. ‘Oo 68. n. “if Tur Brrps or Austra. By ‘sf ‘~-Vol. IIT., Part II. 143 x 10}. 105—204 pp.. SOCIOLOGY. ~ | Inprviptcm wunp STaat: UNTERSUCHUNGEN UBER DIE nied GRUNDLAGE DER Kuttur. By GrorGEs CHATTERTON- ca . Hin, Ph.D. Verlag von oa. J.C. 'B. Mohr. G. M. Marraews Witherby xvii x 207 pp. Tiibingen: TOPOGRAPHY. By Himatre BELLoc. 7s. 6d. n. TRAVEL. c70) Queer THINGS ABOUT JAPAN. By Dovetas SLADEN. Fourth Edition, to which is added a Life of the late “ +Emperor of Japan. 8} x 54. 443 pp. Kegan Paul. : 6s. n. /an—) me Conressions oF A TENDERFOOT. Grant Richards. 10s. 6d. ‘a— Tue Stane STREET. 83 x 6. 304 pp. Constable. By Ratpx Stock. — re MITERARY, DRAMATIC, AND MUSICAL NOTES. Ts HE late Professor Goldwin Smith’s Bt ‘Correspondence’? has been _ pub- : lished by his literary executor, Mr. “@* Arnold Haultain, through Mr. T. Werner I Laurie. The book, which is demy §8vo, 560 pages, with illustrations, costs 18s. net, “ee .and comprises letters written, not only by _ Goldwin Smith, but also to him by Matthew Arnold, W. E. Gladstone, Frederick Harrison, Lord Cromer, and many other famous people, living and dead. The ‘Life of the Right Hon. Sir Alfred “Comyn Lyall,” by Sir Mortimer Durand (Messrs. Blackwood & Sons, 16s. net), noticed in another column. M. Maurice Bourgeois, the sole authorised French translator and producer of the late J. M. Synge’s “Playboy of the Western World ” and ‘‘ Well of the Saints,” is bringing out, in September, through Messrs. Constable, .a work entitled ‘“‘ John Milligan Synge and the Irish Theatre.” Mr. Douglas Sladen’s new novel is ‘‘ The ‘Curse of the Nile ’’—a story of Egypt in Khar- tum and Omdurman days. The publishers -are Messrs. Stanley Paul & Co. Messrs. Duckworth & Co. publish Mr. J. ‘Quigley’s “‘ Leandro Ramon Garrido: His Life and Art,” with twenty-six full-page ‘reproductions of the painter’s art. is 5s. net. THE AUTHOR. The price 255 Dr. Henry Lansdell has brought out the fourth part of his history of “ Princess 4lfrida’s Charity” (Messrs. Burnside, Ltd., 6d., by post 7d.), describing Morden College under its early trustees, ete. ** Pilotage Law ”’ (described in the sub-title as ‘* The Pilotage Act, 1913, with Introduction, Notes, and Appendices’) is the joint pro- duction of Messrs. E. Aylmer Digby, lieutenant R.N., retired, and Sanford D. Cole, author of ‘* The Shipmaster’s Handbook to the Merchant Shipping Acts,” etc. Messrs. Sweet & Maxwell are the publishers. Mr. Humfrey Jordan’s novel, ‘“‘ Patchwork Comedy,” is being produced by Messrs. Put- nam in three editions—English, American, and Australian. ‘“Feigning or Folly’ is the name of Miss A. V. Dutton’s latest story (Messrs. Heath, Cranton & Ouseley). Mrs. J. G. Frazer has produced, through Messrs. Heffer & Sons, of Cambridge, ‘* First Aid to the Servantless,” a book for all who would reduce the work of the house to a minimum without sacrificing its comforts. The price is 1s. net, and 2,000 copies have already been sold. Mr. R. H. Forster, the Northumbrian author, is bringing out with Messrs. John Long, Ltd., ** The Little Maister,”’ another historical novel dealing with his favourite portion of England. Mr. R. F. Johnston, author of ‘‘ From Peking to Mandalay,” ete., has written a book on ** Buddhist China,”’ which is to be published by Mr. John Murray. Miss Grace Porter’s forthcoming work will be a collection of traditional negro plantation singing-games, most of them transcribed by the author with the guidance of an old negress ; to which is added a group of French Canadian folk singing-games played by the “‘ Habitants.” It will be published by Messrs. Curwen. “A Grey Life,” by ‘“‘ Rita’ (Mrs. Desmond Humphreys), is already in its fourth edition. Under the title of “Letters to Jack’s Mother,’ Mr. Edgar W. Martin has written a little pamphlet on the training of a child—at the request of a lady social worker in Bir- mingham. Messrs. Cornish Brothers, of that city, publish it at 1s. 8d. a dozen copies, including postage. ** Life’s Many Colours” is a collection of essays by Mr. J. C. Wright, F.R.S.L. A new and cheaper edition of ‘‘ The Perfect Gentleman: A Guide to Social Aspirants,”’ by Captain Harry Graham, has been issued by Mr. Edward Arnold. The pen-and-ink sketches by Mr.. Lewis Baumer are included. 256 Mr. Ralph Stock, whose travel book, “ The Confessions of a Tenderfoot,” is chronicled elsewhere in this issue, has published a novel, entitled ‘‘ The Pyjama Man,” through Messrs.: Hutchinson & Co., during the past month. The first book is a record of the author’s world wanderings and experiences during the last twelve years in Canada, America, the South Pacific Islands, and Australia, illustrated with. eighty-five photographs taken by Mr. Stock. The second book is the love story of a young Englishman in Australia. It is announced that this spring MM. Payot & Cie., of Lausanne, intend to issue a French translation, by E. Combe, of Mr. W. A. B. Coolidge’s book entitled ‘‘ The Alps in Nature and History” (published by Messrs. Methuen in 1908). Mr. Coolidge asks us to state that this translation has been neither authorised nor approved by him, so that he declines to be held responsible for any mistakes or alterations that may be contained therein. Mr. Basil Stewart edits ‘‘ The Lecture Year Book, 1913-4,’ which Messrs. Heath, Cranton & Ouseley publish at 3s. 6d. net. Lecturers, the Preface states, are perhaps the only pro- fessional class hitherto without their annual reference book, and this is an endeavour to supply the lack. Portraits of various pro- minent lecturers and lecture-secretaries are included. “Christopher Columbus: An Historic Drama in Four Acts,’’ is published for the author, Mr. Roland Hill, by Messrs. Sampson, Low, Marston & Co. ‘People (thither coming out of a region wherein disasters are met as if they were a jest) whom You may Meet at the Fair ” is the name given by Mr. Adair Welcker, of Berkeley, Cali- fornia, to a work of which a copy has been forwarded to us by him. We take a passage from the Foreword: ‘‘ One of the great labors that through this book will eventually be seen to have been accomplished is this: All pub- lishers, and all authors of the world, are to be shown that to a work not miscalled ‘ literature ’ will the attention of mankind be, to the limit of its reading capacity, given, without the adoption into the world of business by any publisher, and use . . . of the various methods that by prescription have become the property of (and therefore of which they should not be despoiled) mendicants — beggars — lazaroni.” In other words, Mr. Welcker has published the book himself. We regret to record the death, on April 25, of Mrs. Harcourt-Roe, of Hurst, Berks, for many years a member of the Society. Her THE AUTHOR. chief literary work lay in novel writing, though her latest publication, ‘ as a March Hare,” or “The Land of Shadows,” could — hardly be designated as such, being a political skit. Among her novels were ‘‘ The Bachelor Vicar of Newforth?” ‘‘ Whose Wife?” ‘* The Silent Room,” ‘‘ A Man of Mystery,” ete., all of which earned the appreciation of her public, In connection with *‘ A Man of Mystery ”’ Mrs. Harcourt-Roe received many letters from the late Lady Isabel Burton and others on the subject of its exposition of the Buddhist religion and its suggestion of the force of will- power. Her favourite line of thought was of a high spiritual order, thrown into the form of a novel, and she took great interest in all literary affairs. Soho Square—‘“‘the prettiest square in London,”’ according to Sir Walter Besant— has been the scene of a reception by Messrs. A. and C. Black to the contributors of the ‘*Englishwoman’s Year Book,’’ one of the many annuals issued by them. The guests. were received by the editor, Miss G. E. Mitton, supported by the consultative committee, Lady Strachey, Lady Huggins, Mrs. Hertha Ayrton, M.1.E.E., Miss S. A. Burstall, M.A., Mrs. J. R. Green, and Dr. Margaret Todd; also by Mr. Adam Black and his partner, and other mem- bers of the firm. After tea the many treasures in possession of Messrs. Black were displayed, including the famous interleaved set of the Waverley Novels, in which Sir Walter Scott made his additions and corrections for the final edition. DraMarIc. At the Court Theatre, on May 12, Miss Horniman revived “The Pigeon,” Mr. John Galsworthy’s three-act fantasy, originally pro- duced at the same theatre a year and a half ago. The sketch ‘“‘ The Widow Woos,” which is now the curtain-raiser to “* The Headmaster ” at the Playhouse, is a dramatisation by Mrs. Francis Blundell and Mr. Sydney Valentine of a short story by the former. On May 17 a new musical play, “ The Mar- riage Market,”’ was produced at Daly’s Theatre, being the work of Messrs. Brody and Martos, adapted for the English stage by Miss Gladys Unger, with lyrics by Messrs. Arthur Anderson and Adrain Ross, and music by Mr. V. Jacobi. On May 29 Mr. Bernard Shaw’s “ Cesar and Cleopatra ”’ was played by Mr. Forbes Robert- son for the last time at Drury Lane. On the following day there was a revival of the dramatic version of Mr. Rudyard Kipling’s “The Light that Failed.” THE AUTHOR. _ At the Aldwych Theatre, from May 27 to -/May 31, a new musical play, “‘ Claude Abroad,” swas staged, in aid of the Middlesex Hospital. The book was by Mr. and Mrs. Charles Scott- eaatty, and the music by Mr. Charles Scott- asatty, Sir Alfred Scott-Gatty, and Mr. Cecil oForsyth. ‘| During the Croydon Repertory Season, at uche Grand Theatre, Mr. Keble Howard pre- -asented, for the third week, Mr. Charles ~9McEvoy’s four-act comedy, “* The Situation at »Newbury,”’ first seen at the Liverpool Reper- scory Theatre last year. MUSICAL. _ At the Queen’s Hall, on the evening of aMay 6, the London Choral Society gave an anniversary concert in memory of King 5Edward’s death, May 6, 1910. The pro- “sgramme consisted chiefly of works by Miss ~sMargaret Meredith, including settings of Mr. biRudyard’s Kipling’s “‘ Recessional’”’ and Mr. “wOwen Seaman’s ‘“ Passing of King Edward IVIL.,” for choir, organ, and piano. Among the »oerformers were Sefior Casals (violoncello), »2iMiss Ada Forrest, Miss Phyllis Lett, and Mr. s9cecil Fanning (vocalists), and Miss Meredith wterself (pianoforte). The whole concert was seleserving of a larger audience than was »eooresent ; but, as it was, encores lengthened it © yy nearly half an hour. ——_—__—_—_+——_e_—__. PARIS NOTES. — a [ A MAISON ”’ is the title of the latest novel by Henry Bordeaux. It is the autobiography of a boy, Francis, “iavhich, with the exception of certain details, ‘uinight be the autobiography of hundreds of “iaoys of provincial France of to-day. The shitle, “La Maison”? would be extremely oth ifficult to render in English, as it means here “ She ancestral house, the symbol of the past, ') f£ the family which has inhabited it for /ofenerations. It is one of the most essentially rench books which has been published for long time and, in order to appreciate it, the “Peeader must be able to place himself in the murroundings described by the author. “T The book is extremely interesting as a “oysychological study. The boy’s father is the “iqypical head of the family, his mother a very ypical French wife and mother, upholding the ditions of the race. Then comes a curious gure in the person of the boy’s grandfather, ‘man who would break through the traditional stters and who, perhaps more out of bravado 257 ~~’ than from real conviction, professes to have gone over to the new order of things. Francis is greatly influenced by his grandfather. He begins to look disdainfully on the rest of his family and their old-fashioned ways. He accompanies his grandfather to a café, where he hears all kinds of theories propounded. He is at first amazed, but gradually becomes quite accustomed to the new ideas. Nothing could be more slight than the story. There are very few events interesting to anyone but the family immediately concerned. The whole interest centres in the psychology of the various members of the family, including the typical spinster aunt, with her ever-ready duster and brush. It is not until Francis finds himself unexpectedly the head of the family that he realises all that it means and rouses to a sense of responsibility. This novel is, perhaps, the strongest and most concise of any yet written by M. Bordeaux, who is a typical representative of conservative France. ‘““Au Hasard de la Vie,” by Edouard Lockroy, has just been published, with a preface by Jules Claretie. This volume of notes and souvenirs represents half a century of the author’s life. M. Lockroy, who was formerly Minister of the Navy, has known most of the interesting Frenchmen of his time. He is an extremely cultivated man and an ardent patriot. The volume is composed of a series of articles on the most varied topics imaginable. The author writes of his recol- lections of the year 1848, of Garibaldi, of Renan. M. Lockroy accompanied Renan on his scientific mission to Phoenicia and he now gives us some excellent portraits of one of the most interesting of Frenchmen. Several chapters are devoted to this expedition, which is most graphically described. A large part of the volume treats of the various episodes of the war of °70. Autour de Metz, Autour du 4 Septembre, Pendant le Siege and A Versailles, are the titles of these chapters. M. Lockroy also gives us two excellent chapters on M. de Bulow and Victor Hugo. In a volume, entitled ‘“‘ Les Fantoches de la Peur,” Charles Foley has grouped the various individuals who have inspired fear. We have Les Fantoches de la Bastille, Dupes, Dupeurs, Dupes, Fantoches burlesques, Fantoches tra- giques, Folies burlesques, Folies tragiques. In the last chapter, Leur Fraternité, the author sums up the chief principle of this fraternity in the celebrated phrase, ‘‘ Sois mon frére, ou je te tue,” which is the main principle of nearly all political and religious fanaticism. In this work the author has gone back to the accounts 258 of contemporaries, and the consequence is that we find quite another La Fayette, Biron, Hanriot and Fouquier-Tinville than those which later historians have painted. The grouping of the fantoches is an excellent idea, and the various anecdotes and quotations make the accounts most entertaining. “ J;’Entraineuse ” is the title of the novel by Charles Esquier from which the piece now being given has been taken. It is a novel which appeals more directly to the Latin race ; the story of a wife sacrificing everything for her husband, a weak man, whom she loves with an almost maternal love. The play is having as much success as the novel. ‘* Parvati,”’ by Robert Chauvelot, is a story of one of the désenchantées of India. The author tells us the tragic story of a beautiful young woman, who, after finishing her educa- tion in European countries, is destined for the wife of a Maharajah. Her husband sends for a celebrated French artist to paint her por- trait, with the result that the artist falls hope- lessly in love with his model. We then have some very graphic descriptions of the ways and customs of the country to which the woman belongs, and we follow the lovers through the various episodes of their escapade to the tragic dénouement. “En Colonne ” is the title of a volume by General Bruneau, in which the intrepid soldier and explorer gives us an account of his various expeditions. Among the subjects are : Souvenirs de V Insurrection Kabile, Le Sanglier Marabout, Une Vision des Temps Prehistoriques, Un Affut a la Panthere, Un Raid_d'Infanterie, Entre la Vie er la Mort, and A la Légion. An extremely valuable historical work has just been published by Mlle. Emilie Cher- buliez. It is entitled ‘“‘ Mémoires de Isaac Cornuaud sur Genéve et la Révolution de 1770 421795.” The book will be greatly appreciated by all who are interested in the history of Switzerland. Isaac Cornuaud was one of the ardent patriots of his day, a man who con- tributed largely to the political history of his country. Mlle. Cherbuliez has compiled the volume from ten huge manuscript volumes, of about 500 pages each, written between the years 1785 and 1796 by her great-great-grand- father. Isaac Cornuaud was the great-grand- father of Victor Cherbuliez, and, thanks to his position and personality, he had_ excellent opportunities for seeing and knowing every- thing which concerned the life, at that critical time, of the “ political atom,” as he styles Geneva. The Introduction to the volume is written by Gaspard Vallette, and the bio- THE AUTHOR. graphical notice by Mlle. Cherbuliez. Among the twenty-three chapters are the following; Introduction a Vhistoire des Natifs jusqu'a 1766, including the Rapports des Natifs avec Voltaire; Le Plan de Conciliation; La Prise d’armes dus fevrier 1781; Entrée des troupes étrangeres % Geneve; Genéve, apres la Révolution de 1782; La Révolution de 1789; L’égalité politique; Le ~ gouvernement révolutionnaire; and Questions sae" administratives et économiques. At the Odéon, ‘‘ David Copperfield ” is being — - played. ‘‘ La Demoiselle de Magasin is now # being given at the Gymnase, and, at the | « Athenée, ‘‘ La Semaine Folle.” At the ThéAtre des Champs-Elysées “ Boris Godounow”’ is now on the bill, and at the © Gymnase we are to have a series of Polish plays, | Atys Hatuarp, “La Maison.’ (Plon.) << Au Hasard de la Vie.”’ (Grasset.) “Les Fantoches dela Peur.” (Blond.) “L’Entraineuse.” (Calmann-Lévy.) “Parvati.” (Michel.) «En Colonne.” (Calmann-Lévy.) “Mémoires de Isaac Cornuaud sur Genive et la Révolution de 1770 4 1795.’ (A. Jullien.) +—<—_+—___—_- LEGAL CASES. ———+ — Copyricut TECHNICALITIES 1N THE U.S.A, — = I EGAL cases in the United States ate © matters of almost equal interest to United States authors and to British authors. The case quoted below is of special importance as it shows the difficulties into» which it is possible to run when the law makes | technicalities essential for securing copyright. | ~ There is hardly any copyright case taken im the United States but the pirate or other’ © offender bases his defence on the technicalities ~ necessary under the United States Act. Tne : case quoted is taken from the New York Times : and that paper in its leader on the subject, states as follows :—‘ Section 12, upon while the Court based judgment, says that no action or proceedings shall be maintained for oe ment of copyright until the copies of pea have been deposited in the mails n vain the counsel for The Times pointed out to the Court that the action was not for infringement of copyright, it was not 4 suit) to recover damages, it was an equity pro=" ceeding to restrain a threatened violation of | 3, its copyright.” It further adds :—* If the) © law is to be construed as it has been constru Ls ; in the present case, ‘ what may we expect when’ oo ee Bae Mico SG sete 28 Sh wig ’ Pole, THE AUTHOR. the Courts are asked to pass on the meaning of the “registration” in Section 127°” The matter is, of course, a very serious matter, and it is a real blessing that under the new English Copyright Act no technicalities whatever are necessary. This has its disadvantages, but the advantages running with no technicalities are overwhelming, and the plenipotentiaries who met at the Convention of Berlin, as at the Convention of Berne, fully understood its importance. The Circuit Court of Appeals has affirmed the decree of the United States District Court, dismissing on demurrer the complaint of The New York Times Company against The Sun Printing and Publishing Association in an equity suit to secure an injunction forbidding the publication by the defendant of Amund- sen’s account of his discovery of the South of which copyright had been secured by The Times. The decree of the District Court is sustained on the ground that at the time the injunction was applied for The Times had not complied with that provision of the copyright law which requires that two complete copies of the publication must be deposited in the mails addressed to the Register of Copyrights at Washington. The history of the case is that The Times acquired by purchase from the London Chronicle the full American rights of publica- tion and copyright in Amundsen’s personal narrative. The Amundsen story was cabled to The Times on the afternoon of March 8, 1912. The matter was put in type, bound in book form with a copyright notice on each copy, and prior to the application for injunction it was publicly exposed for sale and copies were sold. ‘This step was taken in order to secure a copyright under section 9 of the Copyright Act, which provides— “That any person entitled thereto by this Act may secure copyright for his work by publication thereof with the notice of copyright required by this Act ; and such notice shall be affixed to each copy thereof published or offered for sale in the United States by the authority of the copy- right proprietor.” The Times felt that this publication with copyright notice had made the copyright secure. The word ‘‘ secure” is used in section 9. The word is again used in section 12— “that after copyright has been secured by publication of the work with the notice of copyright as provided in section 9 of this Act.” If the provisions of section 9 and section 12 mean anything, they mean that by publication of the Amundsen story in book form with copyright notice, The Times had before 10 P.M. of March 8 secured its copyright. 259 Now as to the mailing provision. Sec- tion 12 provides that after copyright has been secured by publication with the copyright notice,— “there shall be promptly deposited in the copyright office or in the mail addressed to the Register of Copyrights, Washington, D.C., two complete copies of the best edition thereof then published.” It is perfectly true, as Judge Lacombe said in his opinion, on which the decree of the District Court was made, that The Times, had in its possession copies of the publication, two of which it might at once have deposited in the mails. But on the evening in question The Times had before it the rules and regula- tions established by the Register of Copyrights for procedure in such cases. One of these rules related to the form of the affidavit to be submitted to the Register with the copies mailed or deposited by the applicant. It is here quoted :— “Noricy.—The date of the execution of this affidavit must be subsequent to the stated date of the publication of the book.” That is not permissive, but mandatory. The date of the publication of the book was March 8. Therefore two copies of the book with the accompanying affidavit were deposited in the mails addressed to the Register of Copy- rights at Washington a few minutes after mid- night. The copies were mailed, that is, on March 9. But as The Times had been put no notice of an intention on the part of some of its contemporaries to publish the Amundsen story, it was necessary that the application for an injunction to restrain such acts in violation of its copyright should be made before midnight on March 8. The application was so made and a restraining order issued. Both the application and issue necessarily preceded the deposit of the copies in the mails addressed to the Register of Copyrights, which did not take place until a few minutes alter midnight. On this account the District Court set aside the restraining order, and on this ground the Circuit Court of Appeals affirms the decree dismissing the injunction proceedings. The court bases its affirmance upon this provision of section 12 of the copyright law :— “No action or proceeding shall be maintained for infringe- ment of copyright in any work until the provisions of this Act with respect to deposit of copies and registration of such work shall have been complied with.” This decision would seem proper enough in a suit for damages for infringement begun before the deposit of copies in the mails. But The Times had begun no such suit; its pro- 260 ceeding on the night of March 8 was taken for the purpose of preventing, not punishing, infringement. Section 86 of the Copyright Act provides— “That any such Court or Judge thereof shall have power, upon bill in equity filed by any party aggrieved, to grant injunctions to prevent and restrain the violation of any right secured by said laws.” Taking the words of section 9, “‘ may secure copyright for his work by publication thereof with the notice of copyright,” in connection with those of section 36 just quoted, it would seem to the lay mind that The Times had a clear right to protection, by injunction, against intended theft. But the Court holds otherwise. It seems a curious matter that The New York Times, instead of disputing the decision and carrying the action to a second Court, did not, having registered their copyright, begin a second action for infringement. This would no doubt have been the cheaper proceeding of the two. RESERVATION OF Dramatic RIGHTS, IN THE U.S.A. II. {Reprinted from the Bulletin of the Author League of America.) : Tue case of Dam v. Kirk La Shelle Com- pany, decided in the United States Circuit Court of Appeals, Second Circuit, in Janu- ary, 1910, is of such importance to writers for magazines and other periodicals as well as to publishers that it deserves careful attention. This case may be said to be the last important decision on the question of what protection the blanket copyright secured by a magazine publisher, upon his magazine, affords the authors of the various storiés, articles and poems contained in it. The facts were briefly as follows :— Henry J. W. Dam wrote a story in 1898, called “ The Transmogrification of Dan.” In 1901 he sent the manuscript to the Ess. Ess. Publishing Company, a corporation publishing the “Smart Set Magazine.” The editor accepted the story and sent a check in return for $85, together with a receipt reading :— “Received of the Ess, Ess. Publishing Company $85 in full payment for story entitled *‘ The Transmogrification of Dan.’ ” This Dam signed and mailed back to the editor. At no time did he have any interview with the editor or any correspondence bearing on the understanding with which the story was sold. The story came out in the ‘‘ Smart Set ”’ for Erc., THE AUTHOR. September, 1901, and the particular number in question was copyrighted by the Ess. Ess, Publishing Company, in its own name, and bearing a notice which read :— ‘“‘ Copyrighted, 1901, by Ess, Ess. Pub- lishing Company.” No steps were taken by the magazine or b Dam to copyright the story separately from the magazine. Some time afterward Paul Armstrong wrote a play entitled ‘‘ The Heir to the Hoorah,” which Dam claimed was founded on his story, “The Transmogrification of Dan.” The defendant, Kirk La Shelle Company, presented the play by arrangement with Paul Armstrong, On October 27, 1905, the Ess. Ess. Pub- lishing Company assigned to Dam its copy- right of the particular number of the ‘‘ Smart Set ’ in which his story had appeared, in so far as it covered or protected his story, and all its interest in the story itself and any claim or demand which it might have for the infringe- ment of the copyright in question. In due course Dam sued for a preliminary injunction against the defendant, and in his affidavit swore :— ““T have not at any time parted with any right or interest in said literary work entitled * The Transmogrification of Dan,’ except the right for publication thereof in said number of the ‘ Smart Set ’ for September, 1901.” Later on, the complaint was amended so as to allege simply that Dam sold and assigned the story in question to the Ess. Ess. Pub- lishing Company. Among other things in defence the Kirk La Shelle Company set up the claim that Dam’s original statement, sworn to in his complaint to the effect that he had not sold any of his rights in the story to the “‘ Smart Set,” except the right of publication in the particular number in question, must be taken as true; and that it followed as a necessary consequence that the blanket copyright secured by the Ess. Ess. Publishing Company, on the particular issue of the magazine, only operated to afford such protection as the Publishing Company needed as publishers of the magazine, and did not operate to protect the rights which Dam retained, whatever they might have been, including the right of dramatisation which Dam claimed had been infringed, and for which he asked an injunction. The Circuit Court of Appeals.found as a fact that Dam’s statement that he had parted with ~ no right or interest in the story except that of serial publication was not the case, and (in spite NDE Zo pete EG ee ee ae ess ae Pe en SR ee ee ES SS feet ee Se) OO ree St EN ewe en THE AUTHOR. 261 of Dam’s original allegations to the contrary) that when he mailed the story to the “ Smart Set ’ and the editor sent him a check for $85 this constituted an absolute sale without reservations, and that the Ess. Ess. Publishing Company thereby acquired all rights in the story, including the dramatic rights. This, in itself, would have been a decision of considerable importance, in view of the widely prevalent belief that when a magazine writer sends his product to a magazine, without an accompanying letter specifying the terms under which the story or article is offered, he is selling merely the serial rights thereto. But the Court in discussing the facts in general, went somewhat beyond the precise point in issue, and held that if it had been true that Dam had offered for sale and sold to the Ess. Ess. Pub- lishing Company only the right to print the story in serial form, that probably, as matter of law, the dramatic rights would never have been copyrighted at all, since it was a funda- mental proposition that no one could copy- right that which he did not own, and, if the Ess. Ess. Publishing Company had purchased only the serial rights in the story, the copy- right upon the particular number of the “Smart Set ’’ would have operated to protect only those serial rights, and that as Dam had taken no further steps to protect or copyright the rights or interests in the story which he had reserved, and as the story had been published, there would have been an abandonment of it to the public and no protection for the dramatic rights at all. The opinion of the Court is reported in 176 Federal Reporter, page 902, and reads as follows :— **Tt is claimed, however, that such steps accomplished no more than to obtain such protection needed as publishers of the magazine. Assuming that Dam retained the dramatic rights to the story, there would be much force in this contention. In such a case we doubt very much whether the steps which the publisher took to copyright his magazine, especially in view of the form of the copyright notice, would have been sufficient to protect the dramatic rights.” After referring to the case of Mifflin v. Dutton et} (190 U. S. 265), the Court continued :— ** In view of this decision by the Supreme Court, we think that had Dam retained the dramatic rights to his story, the entry of the magazine and the notice of copyright would have been insufficient to protect them. . . . In the case of the reservation of dramatic rights, in addition to the notice of the copy- right of the magazine, it may well be that it should appear in some distinct way that such reservation of such rights to the particular story is made for the benefit of the author. Indeed, it may be that the author should contemporaneously take out in his own name a copyright covering such rights.” The Court then proceeded to hold that inas- much as the Ess. Ess. Publishing Company had in fact acquired all rights to the story, the copy- right which they secured on the particular number of the magazine in question did operate to protect all rights, including the dramatic rights; and that, since there had been a re- assignment by the Ess. Ess. Publishing Com- pany to Dam of the dramatic rights, he could properly ask for an injunction and an account- ing, and they thereupon awarded to the com- plainant, who, at the time the decision was rendered, was the administratrix of Dam’s estate, the total profits received by the Kirk La Shelle Company from its production of the play. The case was not appealed to the Supreme Court, but has since been settled, and, therefore, represents the law to-day, which may be stated as follows :— (a) The sale by an author of a story to a magazine, and the acceptance of a sum of money ‘‘in full payment for the story,” without any further agreement, is in legal fact an absolute sale without reservation, carrying with it as an incident of ownership the exclusive right to dramatise the story. (b) The copyright of such magazine is suffi- cient to secure the copyright of the story pub- lished therein, and protects the right to dramatise it when the publisher is the owner of both the story and the dramatic rights. (c) (Dictum.) Where the owner of a story sells the same only for magazine or serial publication, the copyright of the magazine does not protect those rights which the author retains, unless he takes some independent steps to copyright them himself; and since the publishing of the story in the magazine operates as an abandonment of such rights, if the story is thereafter dramatised by a third party, the author can have no redress. The action, although a recent one, was brought under the former copyright law, but there would not seem to be anything in the present Act which would qualify or render less significant the decision. The attorney for the Authors’ League of America doubts seriously whether the dictum of the court (c) is the view which will ultimately prevail if the point 1s eventually properly raised either before the Circuit Court of Appeals or the Supreme Court 262 of the United States. He believes that this court could have reached the same decision in the Dam case by another process of reasoning more consistent with the general understanding under which authors are accustomed to submit their manuscripts to editors and publishers. This he believes to be that, in default of any written or oral agreement between the parties, an editor or publisher of a magazine who pur- chases a manuscript does so on the implied understanding that he shall copyright the same and hold the copyright thereof in trust for the author, thus protecting not only the dramatic rights, but all other rights for the author’s benefit. If this be so, the author can compel a reassignment of the copyright to him- self when necessary, such as Dam secured voluntarily from the Ess. Ess. Company. But, in any event, so long as this and similar matters remain in doubt, both authors and publishers should, for their own protection, agree on some system whereby the dramatic and all other rights sre thoroughly safeguarded. This can be accomplished in either of two ways :— (a) The editor can copyright each story or article separately in the author’s name, printing at the bottom of the first page thereof a proper copyright notice, as follows :— ‘Copyright, John Doe, 1913.” The author should then immediately on pub- lication mail one copy of the magazine to the Registrar of Copyrights in Washington, in conformity with the requirements of the present Act, enclosing the fee of One Dollar. This is perhaps the simplest way, although it involves a separate registration of the magazine for each story or article so copyrighted. (b) Or the author can sell his story outright to the editor or publisher, and safely reserve his equitable interests in the dramatic or other rights thereto by attaching to his manuscript a “rider” or slip somewhat as follows :— “This manuscript is submitted with the understanding that if accepted for publication, the same shall be copyrighted by the pub- lishers, and all rights under said copyright (except that of magazine publication) shall be held in trust for the benefit of the writer or his assigns, and will be reassigned to him upon demand.” The writer believes that, under the present state of the law, only by one of the two methods outlined above can a magazine writer be sure that his rights will be properly protected. Arruur C. TRAIN, Attorney for Authors’ League of America. THE AUTHOR. MAGAZINES AND THEIR CONTRIBUTORS. —— HE attention of the committee of the Society of Authors has been called to certain transactions by proprietors and editors of magazines which bring great hard- ship upon those authors who contribute to their journals. The difficulty arises owing to the fact that neither editor nor author makes a clear statement of the terms of the contract under which the one desires to sell his work and the other desires to publish it. The author sends his work up to a journal, the editor writes a letter stating that he is willing to accept the work; the work is. published and the author receives a cheque with a receipt either on a separate paper or endorsed at the back of the cheque, purporting to convey certain rights which the author never contemplated con- veying, and which, when obtained, are often of no value to the proprietor or editor. The receipt purports to convey either the whole copyright or all serial rights. In the first case, that is where the receipt is a separate document, the author is able to cash the cheque and to alter the receipt according to the implied terms of the contract that has been entered into. The hardship in this case arises out of the fact that an author sometimes is afraid to alter the receipt because he thinks such alteration may prejudice him in future in his negotiations with the firm. This has not infrequently been shown to be the result. When, however, the receipt purporting to convey the copyright or all the serial rights is printed on the back of the cheque, the bankers, as a rule, have instructions not to cash the cheque if any alteration is made in the receipt. The author anxious, first, to obtain the money, and secondly, not to have any trouble with the proprietors for the reasons already given, signs the document and thus sells his birthright for a mess of pottage. To a certain extent there is fault on both sides, for the author, if he was really business- like, would forward his article to the magazine and would state clearly, in a covering letter, the rights he desired to sell, and the price at which he desired to sell those rights. If the editor then accepted the MS., it would be accepted, on the terms of the letter which had been sent, unless the editor made some special stipulation before publication. The case is unbusinesslike from the editor’s point of view, for when he accepts the work he ought to state clearly what rights he desires to buy, and the price he desires to give for those THE AUTHOR. rights. A worse complexion, however, is thrown on the case where the author sends up his work and it is printed without any accept- ance whatever. There is, no doubt, some implied contract where no terms are specified and the implied contract seems to be quite clear. When a person sends an article up to a magazine, the implied contract is, that he grants to the magazine the first serial use of that article for that paper. He doesn’t grant all his serial rights, for no doubt in many cases secondary serial rights are very valuable. He certainly doesn’t grant his copyright, and indeed, under the present copyright law, he could not assign away his copyright except in writing. It is, therefore, very unbusinesslike or unjust of proprietors and editors to put the author in the awkward position of having to sign away his rights, or of being boycotted for the future. As several complaints have come to the - Committee of Management of the methods of certain magazines and certain publishers who acted on these lines, a circular was issued from the Society’s office, asking for the editors’ opinions in the circumstances put forward. Out of a dozen letters that were issued, under the committee’s authority, some half-dozen replies were received. An answer from the Religious Tract Society stated that no endorse- ment was made on the cheques, but a separate receipt was sent. As, however, the separate receipt asked for the copyright, it was clear that there was no alleviation of the author’s position, except that he got his money and had the power to alter the receipt. But on his altering the receipt considerable dispute arose, and the editor, in a letter addressed to the author, stated clearly that all matter printed in his paper was the copyright of the paper, and that he had no record of any arrangement by which the author had reserved the copyright of his story. An editor who had any knowledge of the business side of his position would know that, as an universal rule, an author does not intend to convey his copyright to a magazine, and that it is not for the author to reserve the copyright, but for the editor, if he desires to have the copyright, to make a special contract for it. In a letter received from the Amalgamated Press, Ltd., the manager says that the rights that have been acquired are specified at the back of the cheque, and at the same time states that great inconvenience would be caused if every short story or article that was 263 purchased was the subject of a written agree- ment. This may be frue in some circumstances, but the procedure adopted in this case turns out all for the advantage of the papers repre- sented by this manager. For, if anagreement has not been entered into beforehand (and apparently the manager considered and acted upon the consideration that it would be a great inconvenience to enter into an agreement on every occasion), then it is quite clear that the only right acquired would be the first serial use of the story in the paper to which it had been forwarded. If the manager was pre- pared to fill in the endorsement on the back of the cheque on these lines, in those cases, where no written agreement had been made beforehand, then there would be no objection to this method of carrying on the business, and a great deal of difficulty might be saved ; but if the endorsement on the cheque exceeds the first serial use, it is needless for the manager to say, as he states in his letter, that ‘the author in endorsing the cheque would note the form and could at once raise any question as to the rights acquired by the com- pany,” for that places the author under the very hardship that was mentioned at the beginning of this article. A third letter from Messrs. Cassell & Co., states that they have received no complaints in regard to the points raised in the com- mittee’s circular. This statement is not endorsed by the information which has come to the office on several occasions. It would be as well, perhaps, if this manager had made closer enquiries before he responded tothe circular. Another well-known proprietor of magazines stated, as in the first instance, that the company did not place a printed form of receipt on their cheques, but that a separate slip was enclosed in which the terms of purchase were plainly stated. This, as has already been pointed out, has a great advantage if the terms are disputed. Finally, the last letter received was from the ‘English Review.” The manager recog- nised the difficulty and suggested that the Society should draw up some form, and should organise some method which would be simpler for both the authors and the proprietors. It would be useless to multiply cases, but it may be of interest to quote an example of what very frequently happens, and the committee are able to give the particulars of a very clear case that ‘is before them. A member of the Society sent up a copy of verses to a magazine, the proprictors of which 264 are Messrs. Dent & Co. The verses were published without any communication what- ever to the author. In due course the author received a cheque, with a formal receipt accompanying, asking for the whole of the copyright ; the receipt running as follows :— ** Received this day of from (publishers) the sum of in payment of the amount agreed to be paid by them to me for a poem entitled a ” in the number of on the terms that the copyright in any work therein shall belong to the said (publishers) absolutely.” The payment was very inadequate, even for the first serial use. It was absolutely absurd for the copyright of a work, and the receipt is inaccurate for it contains the words ‘“ the amount agreed to be paid by them to me,” and ‘‘on the terms that the copyright... shall belong to the publishers absolutely,” though no agreement whatever had been come to on either point. In this special case the author altered the receipt, returned it, did not fight about the absurd smallness of the payment, but handed the cheque over to the Pension Fund of the Society of Authors. In this case, all the points that have been raised are clearly set out. First, the author receives an inadequate payment even for the serial use; secondly, he receives a receipt asking him to convey the whole copyright, the only saving point being that the receipt was not at the back of the cheque. It is all very well for proprietors to maintain also that the author can dispute the rights, but many authors do not understand the legal technicalities contained in the words and may be, and often are, quite unconsciously, selling rights which they never intended to sell. In this special instance, it must be remembered that the power of selling poetry, especially if it is fitted for production to music, is exten- Sive, as sometimes two or three composers will set a song to music, and for each licence the author may obtain from two to five pounds. The committee, however, desire, in order, if possible, to come to some satisfactory arrange- ment, to propose the following :— 1. That no receipt whatever should be demanded by the process of endorsement to the cheque. 2. That in the case where, owing to pressure of business or other matters, it is impossible to make a formal written agreement with the author, and failing any covering letter sent THE AUTHOR. by the author to the publisher, the receipt should run as follows :— “* Received of the sum of being payment for the first serial use of the article entitled in maga- zine. The author hereby, undertakes not to produce the said work in serial or book form for a term of months from the date of such publication,” The committee have given the time limit their serious consideration. They consider that in many cases where a striking story or striking poem has been published ina magazine, review or paper, it is only fair that the magazine, paper or review should benefit by the increase in its circulation for a limited time after the publication of the work. They think that in special cases a six months’ limit is reasonable, but in the majority of cases the limit should be much less, and that, if any- thing, this limit gives an advantage to the magazine rather than to the author. ST MAGAZINE CONTENTS. a, British REVIEW. The Popular Taste. By R. A. Scott James. CoNTEMPORARY. Wagner in 1913. By Ernest Newman. Shakespeare and Pictorial Art. CoRNHILL. The Little Brothers of the Pavement. By Gilbert Coleridge. Encuish REVIEW. Boceaccio. By Walter Raleigh. Mr. Newton-Robinson’s Poems. By William Steb- bing. FORTNIGHTLY. By Oliver Onions. Henry Ospovat. By W. L. Courtney. Realistic Drama, I. NINETEENTH CENTURY AND AFTER. Gobineau, Nietzsche, Wagner. By Georges Chatterton- Hill. SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.) Front Page dee . £4 0 0 Other Pages vee one se ae see ase a 8 0 0 Half of a Page ... aes en aes Ca oie eek wea ks 10> 0 Quarter of a Page uae oan ves on on ae on O16 6 Highth of a Page ce se ms - $ cs a OT 8 Single Column Advertisements perinch 0 6 0 Reduction of 20 per cent. made for a Series of Sia and of 25 per cent, for Twelve Insertions. All letters respecting Advertisements should be addvessed to J. F. Brimont & Co., 29, Paternoster Square, London, E.G. i 3 a THE AUTHOR. HOW TO USE THE SOCIETY. — i. VERY member has a right toask for and to receive iD 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 yourse!f, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution, Secretary will undertake it on behalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. Oi WARNINGS TO THE PRODUCERS OF BOOKS. —_=<—+—_ ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be 265 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation, (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement, The main points are :-— (1.) Be careful to obtain a fair cost of production, (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means, (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. ++ —____—___ WARNINGS TO DRAMATIC AUTHORS. a 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, 264 are Messrs. Dent & Co. The verses were published without any communication what- ever to the author. In due course the author received a cheque, with a formal receipt accompanying, asking for the whole of the copyright ; the receipt running as follows :— ‘* Received this day of from (publishers) the sum of in payment of the amount agreed to be paid by them to me for a poem entitled a *? in the number of on the terms that the copyright in any work therein shall belong to the said (publishers) absolutely.” The payment was very inadequate, even for the first serial use. It was absolutely absurd for the copyright of a work, and the receipt is inaccurate for it contains the words “the amount agreed to be paid by them to me,” and ‘“‘on the terms that the copyright... shall belong to the publishers absolutely,” though no agreement whatever had _ been come to on either point. In _ this special case the author altered the receipt, returned it, did not fight about the absurd smallness of the payment, but handed the cheque over to the Pension Fund of the Society of Authors. In this case, all the points that have been raised are clearly set out. First, the author receives an inadequate payment even for the serial use; secondly, he receives a receipt asking him to convey the whole copyright, the only saving point being that the receipt was not at the back of the cheque. It is all very well for proprietors to maintain also that the author can dispute the rights, but many authors do not understand the legal technicalities contained in the words and may be, and often are, quite unconsciously, selling rights which they never intended to sell. In this special instance, it must be remembered that the power of selling poetry, especially if it is fitted for production to music, is exten- sive, as sometimes two or three composers will set a song to music, and for each licence the author may obtain from two to five pounds. The committee, however, desire, in order, if possible, to come to some satisfactory arrange- ment, to propose the following :— 1. That no receipt whatever should be demanded by the process of endorsement to the cheque. 2. That in the case where, owing to pressure of business or other matters, it is impossible to make a formal written agreement with the author, and failing any covering letter sent THE AUTHOR. by the author to the publisher, the ; should run as follows si receipt “Received of the sum of being payment for the first serial use of the article entitled in maga- zine. The author hereby, undertakes not to produce the said work in serial or book form for a term of months from the date of such publication.” The committee have given the time limit their serious consideration. They consider that in many cases where a striking story or striking poem has been published in a magazine, review or paper, it is only fair that the magazine, paper or review should benefit by the increase in its circulation for a limited time after the publication of the work. They think that in special cases a six months’ limit is reasonable, but in the majority of cases the limit should be much less, and that, if any- thing, this limit gives an advantage to the magazine rather than to the author. ee MAGAZINE CONTENTS. ——— + British REVIEW. The Popular Taste. By R. A. Scott James. CoNTEMPORARY. Wagner in 1913. By Ernest Newman. Shakespeare and Pictorial Art. CoRNHILL. The Little Brothers of the Pavement. Coleridge. By Gilbert Eneuish REVIEW. Boccaccio. By Walter Raleigh. Mr. Newton-Robinson’s Poems. bing. By William Steb- FORTNIGHTLY. Henry Ospovat. By Oliver Onions. Realistic Drama, I. By W. L. Courtney. NINETEENTH CENTURY AND AFTER. Gobineau, Nietzsche, Wagner. By Georges Chatterton- Hill. SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.} Front Page ie see ee tee me << sau es a Other Pages ae ste see obs ee “se “8 ose ) Half of a Page ... ake owe wee a Quarter of a Page tee 5 EHighth of a Page sae Ge Single Column Advertisements Q 6 os au 0 T 0 . perinch 0 6 O Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for Twelve Insertions. All letters respecting Advertisements should be addressed to J. F. Bextoont & Co., 29, Paternoster Square, London, B.C. THE AUTHOR. HOW TO USE THE SOCIETY. a i. VERY member has a right toask for and to receive K advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinarysolicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer, 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of thesafe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per anoum, or £10 10s. for life membership. Or WARNINGS TO THE PRODUCERS OF BOOKS. een gece ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I, Selling it Outright. This is sometimes satisfactory, if a proper price can be 265 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor |! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author, IY. A Commission Agreement, The main points are :— (1.) Be careful to obtain a fair cost of production, (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. he WARNINGS TO DRAMATIC AUTHORS. ee EVER sign an agreement without submitting it to the N Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager, 8. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, 266 (v.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a substantial consideration, 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play 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. ——$- 9 ne ape typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 24. 6d. per act, THE AUTHOR. DRAMATIC AUTHORS? AND AGENTS. —t 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 feeg from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general.the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees*in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable, But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ee WARNINGS TO MUSICAL COMPOSERS. oe ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. Oi 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. re THE READING BRANCH. — > EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works, The Readers are writers of competence and experience. The fee is one guinea, —— ee REMITTANCES. a : 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. ——_-— | due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three department :— 1; Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. The Bureau is in no sense a literary or dramatic agency, for the placing of books or plays. —___—_+—~>—_+-—____—_- GENERAL NOTES. THEATRICAL CONDITIONS IN HOLLAND. F We have received a very interesting report from Mr. A. Reyding, the Society’s recently appointed agent in Holland, touching the theatrical conditions obtaining in that country. Mr. Reyding informs us that while the fees paid for representations in Amsterdam are not those which could be obtained in London or Paris, they are by no means to be despised. Amsterdam possesses five theatres of import- ance, and a few smaller ones, apart from music halls and numerous cinematograph theatres. Four managers in Amsterdam and one in Rotterdam are continually in search of good plays which have attained success in London. One of the most important theatrical institutions is the “Royal Company” in Amsterdam. It is managed by a board of directors and liberally subsidised by the Queen. Moreover, it is allowed to give performances in the “ Municipal Theatre,” a large, modern building. Practically the management run two companies, alternatively travelling in the provinces. Another first-rate enterprise is the ‘‘ Crystal Palace Theatre’? in Amsterdam. It is man- aged by a gifted and energetic actor-manager, who has already achieved great successes during the short period of his directorship. Here again a double company is maintained with a view to travelling. 267 As third and fourth in rank, the ‘‘ Holland Theatre” and the ‘Grand Theatre” in Amsterdam may be mentioned, both under the management of a well-known author. The company engaged by this director is so numer- ous that it allows of dividing into three or even four parts, according to circumstances. The ‘Rembrandt ‘Theatre’ produces musical comedies only. Among the smaller theatres, two are worthy ofattention. Firstly, the “‘ Frascati Theatre,” managed by a young, intelligent actor-manager, and presenting good performances of the Paris ‘‘ Theatre des Varietes ’’ repertory and light comedy in general. Secondly, the ‘Plantage Theatre,” cultivating detective- drama. As to gross box receipts, these are naturally inferior to London figures, owing to the fact that the charges for seats remain far below cosmopolitan standard prices and that, practi- eally, real full houses occur on Sunday nights only. At a rough estimate, £40 may be con- sidered as the average gross takings on a week-day in any principal theatre, always provided that the play is a success. And the receipts on Sunday nights may amount to £120, and even more in one or two houses. It follows that the totality during each week might be valued at about £360 in favourable cases. Series of a hundred consecutive representa- tions are by no means the longest on record ; the way in which Amsterdam companies are being managed allows of continuous runs. An exception, however, must be made for the “Royal Company,” where the “ Comedie Francaise” example is followed, the playbill changing about every day. Nevertheless, if a play produced by that company prove successful, it may become a repertory play, yielding profits during many years. Other companies only re-start a play in case of its run having been interrupted by the end of the season, or on the ground of some other urgent cause; for, as a rule, re-starting a piece does not pay. Amsterdam may be called the centre of theatrical life in Holland, yet Rotterdam possesses a fine playhouse and an excellent company of its own. But as that city has a relatively small number of inhabitants, long runs never occur there. A series of twenty representations may be considered as a maxi- mum. As to receipts there is no sensible difference between Amsterdam and Rotterdam figures. It. may be taken as a general rule that, in 268 Holland, translators’ fees are paid by the managers, quite separate from authors’ fees. English authors, therefore, should never put their plays into the hands.of would-be trans- lators, who offer to divide equally the profits derived from representations in Holland. Concerning authors’ fees for cinematograph performances, up to this moment films of British origin have only been produced here by way of exception, and in these cases the usual course seems to be that the manufac- turers pay a sum once to the author of a plot. Music PUBLISHERS AND FoREIGN MECHANICAL Ricuts. WE have already called attention to the claim of the English music publisher to take 50% of the composer’s mechanical fees. This claim, when admitted by composers, reduces their fees under the compulsory licence clauses of the Copyright Act to something near the vanishing point, so far as the United Kingdom is concerned. ‘But the mischief does not end here. There are the foreign mechanical fees to be considered, and from correspondence which has come to the Society’s office, it would seem that the case of the composer in respect of these fees, is even worse than it is in the United Kingdom. For example, reference may be made to the sale of mechanical reproductions in Germany. The practice of the English music publisher is to assign the mechanical rights to the German publisher, subject to the payment to the English house of half the fees which their sale produces. The effect of this is that the English music publisher gets 50°% of what the German publisher receives, and the English composer 50% of what the English publisher receives, or 25% of the figure actually paid by the mechanical trade in Germany, less the cost of collection by the agent who is employed to carry through the collection. It may seem strange to the composer that the English publisher should be willing to yield to the German publisher 50% of the fees. Composers are quite accustomed to the music publisher’s request that they should surrender 50% of their fees, but the willingness of the publisher to make a similar surrender does not coincide with their experience of his ability to look after himself in these matters. An explanation, however, occurs to us. It THE AUTHOR. may not be the correct one, but as it certainly would explain a practice otherwise almost inexplicable, we think it worth while to put it forward. We shall be very glad to learn that it is incorrect. Is there a reciprocal arrangement between the British and German music publisher, by which each surrenders 50°% of the mechanical fees produced in their respective countries ? For example, the English publisher may accept half the mechanical fees in Germany for one of his composer’s works on condition that the German house allows him the same share in the mechanical fees in Great Britain of the work of a German composer. An arrangement of this kind protects both parties against loss. But what of the two unfortunate composers. They are obviously in a different position. Depending as each of them does on the popularity of his own compositions, neither is able to reap any advantage from an arrangement of the kind indicated. In consequence, this alliance, if our deduction is correct, is admirable from the point of view of the publishers in the two countries, but is extremely unsatisfactory from the standpoint of the composer, alike in Ger- many and in the United Kingdom. Movine Pictures. Ir is with much pleasure we note that the valuable report by Mr. Cecil Raleigh on Moving Pictures that appeared in last month’s issue, has raised considerable interest not only with the producers of cinematograph films, but also with the authors that write the plots. The Bioscope has interviewed Mr. Raleigh and the Daily Chronicle has inserted a long article from his dictation. As we pointed out in last month’s Author the matter is of the greatest importance; it must not be reckoned that that report is final. Mr. Raleigh, himself, does not consider it so. Since it was produced, further information has come to his knowledge and to the office of the Society. It appears that the French Society has also issued a report, and a report has also come through from Germany ; further details are also to hand from America. It is likely, therefore, that at no distant date a subsidiary report will have to be made, dealing with these new facts. It seems quite clear that there will be a large and increasing market for good plots for films, and if properly handled there should be a considerable income for those authors who study the public tastes. BOOK PUBLISHING IN THE UNITED STATES, R. GEORGE P. BRETT has been or writing in the April number of the Atlantic Monthly on ‘* Book Publish- ing and its present Tendencies.” We take it that he refers to book publishing in America. He arrives at the conclusion that although the number of books put on the market has greatly inereased during the past few years, the total circulation of books in the United States has not increased in anything like the same pro- portion; and he further explains that many of the publishers who were known for a particu- lar class of book have gone in for general publishing business. He draws the conclusion that the gross circulation has not increased owing to the fault in distribution, and his solution of the difficulty appears to be that books should be published at a cheaper rate, and as a corollary, that the authors must take smaller royalties. It is quite true that if books are published at a cheap rate, the authors cannot take the same amount of royalty as they can if the book is published at a higher price, but it does not follow by any means that if the book is produced in the first instance at a low price that the increase in the circulation will be at all proportionate. I mean by that, that the publisher and the author will arrive at the same amount of profit in the end. Indeed, all evidence goes to show that the deduction isfalse. There are no doubt a few authors who make a universal appeal, that is, an appeal to all people who can read and write, but the number who can make this appeal can be reckoned on the fingers of one hand. The general author has a certain following, and, however cheap his books are, that following will not be increased very perceptibly by publishing at a cheaper rate. The Society of Authors went into the figures as far as the English market is concerned, in great detail, and issued a report not long ago on the subject. Mr. Brett instances France and Germany, but the case in France certainly has tended to reduce the profits, and has not been a financial success from the author’s point of view. In England, for instance, supposing an author gets 1s. on a 6s. book, published subject to discount, he would get, perhaps, _ 14d. on.a 1s. net book. He would, therefore, have to obtain eight times the circulation in order to make his returns equivalent, and this THE AUTHOR. 269 extra circulation he does not, as a rule, obtain. Indeed, the publication of so many cheay books is very often, as the booksellers pointed out, disastrous to the bookselling trade. The booksellers having no room in which to display the crowd of new and cheap books, in consequence find their shops filled with unworkable stock. Mr. Brett says, “‘ the successful experiments in the publishing of cheap editions of books abroad are usually with those books which are either out of copy- right, and consequently pay no royalty to the authors, or for which a very low rate of royalty can be arranged.” By abroad, no doubt he includes England, but although no doubt the English classics are published in cheap form, there is, at the same time, an enormous output of copyright books pub- lished also in the cheap form, but—after they have already appeared in a more expensive edition. The article contains some very interesting statements, but statements which are not by any means satisfactory from the author’s. point of view, statements which by no means apply to the English market, even if they do to the American. Has Mr. Brett really made an exhaustive study from all points ? or is he only feeling his way as a publisher? I cannot at all agree with Mr. Brett that the solution of the difficulty, at any rate as far as England is concerned, is by issuing books at alow price. It is always possible to reduce the price of a book half-a-dozen years after its original publication, if it is clear that there is still a continuing demand for it, but the result of this reduction in the price is by no means always financially successful to the author and the publisher for the reasons already given. If the book shows that it is likely to have a universal appeal, then no doubt, after a run at a higher price, it will be best to produce the book in cheap form, but if there is not sufficient vitality to carry the book through five or six years, then a cheap edition is not desirous but disastrous; and probably if the book had originally been published at a low price, the financial result to the author and the publisher would have been unsatisfactory and destructive to both their interests. The main point of Mr. Brett’s arguments, as has already been pointed out, lies in the fact that he considers authors are too grasping. From the author’s point of view, neither Mr. Brett’s deductions nor his arguments can for a moment be admitted. G. H. T. 270 THE AUTHOR. THE COMMERCIAL SIDE OF MUSIC. ————_ (Reprinted from “The English Review” by kind permission of the Editor.) 1 is a degradation to the profession that any composer should be asked to sign the common form of agreement that is at present being put forward by some of the best houses in the music publishing trade. There has been considerable correspon- dence in The Times and other papers about the sale by Mr. Coleridge Taylor of his copy- right in ‘“‘ Hiawatha” to Messrs. Novello & Co. outright for a sum down. But it is not on this form of contract that I desire to comment, but on a much more subtle form, namely, a contract for the payment of a royalty on the assignment of the copyright. This form is distinctly more subtle, for it seems to the composer that by securing a royalty he may be gaining his just reward, whereas he may still be losing by the assignment every- thing that is worth holding. When a publisher of literary works asks for a licence to publish, he is generally contented with a licence to ublish in book form; in some cases even this 1s limited to book form at a certain price or during a certain period, and if the publisher does not keep the book on the market the contract is at an end. He does not ask for —or should he ask for, does not get—the dramatic rights, the rights of translation, the American copyright and cinematograph rights ; but the music publisher, who should be content with a licence to publish in printed form, asks for an assignment of copyright which carries the performing rights—equal to dramatic rights; the rights of publication in foreign countries—infinitely more valuable than the translation rights, for music is a universal language; the rights in the United States— infinitely more valuable than an author’s United States rights, because the heavy tax of printing in the United States is unnecessary in the case of music; and the rights of repro- duction by mechanical instruments—at the present time more valuable still than the cinematograph rights in a book. After this preamble, it may be useful to print an ordinary form of music publisher’s agreement :— y ieee se OL aise ca in consideration of the royalties hereinafter reserved and of the sum of one shilling (the receipt of which I hereby acknowledge as an advance pay- ment) hereby assign to.....; SAOr el (hereinafter called the Publishers) their successors and assigns the entire and exclusive copyright, rights of representation and arrangement of whatever kind, rights of reproduction tipon mechanical instruments of every description and all othe ‘ rights whatsoever in the United Kingdom of Great Britain and Ireland its Colonies and Dependencies and in all foreign countries their Colonies and Dependencies now or hereafter conferred or created of and in the following original work of which I am the composer and compiler The Royalties shall be (a) In the United Kingdom its Colonies (except Canada) and Dependencies at the rate of pence on all copies sold by the Publishers or their successors or assigns. (b) And in the United States of America and Canada and on the Continent of Europe one half of that rate. No royalty on copies gratuitously distributed nor on Band parts. : 7 copies shall be counted as 6. On Mechanical Reproductions :— 50 per cent. of the nett amounts received by the Pub- lishers therefor : AS WITNESS &c. It is surely a mockery to call such a document an agreement ; and, indeed, many of the music publishers realise this fact,,as they refuse or neglect to send the composers a copy signed by the firm; and if the composer has not the business acumen to keep an exact copy, he is left in the humiliating position of having to appeal to the publisher should he subsequently desire to have particulars of the document he has so rashly and foolishly signed. Before discussing this particular form, it will be as well to repeat here some of the legal difficulties which arise out of an assignment of copyright. To begin with, if anything should happen to the firm, if it should become bankrupt, or —if a company—go into liquidation, the composer would have no right, according to existing decisions of the Court, to prevent the assignment of the copyright to another purchaser, and he might find that his property had come into the hands of a most undesirable assignee. But there is worse to follow, for the com- poser would have no claim for royalties against the assignee, and would be in a worse position than if he had sold his copyright for a sum down. Secondly, after the work has once been published, even in a limited degree, no power on earth can force the publisher to continue to keep the work on the market, and the com- * poser might have to buy back that which the publisher refuses to utilise at the publisher’s owr price. Thirdly, if after the work is put on the market an action for infringement of copyright is threatened—this case actually occurred— even though the composer may have the strongest evidence that there is no infringement THE AUTHOR. the publisher may refuse to run the risk and has power to withdraw all copies. Again the eomposer is without a remedy. Finally, the publisher may alter the work within the limit of libel, produce a chorale as a waltz, or adapt the airs for other purposes than those originally designed by the composer. Such alterations, which might be the cause of the greatest annoyance to the composer, need not, and probably would not, give him a right of action. These are some of the legal difficulties arising out of the assignment of copyright. The financial loss is also considerable, for the performing rights, save in few cases, are squandered by the publishers for the adver- tisement of their own wares, when these rights might be husbanded by the composer, and, if properly marketed, bring in, in this country, as good a return as they bring in to foreign composers. Reference will be made later to the Toss to the composer arising from the assignment of his mechanical instrument rights. The faults to which attention has been drawn are, however, faults of commission ; but look at the faults of omission. The publishers do not undertake to put the work on the market. No doubt, as payment of a royalty on every copy sold is part of the consideration, publication would be an implied term of the contract. But what kind of pub- lication? In what form? At what price ? By what date? As the royalty is a fixed royalty of so many pennies a copy, it is of great importance that the published price should be fixed, for what might be a fair royalty if the work was issued at one price might be a very unfair royalty if the work was issued at another price. Then, again, all mention of the date is omitted. It is not unknown in the publishing trade that where no date has been fixed, delays of six, twelve, or eighteen months have occurred. Again, there is no clause to compel the publisher to continue publishing, or, alterna- tively, having published, to give up his rights if he does not intend to use them further when the work is out of print. There is not even a common form clause: by which the composer is to receive accounts properly issued at fixed dates. Many other points might be noted, but for the present purpose these are sufficient. The answer of the man of business is clear : “What a fool the composer must be.” To some extent this is true, but it must be reme- bered that the marketing of works of art is different from the marketing of merchandise. 271 The artist is a man often in absolute ignorance of his rights and their potentialities, and he is dealing with a man whose business in life has been to study every detail of artistic property from the commercial standpoint. No wonder, then, that music publishers grow fat and prosper, and that, as far as financial returns are concerned, there are many Coleridge Taylors among the rank and file of the profession. What wonder, also, when one of the leading members of the profession in his smug prosperity says he sees no need for a combination of composers to strengthen the chances of his struggling confreres ; when another states in public that he is too busy to look after his royalties (he may be quite sure the publisher is not) ; when another writes that. most of his contracts are made across his publisher’s dinner-table. If the leaders are so weighted with chains, whether of gold or of inertia or of prejudice, no wonder that the young composer sees so little chance. But the young generation is vigorous and full of life. If it is neglected by those who ought to make it their duty to help, by those who have known what it is to be told that if they did not like to put their name to a con- tract of slavery, the publisher will never publish anything more for them, still, let it fight on until it carves the way to its own salvation. Rights of Reproduction on Mechanical Instru- ments.—When the Copyright Act of 1911 came into force, a splendid opportunity occurred for the composer to break away from his bondage. The rights of reproduction on mechanical instruments were then, for the first time, included under Statutory Copyright, and in order that composers who, before the Act, had assigned their copyrights, might not lose by such conveyance rights of property which, prior to the Act, had not existed, the « Act placed those rights, in spite of the assign ment of copyright, in their hands to deal with. But it stipulated that composers should receive a fixed royalty. The publishers, seeing what was about to happen, at once took steps to counteract the benefits that the Act bestowed. The Society of Authors wrote a letter to The Times to point out to composers their position under past contracts. But the publishers proceeded to form a company for the collection of fees, by the rules of which, after deducting all the expenses of collection—a quite indeter- minate quantity—80 per cent. of the royalties on the property, which, by the Act, was the composer’s absolutely, was transferred to the publishers’ pockets. The music publishe 272 THE AUTHOR. claimed that he was entitled to a percentage of these fees because, by publishing the composer’s music, he had made the mechanical reproduction rights valuable. This may or may not have been true, but if it were true it was a matter to be decided between the com- oser and the publisher, and not arbitrarily & a company which was started on a business basis and not for the settlement of an ethical question. It is certain, however, that in the near future it will be the music publisher who will have to’ thank the mechanical reproducer for the advertisement rather than the mechanical reproducer the publisher. Mechanical reproduction is going ahead very fast, and many owners of pianolas, gramo- phones, etc., go to the retail dealers and try reproductions, quite irrespective of the music publisher, and make their choice for purchase or hire, quite irrespective of whether they have heard the original played from sheet music. This practice will become more and more common, so that the music publisher’s argument that he is entitled to a share in the mechanical instrument rights, if ever it was good, grows less and less valid. But I do not admit it was good. The music publisher is the agent of the composer to produce his music in a certain form specified in the contract, and the author’s royalty is based on this considera- tion. He is not the principal, to claim from the composer control over his rights. The editor of a magazine might as well claim a share in the book production, or the pub- lisher of a book claim a share of the serial rights. But the rules of this company contained other interesting statements. The committee of the company was to be allowed to conduct or defend’ such legal proceedings, as they might sanction, appar- ently, without reference to the composer who was the owner of the rights. Under this rule they might neglect, perhaps for financial reasons, to protect the composer’s rights, and in that case the composer would have no means of obtaining redress for infringements, as the transfer of his rights to the company would have prevented his taking independent action. Secondly, the committee might decide to take action in a case to which the composer might strongly object; and thirdly, the com- mittee might take action in respect of the repro- duction of the rights of one of its members, and get involved in a complicated lawsuit, leaving the rest of the members to bear the expenses of the proceedings, however indis- creetly the committee may have acted. The only limit upon the expenses was the total amount of all royalties collected. Generally, a society can rely on the subscriptions received, and no member is liable for anything more, But in the case of the company referred to, the whole income of the members for royalties on mechanical reproductions was at stake. The principles embodied in the rules of this company have been put forward at some length. It may be that some of the rules have been altered since they were first pro- mulgated ; that milder methods have been suggested. But the idea underlying the publishers’ action is still the same ; they desired to obtain 80 per cent. of property to which they had no right, which, under the very wording of the Act, was declared to be the composer’s absolutely. But there is something more bitter behind. The management of the company was to be under the control of a board consisting of six publishers, three composers and three authors. I understand that composers have been ready to accept places on_ that board. Under the Act another difficulty has arisen. It has been pointed out that the composer, although he had assigned his copyright before the Act came into force, was still allowed to maintain the right of mechanical reproduction in spite of such assignment. It seems, how- ever, from recent evidence, that composers consider that the same principle applies to any contract entered into after the Act has come into force. This deduction is entirely false. Any assignment of copyright after the Act has come into force assigns to the publishers the rights in mechanical repro- duction. In the agreement printed on a previous page the publisher has taken advantage of this and claims 50 per cent. This is kind and generous, for, as he held the copyright, he might have taken everything ; but he has also the power to license or refuse to license the reproduction. That they should retain this in their own hands is a matter which some composers might consider to be of the utmost importance. Is it true, then, that composers are letting slip their opportunities, and are coming back to a worse slavery owing to the fact that copyright now means much more than it did? If it is true it is the fault of those in the forefront of the profession, who from their position could make a firm stand, but refuse to do so. It is not the negative side, the faults of omission, which is making it so hard for those who are struggling to rise; it is the positive action and the sins of commission. While these continue it is much to be feared that there will be little change in the customary form of pseudo-agreement on which I have reluctantly been compelled to comment. G. HERBERT THRING. —_—_____e —~.— + LIBELS, LIBELLERS AND THE LIBELLED—ALLEGED. ———+ — T least three recent libel actions, A widely reported and more or less “ sensational’? in character, have ended in verdicts for the defendants, for which reljef those gentlemen are no doubt duly thankful. They have good reason to be so, for juries who have awarded undeserved damages in the past, and judges who also have been found not without sympathy with the plaintiffs, have contributed to render the bringing of actions in respect of alleged libels not altogether unprofitable. The successes of his predecessors have, in fact, tended to give the would-be plaintiff an idea that apart from the merits of his case, which he is not likely to underrate, he will start with odds in his favour. The plaintiff's case may, of course, be a perfectly just one. The libel or supposed libel from which authors, composers and artists, the members of the Society, are most likely to suffer, is that which is contained in criticism upon a_ published work. Criticism that is unfair exists ; sometimes it may err through negligence inexcusably, but more or less inadver- tently ; sometimes it is deliberately intended to wound or injure. Authors, however, and the others mentioned, although not insensitive to criticism, as a rule know how to take their knocks philosophically ; they have too much good sense to air their wrongs in litiga- tion, and criticism that is neither fair nor reasonable is tolerated and condoned because it is not worth while to take notice of it. This, however, has nothing to do with the actions for libel to which reference has been made, which have ended in verdicts for defen- dants who have had to watch big bills of costs being piled up, a considerable proportion of which in any event must be paid by them. Actions of this kind interest authors rather THE AUTHOR. 273 as potential writers of libels than as victims of defamation. They cause reflections as to the ease with which law suits may be launched, and unhappy writers compelled to spend their money in self-defence. Alleged libellers who call for sympathy as such are of two kinds, if they may be classified roughly—those who, writing honestly and from a sense of duty, criticise deliberately and unfavourably the acts or writings of others, which either invite or challenge criticism ; and those who write without any idea that an article not aimed at any such mark may wound the feclings of a hyper-sensitive individual. There is also the class of persons involved by law in the blame where any supposed libel is published, as publishers and even as printers ; these are more or less connected with the latter group. In the class of those who deliberately criticise and have to take their risks would be included the authors of the criticism, which was claimed to_be libellous by Miss Lind-af-Hageby and Lord Alfred Douglas in the recent cases referred to, It is not necessary to recall the details of either case, except to say that observations which juries have found not to be such that the plaintiff deserved damages in respect of them, were the occasion of two trials of length unusual in actions of any kind involving far more im- portant issues,' and that such actions may be brought at any time in respect of criticism upon any person’s conduct, which may eventually be found to be perfectly fair and reasonable in view of the facts. The Times, in commenting upon these cases, pointed out most reasonably that the tendency of such actions must be to deprive the public of the benefit of wholesomé criticism in such matters as are of public interest. Newspapers, con- ducted with the care with which English newspapers are conducted, do not, as a rule, err in the direction of over-candid or searching criticism, even where the facts demand. it, and this, no doubt, is largely due to fear of the law being set in motion, and perhaps successfully set in motion, owing to some trifling slip or inaccuracy in an otherwise correctly revised article. No one desires to see slap-dash and indiscriminate onslaughts made upon persons or institutions deserving censure, but it cannot be for the public good that criticism should be restricted or kept out of existence by the fear of consequences wholly disproportionate to any fortuitous error which may be discovered in it. In the criticism of literature, of music, and of art, a veiled and gentle reticence may be 274 more agreeable to the feelings of individuals immediately affected, but» can hardly be beneficial to the public taste, stimulating to authors, or conducing to the general good of literature, art and music. This, however, is but a small section of the subject-matter upon which comment is made in newspapers and in books. For example, many persons are actively engaged in making money at the expense of the rest of their fellow men by means which vary in the degree of honesty employed. The methods of company promoters, of quack medicine vendors, of exploiters of new religions and other movements affecting the pockets or the health, bodily or otherwise, of their fellow men demand and deserve criticism in the public interest. A variety of causes contribute to their either escaping it or only obtaining it toned down to a point which renders it useless in the public interest, and it is submitted that not the least of those causes is the condition of the law with regard to libel, and the feeling that the courts are far more likely to reward the plaintiff beyond his deserts than to safeguard the defendant against oppression. As The Times observed in the article referred to even an unsuccessful action has been known to give a thoroughly profitable advertisement to the plaintiff. The other type of libel is that which arises more or less accidentally, and generally in fiction, through some foolish person fitting upon his own head a cap which may properly become him but which the unhappy defendant never intended for the personal misuse of an individual. Sometimes the fortuitous adop- tion of a name makes the supposed picture more complete by suggesting that of the injured person. If this is the case, or if other- wise one or two circumstances combine to make the likeness assured, the unhappy defendant runs a poor chance of being believed. Everyone must remember cases of this kind, in which juries have awarded damages although the defendant, an honourable man, has never swerved from his original statement that he wrote nothing which he intended to refer to the plaintiff, of whom (according to his evi- dence) he may never have heard. Cases of this kind supply some of the trivial but irritating libel actions which The Times suggests might be brought in the county court. No doubt, originally, the idea was that the possibility of a county court action for libel or slander would involve the multiplying of petty suits of this kind. That is still the chief argument against such an innovation. The Times compares petty libel actions to those THE AUTHOR. brought to recover small tradesmen’s bills, but the parallel is not a close one. The tradesman is not claiming an unascertained sum as damages for a supposed wrong. Still, if the change could be tried as an experiment it would be interesting, and perhaps persons obviously (even to themselves) likely to re- cover small damages only, would ‘abandon the attempt to do so if they felt that it would be imprudent to launch a High Court action. There is less publicity and less fame attaching to success in the county court. Perhaps, also, libel actions would be better tried, if it could so be provided by statute, without juries, by judges sitting alone. On the other hand, reference has been made above to sympathetic judges, and on the whole it must be said that judges have in the past shown in libel actions some leaning towards the side of the plaintiff. It used to be said at the bar of one or two occupants of the bench that they had often had to submit to criticism in the press without the opportunity to reply, and that they were taking it out of libellers whenever they got the chance. Perhaps the recent cases to which reference has been made show that a more impartial spirit now pervades the judicial bench. ANTONIO FOGAZZARO. 1 IFE on earth, if taken as the sum total of all experiences and of all sensations of which we are conscious, holds much that is of the flesh and much that is of the spirit ; life everlasting, if we could conceive it in its entirety, would hold more of the spirit than of the flesh—so it is with love sacred and profane. As exponents of these different aspects of life and love in modern Italian literature, two eminent writers stand out prominently: Antonio Fogazzaro, who believes in the spiritualisation of love capable of carrying man into regions of everlasting glory beyond earthly life, and Gabriele d’ Annunzio, who stands for the materialisation of love and the gratification of desire through possession ; the first appeals to the spirit, the second to the senses. I will endeavour to followtheir thoughts in their quest after love and ts ine a without attempting to discuss their methods of reaching the ideal. Each reader knows whether he is spiritually or materialistically inclined: if he loves spiritually let him read one by one THE AUTHOR. the books of Fogazzaro, of which there are translations into English; if sensually, he will find food for thought in the works of Gabriele @’ Annunzio, which I will deal with in a coming issue of The Author. Antonio Fogazzaro was born in Vicenza on March 25, 1842, he wrote some verses between 1863—1872, but his first book, ‘* Miranda,”’ did not appear till 1874. Then came: “ Valsolda”’? (1876), ‘‘ Malombra”’ (1881), “ Daniele Cortis ” (1885), ‘Il mistero di un Poeta”’ (1888), ‘* Piccolo mondo antico” (1896), ‘‘ Piccolo mondo moderno” (1901), “T] Santo” (1905), and “ Leila »» (1910). He died a few months after the publication of this book. He also went in for philosophical dissertations (1891—1898), which have since been collected. Fogazzaro understood life as a harmony of which music was the language; he said of it that it was a generator of vague shadows, of sentiments of joy, sorrow, desire, dismay, pity, all without definite causes, and also of superb daring and an impulsive courage to achieve the impossible. He said that the best music also suggested confused images to the imagina- tion, signifying turbidly a narration, dialogue or drama, incomprehensible in its magnitude, because the language in which it is expressed is unknown to us, and unlike any language with which we are familiar, a language far removed from daily speech, but gifted with the sound of human passions, many of which are even correctly ordered, in proper sequence, following the methods of the highest reasoning in the world. Fogazzaro’s first book, “* Miranda ’’ (1874), initiates one in his belief with regard to love, a belief which he held to the last, and which gives a special “stamp ” to all his works. He shows love as a light, a sentiment capable of lifting man to spiritual perfection through self-denial and renunciation. Some of his earlier critics condemned him for dwelling too much on lofty passions and glorified love, instead of on the love of ordinary mortals in everyday life. This may be so, but one must not overlook the fact that he held the belief that physical attraction was an instinct outside man’s will, whilst the intel- lectual power of love could be cultivated into a thing of moral beauty, which was more lasting than mere mortal life, and more powerful than instinct. In “ Miranda” the heroine is a simple girl brought up amongst the flowers of the fields. There is no hypocrisy, no study or fictitious innocence in her purity; she is pure, simply 275 because she has never come in contact with vice, and when the man she loves discloses its existence through his materialistic and pleasure-seeking tendency, she is horrified, and her whole being rebels against it. But she cannot give up the man she loves, even though she thinks him unworthy. She is of the women who love once and for ever, but with a profound religious sentiment which holds feminine chastity supreme, and forbids her from falling in with his views. So she offers her life to the Almighty as a sacrifice, so that the man she loves may be redeemed. Her object is reached. He is redeemed through the force of moral love which, emanating from the human heart, is capable of regenerating the world. Throughout all Fogazzaro’s works the mission of love is that of conversion and redemption; human love thus becomes a path leading to divine love. This idea of the necessity for renunciation came to Fogazzaro through his conception of the immortality of the soul. He believed that the human body had evolved from a lower species, and that the soul of man, also evolved. from a rudimental, primordial soul, to a soul of transcendental beauty. He compares the birth of a soul to the striking of the hour ina clock; the hour is not complete until the clock strikes ; so at a given moment, when man reached a spiritual state capable of expression, when his hour was about to strike, with an infinitesimal change, God created in him an immortal soul which was not his before. Through this soul he can get in touch with the Supreme Being, his intellect guided by the Divine Spark making him capable of con- ceiving an abstract idea, and love lifted from a physical passion to a spiritual power. Because he believed utterly in the communion of souls, by some he was looked upon as an ascetic; because he fought all forms of limitation, and aspired to a free church for free men, with free souls capable of out- standing earthly passions, desires and sins, he was condemned by the Church as irreligious. Because in the “ Mystery of a Poet’ he declared that he saw “in every soul some reflection of an unknown light,” he was accused with dabbling in the occult and mysterious. In reality he had a pure conscience, a pure aim, and only pure art inspired him. He was rightly termed “ the Chevalier of the Spirit,” who believed in the ultimate apotheosis of all created things to a final perfect state of love, grace and beauty. Whoever reads his books may agree or 276 THE AUTHOR. disagree with his theories and_ principles, may find his men too perfect, and his women too frail, but whoever believes in the soul’s immortality will take fresh heart, and acquire a stronger faith in the ascension of man to perfection by Fogazzaro’s exposition of a superhuman love, which we may not have met in our lives, but for the existence of which at some time we have surely longed. E. S. Romero-Topesco. RICHARDSON’S LAW OF COPYRIGHT.* —— ++ R. RICHARDSON marshals his com- ments and explanations relating to the Law of Copyright and _ the changes effected in it by the Act of 1911 in a form different from that commonly adopted in legal text-books dealing with statute law. He gives as his reasons for abandoning the obvious and usual method of dealing with a branch of the law that has been codified, by commentary upon the Codifying Act, that in the first place the Copyright Act, 1911, does not lend itself easily to commen- tary. By this presumably he means that to quote sections or parts of sections of the new Act and to append to them notes explaining them and comparing their provisions with the law as it stood before they came into force or as it stands with regard to matters not affected by the new Act, is a method which he has tried and has found difficult to employ satisfactorily. In the second place, he considers that to adopt the method indicated would have involved unnecessary length, and he has preferred the task of summarising the new Act briefly where he deals with it in his notes. He further adds that it is difficult in dealing with the law of copyright to work in the old law while commenting upon the new. He, therefore, relegates the text of the Act of 1911 to his first appendix, where he sets it out verbatim and commences with a short outline of the history of copyright, chiefly literary * “The Law of Copyright,’ by J. B. Richardson, M.A., LL.B. (Cantab.), of the Middle Temple and the North- Eastern Circuit, Barrister-at-Law, late holder of a student- ship awarded by the Council of Legal Education. Jordan & Sons, Limited, London, 1913. Pp.390. Price, 6s. net. copyright, explaining its position before July” 1912, and summarising the principle changes which came into being on the first day of that month. Thence he proceeds to discuss. the general system now established, and lastly he treats in detail the various branches of copyright law as distinguished by the subject- matter of the right conferred. In subsequent chapters Colonial copyright is considered, and the international system arising out of the Berlin Convention and the Act of 1911. Mr. Richardson’s notes are clear and _ brief, and the form in which he has thus presented them to his readers is well adapted for the purposes of those who desire to obtain rapidly a bird’s-eye view of the law, past and present, affecting a particular point of copyright law. They would, no doubt, be convenient also to anyone desiring to study the law of copyright for the purpose of passing an examination in it. It is, however, a matter for individual opinion, how far the method followed has had as its result a text-book useful for the purpose of reference to a lawyer in practice, and how far it may be safe for an author to depart in such matters from precedents which have been tried and generally accepted. The answer to the question is not one easy for a reviewer to supply authoritatively, and must be answered rather by the barrister or solicitor who, when he has consulted a book a few times for professional purposes, will not have great difficulty in making up his mind as to whether he can find his way about in it easily, and put himself upon the track of that which he seeks to discover. At all events, Mr. Richard- son’s work contains a good deal of useful information within a moderate compass. We note that he condemns as a very doubtful experiment the system of royalties introduced in section 8, and the liberty given to republish without leave of the owner of the copyright twenty-five years after the author’s death, an experiment tried with a view to the con- ciliation of those who objected to a lengthened term of copyright, which certainly will not have the merit of simplifying the conditions of book publishing. ; He also condemns the limitations of the subject-matter of copyright laid down in section 1, sub-section 1, of the Act, but does not suggest that it prescribes a narrower area of protection than prevails in other countries, an aspect of the situation which presumably was taken into consideration when the section was framed. The rules made under the new Act will be found with other necessary_or useful information in an appendix. THE AUTHOR. 277 CORRESPONDENCE. Oe AN AMERICAN “ WRITER'S YEAR BOOK.’”* — 1,001 addresses of places where manu- scripts can be sold, or any other } pumber,is not —. nor does this particular ti much matter. It must be presumed that a | title of this sort makes an appeal to some or it would not have been chosen ; yet pad that to others it may not seem quite bon ton. The work is intended as a guide essentially for writers on the other side of the ‘Atlantic, and the greater number of its pages are justly devoted to periodicals published in the United States. We are able to judge of the value of its information respecting such publications only by inference. In the case ‘of the journals with which we are acquainted the information is correct and the advice a . The chapter devoted to “ English Magazines that ty American MSS.” is dis- ey = done. The general hints given in preface are also admirable. There can be no doubt that the classification of the various periodicals into chapters (** Advertising ogg [ oo Journals,” and so h) has its advantages; but it has dis- Advantages also; as it is not always an casy ‘Matter to find any particular journal that is seg We _. that the work would be Much improved by an index. The work eontains a chapter dedicated to ‘‘ Publishers Books,” in which “ the endeavour has been have this a list of publishers of standing.” yang that this chapter may be of value ne ish authors, independently of other ‘Mivice respecting openings on the other side the Atlantic which they will find in the work. gre that English work is not very likely accepted appears, however, to be fairly penn preferences expressed for “* Ameri- th, i. New England Stories,” aud so ong “Fraternal Publications ”’ What they may be we do not know) the Red . en's Official Journal “ do [sic] not use matter t than that we dig up or is furnished by co. from members of the order.” ‘ournal, e official announcement of the for which the editor of ‘ 1,001 : a Manuscripts must not be held W voor ad there are really in this work . “100 + Ba; 1 Places to Sell Manuscripts.” i Ninth edition. itor Company, Ridgewood, New Jersey. 1913. AUTHOR AND AGENT. Dear Sir,—In the last month I have had three separate firms of agents ‘‘ butting in” to my business. They come to me with proposals of remarkable magnificence from Messrs. A. and Messrs. B., and so forth. Why Messrs. A. and Messrs. B., and so forth, do not communicate directly with me, I cannot under- stand. Whatever I am prepared to sell to Messrs. A., B., and so on, for £100 I shall obviously want £110 for, if they insist upon the intervention of Messrs. Agency, Clause & Co. I know of no way of stopping this increasing nuisance of agents, except by proclaiming clearly that, like all saucibhs authors, I do not employ agents except for specific jobs. There is, | believe, a growing tendency on the part of agents to go to firms of publishers and represent themselves with no authority at all as acting on an author’s behalf. I am not lawyer enough to determine how far that is illegal, but, at any rate, it is one that needs to be violently discouraged at the present time. Very sincerely Yours, H. G. WELLs. UNREVIEWED Books. Dear Srr,—lI have been much interested in the article and letters regarding “ Unreviewed Books ” that have appeared in your columns. If for one moment your correspondents would place themselves in the position of the dis- tressed literary editor, they would refrain from suggesting such impossible alternatives to the present system as (a) the sending of stamps for the return of books that have not been reviewed, or (b) that the editors should write to publishers stating what books they can notice. To take the first of these two suggestions. Last year there were nearly 13,000 books published, of which the principal papers received in all probably not less than 10,000, Imagine the additional Jabour involved in sorting out ten thousand lots of stamps! Then what is to become of the stamps sent with those books that are reviewed ? If they are to be returned also, there would be the writing of 10,000 envelopes or labels. The other suggestion that editors should write and state what books they can review 18 278 ve impracticable. Suppose an editor oe aanon ae a mabiishee's list “* Golden Agates,” a novel by James Blank, and he has never heard of James Blank, how in the name of all that is inspired can he tell whether or no he be prepared to give space to reviewing the book? The lot of the literary editor is suffi- ciently difficult without our adding to the burden of his responsibilities. Authors and publishers must be sportsmen and optimists, and if they be men of the literary world also they will appreciate that everybody connected with books is keenly on the look out for that which is good. If only a small percentage of the copies sent out for review produces notices, then the book does not appear to the literary editors to be a work likely to interest their readers. An editor is in every sense of the word the servant of the public. He must fill his columns with attractive matter. He can guide his readers to some extent ; but on the whole he has to consider what the public wants. I know many literary editors, and that in the triple capacity of author, reviewer and publisher, and I have a profound admiration for their ability and fair- ness. One point that seems to have been over- looked is that all the books sent in are acknow- ledged under the heading of ‘“ Books Re- ceived.” If your correspondents will remember that there are some thirteen thousand books yearly endeavouring to storm the slopes of Parnassus, they will realise that of necessity there must be a list of slain and wounded. If a book fail to get a place do not let us regard it as wasted; but rather that as an ‘also ran ” it has helped to make the pace for the others. This requires a Spartan philosophy with erhaps some admixture of humour ; but it will prove very comforting. I am, Sir, Your obedient Servant, HERBERT JENKINS, + CONCERNING “ Cart ATHLETICS,” IN a recent number J é : : of the New York Times se Supplement Mr. Grant Richards sere “at — - the methods employed by 4 ‘ American ishers - trast a te sae publishers, and con odious features of the English Jjte , is the fiction that has paid to Sop bl The first question js; i} that “ one of the most market t published.” pays to Tho be THE AUTHOR. published—and why? And the second : What publishers accept payment Webes why ? Answer (to the first question): Who to be published, and why ? of this paper, has paid. Paid twice. to an American publisher and once English one for publishing Justice's novels, Justice wrote as a free lance for twenty vears— for money. Yet, until Mr. Wells enlightened his fellow-craftsmen in the May Author Justice had supposed the unknown novelist always paid to publish because 80 informed Justice’s publishers. In each case, too, wit the exception of the publishers’ obligato announcements of fortheoming productions, Justice was inveigled into “ doing the adver. tising ” because * decent publishers don’t like descending to the tricks of the trade.” also consented to the 13 as 12 clause, to six ‘“author’s copies ”—and bought in, “at the lowest possible author's rates,” copies to bestow upon “friends” who couk n't—or wouldn't buy. For having the first novel published, in America, Justice was asked to pay, and paid, $330. For publishing the second novel, in London, Justice paid £98, Answer to the second question : What pub- lishers accept payment for publishing? The names of aforesaid publishers are at the disposi- tion of any serious literary worker requiring useful information for self-protection, from Justice, through the Authors’ Society. In answer to why the publishers exact money from novices? Well—ask the pub- lishers ! Dear Fettow-Autnors,—Can’t we be- ginners in our beloved profession hence- forward, to defeat the “ shark ” publisher, establish a league to be known as the Wells League that has for its ideal agreement the one Mr. Wells advises, and for its actual one something just as near it as feasible ? Mr. Wells writes: ** The ideal thing for the author to do is to fix up a standing agreement on the lines I have given above with a big solvent firm—and think no more of these things.”’ Did Mr. Wells “think no more of these things” in the days before he, on his. own terms, advertised the publishers—gratis? Won’t Mr. Wells tell us somet hing of - “green and salad” experiences with Pho lishers ? We can’t write as he does. ; can? But Napoleon was no less Na — St. Helena than at Corsica, was he? at Wate than at Austerlitz. Jou to publish, andi Justice, the writer} Onee } to anf Justice & egypt 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 09 (June 1913) Subject The topic of the resource The Author, Vol. 23 Issue 09 (June 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-06-01-The-Author-23-9 publications The Author https://historysoa.com/files/original/5/528/1913-05-01-The-Author-23-8.pdf d849348fff05b9e12f082ed718554c61 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-05-01 Volume 23 Issue 8 Pages Page range in volume 219–248 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin ~— The Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vor. X XIII.—No. 8. May 1, 1913. [PRICE SEXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. —_—_—_—_—_—_—_+—_>_+-—___—- NOTICES. — > OR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or Tk .8q@ paragraphs must be taken as expressing the ‘6 opinion of the Committee unless such is ues especially stated to be the case. Tur Editor begs to inform members of the «* Authors’ Society and other readers of The _ Author that the cases which are quoted in The + Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND. CONTRIBUTIONS. | Tue Editor of The Author begs to remind ' members of the Society that, although the __ paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. 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. As there seems to be an impression among readers of The Author that the Comm ttee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possj bly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. +» + THE SOCIETY’S FUNDS. ae “¥\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 matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. 2 220 THE PENSION FUND. —— > N January, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees _in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :-— Nominal Value. £. 8.4. Local Loans ......----s+seeees 500 0 0 Victoria Government 8% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ............ 250 0 0 Egyptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Cape of Good Hope 84% Inscribed Stock ...0......515-----.-- 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock .... 228 0 0 New Zealand 34% Stock........ 247 9 6 Trish Land 23° Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1927—57............++. 438 2 4 Jamaica 84% Stock, 1919-49 1382 18 6 Mauritius 4% 1937 Stock ...... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ...... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 287 0 0 Central Argentine Railway Or- dinary Stock ...........:.... 232 0 0 $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ............ 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .i........ 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ............ 550 0 0 THE AUTHOR. Nominal Value, £ a da 8 Central Argentine Railway £10 : Preference Shares, NewIssue.. 30 0 0 Total, .4-s «cs. £4,764 6 0 — PENSION FUND. Tue list printed below includes all fresh dona- tions and subscriptions (i.e, donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October 1, 1912. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1912. Oct. 10, Escott, T. H. S. : Oct. 10, Henderson, R. W. Wright Oct. 10, Knowles, Miss M. W. : Oct. 11, Buckley, Reginald . Oct. 12, Walshe, Douglas Oct. 12, “* Penmark” . : Oct. 15, Sinclair Miss Edith . Oct. 16, Markino, Yoshio Oct. 20, Fiamingo, Carlo Oct. 29, Henley, Mrs. . : Nov. 8, Jane, L. Cecil . Nov. 14, Gibb, W. Dec. 4, De Brath, S. . : Dec. 4, Sephton, The Rev. J. Dec. 4, Cooper, Miss Marjorie Dec. 7, MacRitchie, David Dec. 11, Fagan, James B. Dec. 27, Dawson Forbes 19138. Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). . : . Jan. 9, Gibson, Frank . : Jan. 29, Blackley, Miss E. L. Jan. 81, Annesley, Miss Maude Feb. 6, Rothenstein, Albert . Feb. 10, Bradshaw, Percy V. April 8, Caulfield-Stoker, T... _ Oannnn? nocoooccoooonoeocee™ it bt MN orH oS Cor oooooororcsoooooobm 1 CO 8S Oo a coooooeo —_ SCaARROSOCOS Donations. 1912. Nov. 20, Kennard, Mrs. N. H. 3 Dec. 4, McEwan, Miss M. S. . ‘ Dec. 4, Kennedy, E. B. “ . Dec. 11, Begarnie, George . - ~ anos 0 0 0 0 eoocu E> fa Se Se d Als jf REAR AR k f on ct tit otic ot hy : Dee. Dec. Dec. Dec. Dec. 11, Tanner, James T. . é 11, Toplis, ‘Miss Grace . i 14, Watson, Mrs. Herbert A.. 14, French, Mrs. Warner j 17, Smith, Miss Sheila Kaye . Dec. 17,,Marras, Mowbray . Dec. 27, Edwards, Percy J. 19138. Jan. 1, Risque, W. H. : Jan. 1, Rankin, Mrs. F. M. . Jan. 2, Short, Miss L. M. Jan. 2, Mackenzie, Miss J. . Jan. 2, Webling, Miss Peggy Jan. 8, Harris, Mrs. E. H. . Jan. 8, Church, Sir Arthur, K.C.V.O., ete. 4, Douglas, James A. 4, Grant, Lady Sybil 6, Haultain, Arnold 6, Beveridge, Mrs. ‘ 6, Clark, The Rev. Henry 6, Ralli, C. Scaramanja . 6, Lathbury, Miss Eva - 6, Pryce, Richard 7, Gibson Miss L. 8. 10, K. 10, Ford, Miss May 12, Greenstreet, W. J. 14, Anon 15, Maude Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 20, P. H. and M. K. 22, Smith, Herbert W. . 25, Anon. . : 27, Vernede, R. E. : 29, Plowman, Miss Mary. 29, Todd, Miss Margaret, M.D. 81, Jacobs, W. W. : 1, ‘Davy, Mrs. KE. M. 3, Abraham, J. J. 4, Gibbs, F. L. A. Feb. 4, Buckrose, J. E. ‘ Feb. 4, Balme, Mrs. Nettleton ; Feb. 6, Coleridge, The Hon. Gilbert Feb. 6, Machen, Arthur Feb. 6, Romane-J ames, Mrs. Feb. 6, Weston, Miss Lydia : ‘ Feb. 14, Saies, Mrs. F. H. (in addi- tion to her subscription) Feb. 14, Maunsell, A. E. Lloyd Feb. 14, O'Higgins, H. J. . Feb. 15, Stephens, Dr. Ricardo Feb. 15, Jones, Miss E. H. Feb. 17, Whibley, Charles Feb. 22, Probert, W. S. Feb. 24, S. F. G. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. SCSoSCSOSCSD CoHOSCCOoNMh Hee OOOOCSCSo COMM OR OCH ONHOOCOCOOBRH OH OCOOOOROWOORNWH bn _ Or or Ot Or Ot © _ Qe OK ONE NROOBREY ON GOO oe oO &® OOOH bo eH i rt | — cCrountooe. Or Gr ee — oe OOP or orc 2 ecoaocaace eceoscoconoasoonmsoancocososoosooococosooocos ooooood Secesesosce pa UTHOR. 221 ob p 2 of Feb. Mar. 27, XX. Pen Club : . 7, Keating, Theg Rev. J. Lloyd . : i 7, Tharp, Robert C. 10, Hall, H. Fielding 13, Moffatt, Miss Beatrice 14, Bennett, Arnold. 17, Michell, The Right Hon. Sir Lewis, K.C.V.O. . Mar. 17, Travers, Miss Rosalind Mar. 26, Hinkson, H. A. Mar. 26, Anon. . 5 April 2, Daniel, a J. April 2, Hain, H.M. . April 7, Taylor, Miss Susette M. April 7, Harding, Newman . April 9, Strachey, Miss Amabel Mar. Mar. Mar. Mar. Mar. TOM oo OS Or On eoeoooaceoce ooooco eoooocuror ht moO oo © = or a nm COMMITTEE NOTES. ag pg MEETING of the Committee of Manage- ment of the society was held on April 24, at No. 1, Central Buildings, Westminster. The first matter before the committee was the election of the chairman for the current year owing to the resignation of Dr. S. Squire Sprigge who has held the post now for two years. On the proposal of Mr. Arthur Rackham, seconded by Mrs. Belloc Lowndes, Mr. Hesketh Prichard was elected to the position. Mr. Prichard, in acknow- ledging the honour conferred on him, stated that he would endeavour to earry out the work of the Society on the lines laid down by his distinguished predecessors in the office. He suggested, however, that as there was a very heavy list of agenda dealing with matters current under Dr. Sprigge’s chairmanship, that Dr. Sprigge should take the chair for the present meeting. This was agreed to. The elections to the Society made at the beginning of April on the chairman’s authority were then formally confirmed, and further elections that had come in during the month were placed before the meeting. The total number of elections since the meeting on March 3 amounted to forty-eight, making the total for the year 186. The committee accepted with regret eight resignations sent in since the same date in March, making the resignations for the year fifty-six. The total number of elections is not as high as up to the same period in 1912, which was a phenomenal year, but the total number of resignations, the 222 committee were glad to report, was also below the number for the corresponding period of last year. The secretary then laid before the committee a list of those members who had been struck pff for non-payment of their subscriptions during 1912 and at the beginning of 1913. Despite the increase in the membership, the number struck off is lower than that which was chronicled last year. In half-a-dozen cases it was decided to write to the members in arrears, as it appeared that the non-payment of their subscriptions was merely due to oversight. The next matter before the committee was the re-election of the sub-committees for the current year. The Dramatic Sub-Committee was, on the suggestion of the dramatist members of the Society, re-elected, except that Mr. Rudolf Besier’s place, vacated by his resignation, was filled by the election of Mr. A. E. W. Mason. The other sub-committees stand as at present, save that the committee received with regret the resignation of Mr. Herbert Sullivan, owing to ill-health, from the Composers’ Sub-Com- mittee and the Copyright Sub-Committee. It was decided to ask Mr. H. J. MacKinder, M.P., to join the Copyright Sub-Committee. The solicitor then reported the cases that had been carried through during the past month. The first case referred to an infringement of copyright to which reference has already been made in previous issues of The Author. The solicitor reported that the action had been set down for trial, and would, most probably, come on for hearing a week or so after Whitsun- tide. Thesecond case was also one of infringe- ment, and here it was decided to take no further action, as the infringement was not very serious, and the member involved was content with the action which had already been Staken by the ociety. The third case related to a dispute over accounts, arising from the peculiar wording of the contract. In accordance with the instructions of the committee, given at their last meeting, counsel’s opinion had been taken, and as the contention of the author had been upheld by counsel, the solicitors had communicated with the publisher, and had now obtained from him a proposal for an equitable settlement which had been accepted by the author. The fourth case arose out of a dispute on an agreement between an author and a publisher as to the date of publication of certain books, and the matter was settled by the publisher surren- THE AUTHOR. dering all claims to delivery of other books, by returning the. MS. that he had held and by forfeiting the amount paid in advance of — royalties. The fifth case was with the same — publisher and referred also to a dispute con- cerning the delivery of further books to be published under the agreement. The matter was in the course of negotiation, and the solicitors had suggested the appointment of an arbitrator if necessary to settle the issues. In a county court case against a music publisher, the solicitors reported that the matter had been settled, but that no money would be recoverable owing to. the fact that a judgment for a large sum had been obtained against the publisher by another creditor. The next dispute arose owing to a fire which had occurred in a publisher’s warehouse, and the solicitor reported. the action taken for the members involved. The solicitor then gave a further report upon an interesting action against the editor of a paper. The editor maintained that in the absence of contract before publication he had a right to pay the author certain fixed terms, the solicitor contended, on behalf of the author, that the editor had no right whatever to make his own terms after the publication of the. work. If the terms suggested by the editor were unreasonable then it would be for the Court to set them aside. The issue will be tried. The next case was against the proprietor of a paper. The solicitor had carefully followed the course of the bankruptcy of the publication, and reported that there were claims for over £2,000, and no assets. This, he said, had been reported to the members concerned, and as there was no prospect of a dividend being paid, and as the claims were small, it was dended not to go to the useless expense of proving in the bank- ruptcy. In the matter of Stephen Swift & Co., Ltd., the solicitor reported that the liquidator had failed to sell the business as a whole, and stated that he was now realising the assets piecemeal. The solicitor thought that a dividend of 3s. in the pound would be declared. Lastly, the solicitor reported that judgment against a publisher had been obtained, and on the threat of execution, had been satisfied and the costs paid. In a case where the publisher had refused to produce vouchers for charges made under a profit-sharing agreement, the committee con- firmed the action of the chairman, who had already placed the matter in the hands of the solicitors. They were instructed to take legal action if necessary for the member concerned, Go ade 1 3 k st iF THE AUTHOR. as an important principle was involved. Another case arising out of an inadvertent breach of his contract by a member was considered, and the solicitors reported that they hoped to effect a fair compromise on his behalf. The solicitor reported the action he had taken respecting a complicated question of dramatic copyright and international law. The matter was governed, largely, by the French Convention of 1851 before the Interna- tional Copyright Act of 1886 and the Berne Convention had been formed. The solicitor had advised, and as no further action had been taken on the other side, it seemed probable that the claim would be withdrawn. The secretary then drew the attention of the committee to the infringement of dramatic copyright in India, and reported that the solicitors in India had been unable to reach the defendant. The committee instructed the secretary to report to the solicitors in India their wish that these infringements should be stopped, and that the solicitors should use their utmost endeavours to bring the suits against the defendant (who was the manager of a travelling company) on his return to India. : Infringements of dramatic copyright in Jamaica were next reported by the secretary. The committee decided to ascertain from the authorities whether steps could be taken to stop such infringements in the future, and if steps could be taken, to ascertain the nature of these steps. The secretary also reported the progress of a case in Switzerland. In the event of judgment going against the Society, it was decided that the matter should be referred back for consideration. A letter forwarded to the editor of The Author was referred to the committee, who regretted they were unable to authorise its insertion. Two important matters referring to domestic and international copyright were then mentioned to the committee. The action taken by the chairman and the secretary was reported. The committee regret that it is not possible, at the present moment, to give further details, as any premature statement might prejudice the negotiations that are proceeding. The secretary then laid before the committee an article that had been written as the result of correspondence which had passed between the Society and certain editors, and it was decided to print the article in The Author with 223 a special editorial note referring to the matter. The question is one of great importance. It deals with the practice of the proprietors of certain papers and magazines of sending to their contributors receipt forms, either apart from or on the back of cheques, signature to which may mean a surrender of rights for which the editor or proprietor has made no contract. The next matter also referred to editors and their contributors. The Society has been in communication with various representatives of important journals, magazines and papers, with a view to arriving at some uniform arrangement by which accepted articles are paid for within a certain period from accept- ance whether they have or have not been published. The replies of the editors were so favourable that it was decided to hold a conference during May at which the matter might be fully discussed, and, if possible, some uniform practice accepted. The secretary was authorised to purchase the copyright laws of all countries, to be retained at the office for reference, and, if later it should appear necessary, to have English translations of the laws made. Refer- ence to the committee in regard to this matter will be made later. A letter dealing with the collection of fees by an outside company was adjourned till the next meeting, in order that the secretary might obtain further information on the matters concerned. Mr. R. C. Carton, who has for the last two years been chairman of the Dramatic Sub- Committee, was unanimously elected to the Council. Sanction was given to the secretary to sign a fresh contract for the advertisement depart- ment of The Author. The secretary reported that the registration of scenarios had grown so enormously and was still growing at the same rate, that it had become necessary to find further accommoda- tion for the plots and plays. He was instructed to make enquiries and to report to the next meeting. The committee desire to express their gratitude to the following members for dona- tions to the Society’s funds: A. Neil Lyons, Mrs. MacLiesh and Miss Jeannette Marks. —— Dramatic SuB-CoMMITTEE. I. Tue March meeting of the Dramatic Sub- Committee was held on Friday, March 28, 22:4 at No. 1, Central Buildings, Tothill Street, Westminster, S.W. It was too late to admit of the publication of this report in the April issue of The Author. In consequence, it appears with the report of the April meeting of the sub-committee, in the present issue. _ Following the reading of the minutes of the previous meeting, the secretary reported on the cases that had been dealt with during the past month. One case of alleged plagiarism had been satisfactorily settled, and the secretary laid before the Dramatic Sub- Committee the correspondence that had passed between the solicitors of both sides. The issues were satisfactorily explained and the charges withdrawn. The second case related to a claim for money due under a contract, against an actress. The sub-committee instructed the secretary to lay the matter before the Committee of Manage- ment with a view to taking it into Court if it was found impossible to carry it through by correspondence. A discussion then arose on the settlement of the agenda for the Conference of Dramatists, and this matter was adjourned till the next meeting. One of the members then laid before the Dramatic Sub-Committee an insurance policy he had entered into so as to cover any loss that he might sustain in the event of fire in a theatre during the run of his play. The sub-committee were very interested in the matter, and suggested that the attention of dramatists should be called to it by the publica- tion of an article in The Author, and the secretary was instructed to mention the matter to those dramatists who called at the office, and to thank the member for bringing it to the sub-committee’s notice. An informal discussion then took place as to the election of the Chairman of the Dramatic Sub-Committee for the next year, and it was decided to ask Mr. R. C. Carton to take the reins of office for a further term. The next item before the sub-committee was the question of agents’ fees, and it was decided to accept the terms put forward by Mr. A. Reyding, of Amsterdam, and that the secretary should inform all members who were entering into contracts for the performance of their plays in Holland of the arrangements made with the Society’s agent. The question of Mr. Walter Jordan’s fees in America was also discussed, and the secretary received instructions to make to Mr. Jordan a proposition for his acceptance. The draft prospectus referring to the collec- THE AUTHOR. as to the conditions of theatrical work in tion of dramatic fees by the Collection Bureau was finally settled in the form of a circular to be issued to the dramatist members of the Society. The question of cinematograph fees was also discussed, and adjourned to the next meeting. The sub-committee felt that the matter was of urgent importance, and asked the secretary to make every effort to obtain full information to lay before them at their next meeting. The discussion of the Dramatic Pamphlet was also adjourned to the next meeting, and it was decided to devote that meeting especially to these two matters. The secretary, having reported that the Register of Scenarios was rapidly assuming enormous proportions, it was decided to rent a special room for storage. He was instructed to obtain full information to lay before the sub-committee, and the sub-committee expressed the view that if the fee was too small to cover the cost, the question of a revision of the charges would have to be considered at the next meeting. II, Tue Dramatic Sub-Committee held their April meeting on the third Friday in April, the 18th ult., at No. 1, Central Buildings, Tothill Street, Westminster, S.W. After reading the minutes of the previous meeting, the sub-committee considered the question of the Scenario Register. The secre- tary reported that in accordance with the committee’s instructions he had made enquiries about hiring some extra room where the scenarios could be stored, and stated that he thought that facilities might be available in the building in which the Society’s offices were situated. The Dramatic Sub-Committee gave instructions that the Committee of Management should be notified in order that the necessary accommodation might be found. The secretary then read to the Dramatic Sub-Committee a report received from the Society’s agent in Holland, giving information Holland, and the figures of certain of the chief theatres in that country. The secretary was requested to thank the agent for his report. A further discussion followed as to the possi- bility of working with the German Society of Authors, and the appointment of agents in Germany was also considered. The secretary was instructed to obtain further information and to report to the next meeting. ue N ce “at oF J SP! Seas Saag THE AUTHOR. Mr. Cecil Raleigh then submitted to the sub-committee his report on Moving Pictures, which is printed in full on another page of The Author. The matter is one of the greatest importance, equally to the writers of books and to dramatie authors, and all members of the Society are asked to give careful attention to the information contained in the report. The secretary reported that a section had been added to the Bankruptcy Bill, as it passed through Committee, which would cover dramatists as well as writers of books, in the case of the bankruptcy of a manager to whom copyright had been assigned subject to the future payment of fees on the performances. It is hoped that this section may become law. It is of importance to dramatists, though not of such pressing importance as to authors of books. The consideration of the dramatic pamphlet was again adjourned owing to the heavy call ‘on the sub-committee’s time. Composers’ SuB-COMMITTEE. THe Composers’ Sub-Committee met at the offices of the Society, at No. 1, Central Buildings, Tothill Street, Westminster, on Monday, April 21, at 11 o’clock. After the reading of the minutes of the previous meeting, the secretary read a com- munication from a member of the Society, in which the following suggestion was made: “To forward to all the small musical clubs and choral societies in the country lists of part-songs and small choral works which could be undertaken by such societies, as these societies often found it very difficult to obtain information about the music of modern com- posers.” The sub-committee thought the idea an excellent one, and the secretary was instructed to take steps to obtain a proper list of part-songs, etc., by modern composers, and then to send the list to as many country clubs as possible. The secretary then reported that the Society had succeeded in getting a clause incorporated in the Bankruptcy Bill as it passed through Committee, which would materially benefit the composer, author or dramatist who had assigned his copyright while retaining a con- tinuing interest in the sales of his work or the performance of it. The sub-committee approved the action taken by the Society, and hoped that the clause would, eventually, become law. The answers to the circular to composers, 225 ~ sent out with the sanction of the Com- mittee of Management, were next laid before the sub-committee, and it was decided, when further answers were received, to call a public meeting to discuss the points put forward. In the meantime, the sub-committee directed that another circular should be drafted, in which would be embodied the principles set out in the previous circular, in the form of questions, to which categorical answers would be requested. It was pointed out that from the usual form of agreement between composer and music publisher—which was really no agree- ment at all, but merely an assignment of the rights in his work by the composer—many of the ordinary clauses of an agreement were lacking, and amongst the number, special attention was drawn to the omission of the account clause. The sub-committee decided to circularise the big music publishing firms, suggesting that it would be invaluable to com- posers and to the firms themselves, that some uniform arrangement should be come to as to the rendering of accounts at fixed dates. The agreement of the German Genossenschaft was then discussed, and the matter adjourned for further consideration. —+-—<=—4— Cases. SINCE the last issue of The Author there have been eight cases passing through the secretary’s hands ; four of them have dealt with applica- tions for money. Of these two have been settled and cheques have been forwarded to the authors. The third is in the course of negotiation and a reasonable arrangement will be come to, but the matter has been a little delayed owing to the misreading of the contract. The last case has only recently come to hand. There were three cases for the return of MSS. One has been settled, one in the United States is still open, and the last as it has been impossible to trace the whereabouts of the person to whom the MSS. were sent, has had to be abandoned. There has been a dispute about the trans- lation of a member’s work in a foreign country, and action has been taken by the secretary in the matter. It is not so much a case for legal action as for diplomatic settlement, and it is impossible to say, at the present time, what the result will be. There are still six cases open from the former month; that is, cases still in the 226 secretary’s hands. The others have been settled, with the exception of one placed in the hands of the Society’s solicitors. Of the six cases open, four are foreign cases, two lying in the United States, where negotiations can go through but slowly, one in Hungary, where again it is difficult to get a quick answer to letters, and one in India where the member resides. Of the other two cases, one referring to the cancellation of an agreement with a publisher, is very nearly settled, terms have been arranged, but the actual cancellation has not yet taken Jace ; the other a demand from a publisher or accounts, is still open. The publisher has proved on former occasions most difficult to deal with. The present case will, in all probability, have to be placed in the hands of the Society’s solicitors. —— Elections. THE AUTHOR. | Philpot, Stephen Row- land — Richards, Harold Grahame Rothwell, Ernest Her- bert Sargent, HerbertC. . Sarolea, Charles . Stock, Ralph . ‘ /Strachey, Miss Amabel Taylor, Susette M. . 83, Randolph Cres- cent, Maida Vale, W. 13, Hampstead Hill Gardens, Hamp- stead, N.W. 9, Brunswick Square, Hove. Green Room Club, — Leicester Square, W.C. 21, Royal Terrace, Edinburgh. c/o Bank of New South Wales, 29, Threadneedle Street, E.C. Newlands Corner, Merrow Downs, Guildford. 22, Cromwell Cres- cent, S.W. Bourgeois, Maurice Brackenbury, Anita Bartle Bridges, T. C. (‘ Chris- topher Beck ’’). Caulfield-Stoker, T. Dempster, Miss Char- lotte Louisa Hawkins Falkner, Major Percy Hope, R.A.M.C. Fraser, A. Keith. Griffith, Mrs.L.W. . Griffiths, Maj.-General C. Harding Newman Hicks, Rev. E. Savell Heaton Jackson, Henry Cecil . Mace, Charles Augustine McConaghey, Capt. M. E. Mothersole, Miss Jessie Orred, Meta : i Palmer, Mrs. Clayton . Pearson, Mrs. Meynell (‘* Ida Wild’’). 20 bis rue Censier, Paris, France. Oakwood, Warling- ham, Surrey. Moor Lodge, Prince- town, Devon. 26, College Road, Bromley, Kent. 24, Portman Square, W. 22, Victoria Park, Dover. 55, Holland Road, Kensington, W. 8, Fayland Avenue, Streatham Park, S.W. St. Kevin’s Park, Rathmines, Dublin. Khartoum, Sudan. 4, Kingsland Road, N.E Royal Scots Fusiliers Lanark, N.B. 141, Willesden Lane, N.W. 1,Richmond Gardens, Bournemouth. Greenhurst, Oxted. Golf Club, Hindhead, Surrey. The editor regrets that in the last number of The Author Mr. W. Wilfrid Blair Fish’s name was wrongly announced. The name should have been Mr. W. Wilfrid Blair Fish, and not Wilfred. —————_ BOOKS PUBLISHED BY MEMBERS. While every effort is made by the aia 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. - 4 ART. VisvaxarMa. Examples of Indian Architecture, Sculp- ture, Painting, etc. Chosen by ANANDA K. Coomaras- wamy, D.Sc. Part Ill. 11 x 9 37 pp Luzac. Qs. 6d. BIOGRAPHY. Tae Marriep Lire of QueEN Vicrorta. By Chara JerRotp. 9 X 53. 399 pp. Nash. 15s. n. Tan TRUTH ABOUT CaRLYLE. By Davin ALEC WILSON, With a Preface by Sir James CrIcHTON- BROWNE. 7k X 5. 122 pp. Alston Rivers, Ltd. 1s. 6d. n. A Smart Boy aNd OTers. By Henry Jamus. 9 X 5}. 436 pp. Macmillan. 12s. n. A Cxuntury or Famous ACTRESSES, 1750—1850. By Harotp Smpson anp Mrs. C. Braun. 9 X 5}. 380 pp. Mills & Boon. 10s. 6d. n. : Mrs. GaskeLt. Haunts, Homes and Stories, | By Mrs. Exuis H. Caapwick. (New and Revised Edition.. 84 x 54. 339 pp. Sir Isaac Pitman. 5s. n. J Lire oF THE Ricut Hon. Sim Atrrep Comyn Lyatt, P.C., - K.C.B. BySrm Mortmer Duranp. 9 X 53. 492 pp. Blackwood. 16s. n. ’ Tue Tracepy or Isapetya Il. By FRAncis GRIBBLE. 9x 5%. 308 pp. Chapman & Hall. 15s. n. ‘) Wit11am Ernest Hentry. By UL. Core Cornrorp. 3 62 x 4}. 109 pp. Constable. 1s. n. [DRAMA. .) «81 Tue Great Apventurn. A Play of Fancy in Four Acts. ~~i By Arnotp Bennett. 6} x 4}. 152 pp. Methuen. tS 23. n, -& A Woman or ImacrnaTion. go A Acts. By Luoyp Sr. Cram. (Privately printed). 4 Gaston DE Forx. A Play in Three Acts. (Second bs Edition Revised.) 72 pp. PaLaMoN AND ARCITE. BAS A Play for Puppets. By Mavricr Bartne. 7} x 5. 1) Oxford, Blackwell; London, Simpkin. 2s. n. ~ af Tus Generation. By G. M. Fox. 7} x 5. 2s. 6d. n. By Lapy Greaory. 5s. n. A Modern Play in Four 7a % 6s 119 pp. 2acn. 5 158 pp. ai oi] Fisher Unwin. ova New ComEDIEs. wi Putnams. 7k x 5. 166 pp. FICTION. Tue Houser or Spies. By Warwick DEEPING. Cassell. 6s. n. ef Tue CaLLorTHE Siren. By Haroitp SPENDER. : 389 pp. Mills & Boon. 6s. ¥ NEVERTHELESS. By Isapen SmitH. 74 x 43. : Alston Rivers. 6s. ' Tue DetermMrinep Twins. By Epcar JEFSoN. ' 836 pp. Hutchinson. 6s. | Unper THE Biack Eacir. By A. W. Marcumont. ' Tx 5. 320 pp. Ward Lock & Co. 6s. _ Strorres of Rep HanraHAN: Tue Secret Rose: Rosa _ Atcnernica. By W. B. Yuats. 7} X 5}. 228 pp. ee A. K. Bullen. 6s. n. os! Tue Warre Hovse sy THE Sza. ies EDWARDS. xo Collins. 6d. 2? Tue Smirus or Surprton. By Kesre Howarp. : and Cheaper Edition.) 74 x 5. & Hall. 28. n. CaRNivAL. By Compton Mackenzim (New and Cheaper Edition.) 74 x 4%. 446 pp. Martin Secker. ls. Tue Simpexin’s Pror. By G. A. Brrmincuam. 6} x 4}. Nelson. 7d. ‘ | Satt or THE Sua. By Morztey Rozserts. 64 x 4. 471 pp. Nelson. 7d. Tue Partan. By F. Anstey. 7 x 44. 448 pp. Hodder & Stoughton. ls. n. CaRNackI THE Guost FINDER. 7k x 53. 287 pp. Nash. . 6s. Inerrectuat Fires. By E. M. Smrra-Damprer. 74 x 5}. 303 pp. Melrose. 6s. | A Girt or No IMPORTANCE. 320 pp. John Long. 6s. Tue GotpEen Girt. By Atice anp CLAupE ASKEW. 74 x 5. 320 pp. Ward Lock. 6s. CattEpD To JupGMENT. By Coratin STANTON AND Heats Hosxen. 74 x 5. 580 pp. Stanley Paul. 6s. Tue CoNFOUNDING OF CAMELLA. Sepewick. 256 pp. Just a Giru. By C. Garvicn. 356 pp. Is Wotr’s Crotuine. By C.Garvice. 256 pp. (Seven- penny Edition.) 6} x 44. Hodder & Stoughton. Catting THE Tone. By J. H. McCarruy. 8 x 5. 340 pp. Hurst & Blackett. 6s. Tue Laurensons. By R.K.WeeExes. 72 x 5, 312 pp. 400 pp. 72 x 5. 358 pp. 7k x 44. By M. Busruam- (Cheap Reprint.) 8} x 5}. 126 pp. (New 241 pp. Chapman By W. Hors Hopcson. By Otrvia Ramsey. 7} x 5. By Anne Doveas Constable. 6s. THE AUTHOR. 227 An Inn upon THE Roap. By Janet Dopcs. 296 pp. Sedgwick & Jackson. 6s. Tae Curse or THE Nie. By Doversas SLADEN. 74 x 5. 370 pp. Stanley Paul. 6s. THe TEMPTATION OF TAVERNAKE. By E. PHILLIPS OprENHEIM. 7}? X 5. 312 pp. Hodder & Stoughton. 6s. Nyrra. By Mrs. CampBeLt Prarp. 74 X 43. 432 pp. New and Cheaper Edition. Rider. 2s. n. THe Spanx IN THE LaByRinTH. By Maupr ANNESLEY. 7% x 5. 316 pp. Mills & Boon. 6s. Tue Wartcuer or Lirr. By Harry Tichr. 7} x 43. 316 pp. Heath, Cranton & Ouseley. 6s. Tur CrystaL Stopper. An Arsene Lupin Novel. By Translated by ALEXANDER ie xD: Mavrice Lz Branc. TEIXEIRA DE Marros. Blackett. 6s. Tue SiagN or THE SrimperR. By Berrtrram MuirtrForp. (New Sevenpenny Edition.) 64 x 4}. 288 pp. Methuen. Once Rounp. By SterHen Knorr. Murray & Evenden. 74k X 5. 366 pp. 6s. Sretta Mario. By W. J. Lockn. 72 x 5. Lane. 6s. Tue DaucutTerin-Law. By E. W. Savi. 7} x 5. 388 pp. Hurst & Blackett. 6s. Mrs. Gray’s Past. By Herpert FLOWERDEW. 278 pp. Stanley Paul. 6s. PatcHwoRK ComEeDY. By Humrrey JorDAN. 7} X 5. 389 pp. Putnams, 6s. HISTORY. Tue History or Enerish Patriotism. By WINGFIELD-STRATFORD. Two Volumes. 8$ x 54 614 x 672 pp. Lane. 25s. n. A MopErN History of THE ENGuIsH Prorie. By R.¥ Gretton. Vol. II. 1899—1910. 8 x 5}. 368)? Grant Richards. 7s. 6d. n. LITERARY. A Lrrttr Book or Covrace. Compiled by ANNIE MatHeson. 74 x 5. 144 pp. Gay & Hancock. 2s. 6d. n. Dante anp Aquinas. By P. H. WickstTEep. substance of the Jowett Lectures of 1911. 271 pp. Dent. 6s. n. MILITARY. Boy Scouts Bryonp THE Seas. ‘My World Tour.” By Sm Rozpert Bapen-Powet, K.C.B., 74 x 5. 250 pp. Pearson. 2s. n. Hints on Trarnrnc TerritorraL Inrantry. From Recruit to Trained Soldier. By Capt. J. F. C. FULLER. 64 x 4. 112 pp. Gale & Polden. 1s. 6d. n. MUSICAL, Tue Responsive Psatter. Containing the Psalms set to Chant Forms in accordance with the Parallelisms of Hebrew Poetry. By the Rev. James EcKERSLEY. 83 <x 54. 296 pp. Simpkin, Marshall. AppiTionaL TuNngEs To Hymns In Hymns, ANCIENT AND MopERN AND OTHER Hymn Booxs. By Rev. JAMES Eoxerstey, M.A., Vicar of Langley, Bucks. Stainer & Bell. 1s. 6d. n. NATURAL HISTORY. British Divine Ducks. By J. G. Murais, F.ZS. Vol. I. 164 x 12. 141 pp. Two Volumes. Long- mans. £12 12s. n. Tur Crecrinc Year. Book IV. Rambles in Winter. Book V. Rambles on the Sea Shore. Book VI. Rambles under the Stars. By W. Prrcivan WESTELL, D.Sc. 93 x. 7s. Nelson. 72 x 43. pope Esm& Being the 7% x Of. 228 PHILOSOPHY. Lire Ipnats AND DuatTH. By F. Grantuam. 6} X 44. 107 pp. Grant Richards. 2s. 6d. n. Tur Fair or ALL SENSIBLE Peoriy. By D. A. Witson. 63 x 44. 124 pp. Methuen. 2s. 6d. n. POETRY. Tur Muse in Exrz. By Wit1am Watson. ‘To which is added an Address on the Poet’s Place in the Scheme of Life. 7} x 42. 116pp. Herbert Jenkins. 3s. 6d. n. Tur CaLL oF THE Mountains AND OTHER Porms. By J. E. Proxerrnc. 7 x 44. 64 pp. Fifield. 1s. n. Puriran Pansies. By Craup Frevp. 74 X 34. 48 pp. Gay & Hancock. THEOLOGY. A Book of Meditations on the Veni Written in the Seventeenth Century Re-edited by E. M. Grern, with 130 pp. CELESTIAL Fire. Sancte Spiritus. by Ricuarp WHITE. Preface by Rev. GrorcE Concreve, §.8.J.E. Longmans. 2s. 6d. n. THE CHILDREN FoR THE CHuRcH. The League of Young Worshippers. By the Rev. Sm W. Rogpertson NIcoLt, LL.D. and the Rrv. J. Witu1ams ButcHEeR. (Reprinted from the British Weekly.) 7 x 43. 126 pp. Hodder & Stoughton. 6s. n. TOPOGRAPHY. By Epwarp Tuomas. Illustrated 82 x 6. 320 pp. Constable. Tur IcKNIELD WAY. by A. L. Comins. 7s. 6d. n. TRAVEL. Ravenna. A Study. By Epwarp Hourron. Ilus- trated. By Harotp Lunpr. 8 x 6. 300 pp. Dent. 10s. 6d. n. Moprrn Cutz. By W. H. Korset. Bell. 10s. 6d. n. 81 x 5}. 278 pp. ————_1- LITERARY, DRAMATIC, AND MUSICAL NOTES. — a A Small Boy and Others” Mr. Henry James gives the memories of his boy- hood, including much about his brother, “Ww. J.,” otherwise the celebrated William James. The publishers are Messrs. Mac- millan & Co., and the price is 12s. net. Mr. Morley Roberts calls his new collection of short tales ‘‘ Gloomy Fanny, and Other Stories ” (Eveleigh Nash). They are in the author’s humorous vein. In “Four Plays” (Sidgwick & Jackson, 2s. 6d.), Mr. Gilbert Cannan publishes as a book his “James and John,” ‘‘ Miles Dixon,” “‘ Mary’s Wedding,” and “ A Short Way with Authors.”’ Messrs. Macmillan & Co. announce the pre- paration of an uniform edition of the works of Sir Gilbert Parker. It will be known as the Imperial Edition, and will consist of eighteen THE AUTHOR. volumes at 8s. 6d. net each. The long novels, the short novels, the short stories, and the verse are embraced, including certain work which has only appeared in magazines or been printed privately. Sir Gilbert Parker has provided a general introduction to the edition as a whole, and a special introduction to each volume. Photogravure frontispieces are also furnished throughout: in the first volume a portrait of the author, in the others pictures from original drawings by well-known artists. The set is to be issued at the rate of three volumes a month, commencing this month. Mr. Bernard Capes’s new novel is entitled “‘ Bag and Baggage.” It is issued by Messrs. Constable & Co. The same firm has published ‘“ Keren of Lowbole,”’ by Una L. Silberrad ; and “ Lifted Curtains,” by Edward Noble. : Mr. Francis Gribble’s latest work is called “The Tragedy of Isabella II.,”’ Messrs. Chap- man & Hall being the publishers, and the price 15s. Mrs. Alec Tweedie, who has in the last six months travelled about 26,000 miles, through Canada, the United States, Brazil, and Argen- tina, has during that period contributed full- page articles to the New York Times. She has been asked to enlarge these articles for pub- lication in book form this autumn for an important American firm. Her last book, “Thirteen Years of a Busy Woman’s Life ” (Messrs. John Lane), has run through four editions. The Rev. Theodore Johnson, vicar and rector of Bodiam, Sussex, has compiled from ancient sources, and issued through Messrs. F. J. Parsons, of Hastings, ‘“‘ The History of Bodiam, its‘Ancient Manor, Church and Castle.” There are a large number of photographs and draw- ings, and a ground-plan of the Castle. The published price of the work is 1s., or 1s. 6d. cloth. Madame Albanesi’s new novel is ‘“ The Beloved Enemy.’”’ The publishers are Messrs. Methuen. Mr. H. F. Prevost Battersby’s ‘‘ The Silence of Men” is published by the Bodley Head. In “ Veiled Women” (Eveleigh Nash) Mr. Marmaduke Pickthall gives pictures of harem. life in the form of a novel. Ghost stories are the content of Mr. William. Hope Hodgson’s ‘“* Carnacki the Ghost-F inder,”’ of which also Mr. Nash is the publisher. Mr. Halliwell Sutcliffe has given to a novel which Messrs. Stanley Paul announces for immediate publication .the title of “The Strength of the Hills.” The scene is laid in THE AUTHOR. 229 the bare, rough Haworth moorland country, sixty years ago, which was the inspiration of all Mr. Sutcliffe’s earlier work. The same firm has just issued ‘‘ Mrs. Gray’s Past,”’ by Mr. Herbert Flowerdew. The scene of this is an old-fashioned cathedral city, whose peace is disturbed by the scandal arising from the presence of the charming but mysterious widow, Mrs. Gray, and her baby son. Like ‘“‘ The Strength of the Hills ’’ and Miss Annes- ley Kenealy’s ‘‘ Poodle Woman,” “ Mrs. Gray’s Past” has been added to the firm’s Colonial Library. Messrs. Paul have also brought out a six- penny edition of Mr. Rafael Sabatini’s “The Lion’s Skin.” This author’s “ Strolling Saint” is now in its fourth edition. On April 7 Messrs. William Rider & Son published a 1s. edition of Maude Annesley’s ** Wind along the Waste,” which appeared in 6s. form two years ago. The same author’s new novel, ‘‘ The Sphinx in the Labyrinth,” was published by Messrs. Mills & Boon on the 16th. The title is taken from the quotation, “The heart of a woman is a Sphinx within a labyrinth,” and the plot is a very strong one. It is a psychological study of two women and one man. The scene is laid in Provence. This book will be published in America by Messrs. Duffield & Co. This month Messrs. Newnes & Co. are producing a 6d. edition of Maude Annesley’s ‘* All Awry.” Count Plunkett, K.C.H.S., has been elected a corresponding member of the Société Archéo- logique de France. At the recent Historical Congress in London he represented the Paris institution, as well as the Royal Society of Antiquaries of Ireland, of which he is President. Messrs. Harrap & Co. have just issued another number of their ‘‘ All Time Tales,” viz., ‘‘ Ivanhoe,” by E. P. Prentys. Mr. Walter Wood, who has written exten- sively on North Sea fishermen—one of his most recent books being ‘‘ North Sea Fishers and Fighters ’—has been appointed by the Council of the Royal National Mission to Deep Sea Fishermen to the editorship of Toilers of the Deep,. the Mission’s monthly magazine, in succession to the late Mr. George Andrew Hutchison. Mr. Hutchison (who was also the editor of The Boy’s Own Paper) had conducted Toilers of the Deep since its foundation in 1886. The Quest contains in its April number a metrical version of the medieval French legend of Our Lady’s Tumbler, entitled “‘ The Jongleur of Poitou,” by K. L. Montgomery. The authors who write under this name are contributing to the English Illustrated Magazine some articles on Portraits in European Galleries.”” Their Welsh novel, ‘‘ The Gate- Openeis,”’ is in its fourth edition. Miss Lillias Campbell Davidson has a new serial running in the Ladies’ World, under the name of “‘ The Primitive Law.” Miss Ethel Canning, author of ‘“ Sybella,” has had another novel published by Messrs. Digby, Long & Co., entitled “‘ The Sky-Line.” Derek Vane’s new novel, ‘‘ The Paradise of Fools,’’ will be published by Messrs. Everett in May. The American serial rights of this story were sold for £250. The same author is now writing a series of short stories for an American magazine, entitled “The Indiscretions of Fantine.” ‘* Ineffectual Fires,”’ a novel by E. M. Smith- Dampier, has been published by Messrs. Melrose. A second edition is announced of E. Yol- land’s “The Struggle for the Crown,” a romance of the seventeenth century (Lynwood & Co.). Verse claims somewhat larger attention this month than usual in comparison with prose. The first number has appeared of the quarterly Poetry and Drama, published by the Poetry Bookshop, 35, Devonshire Street, Theobald’s Road, at an annual subscription of 10s. 6d. post free. Mr. Maurice Hewlett occupies the first place in the poetry section of the magazine with ‘“‘ The Voyage,” the other contributors being Messrs. James Elroy Flecker, Lascelles Abercrombie, and Michael Mecredy. The rest of the magazine is divided between articles and criticism. A “‘ personal explanation ” by the editor sets out the descent of Poetry and Drama from the Poetry Review. Mr. James E. Pickering has published “* The Call of the Mountains, and Other Poems,”’ which is No. 23 of Messrs. A. C. Fifield’s Grey Board Series, 1s. net. Mr. Pickering’s ‘‘ The Cap of Care ’’ was No. 18 in the same series. Mr. Arthur Scott Craven has a long poem, entitled ‘‘ Dawkins,”’ in the current number of the Magpie. A story by him, ‘“ The Man who had Greatness thrust upon Him,” will appear in the June issue of the Pall Mall Magazine. ** A Memorial Ode to Our Antarctic Heroes,” from the pen of Alfred Smythe, F.R.G.S., appears in the May number of the Westminster Review. Mr. Smythe is the author of ““ A New Faust,” “ Sir Dunstan’s Daughter, and Other Poems,” ‘‘ The Warlock” (a lyric play pro- duced at the Gaiety and Queen’s Theatres, Dublin), as well as other works, and has con- tributed prose and verse to journals, both in London and in New York. His lines of wel- 230 .come on the occasion of Their Majesties’ return from India were accepted by the King. “Modern Verse,”? published with the im- print of Morland, Amersham, Bucks, at the price of 1s., announces that half a guinea is paid for every poem appearing in its pages. The number before us contains twenty-five short poems. The English Review for April contains a story by E. H. Young, called ‘‘ Cow’s Tail.” MUSICAL. The Rev. James Eckersley’s ‘‘ Responsive Psalter,” mentioned last month, is published in two editions; one 3s. net, the other, with words only, 1s. net. This work provides musically responsive chant-forms correspond- ing to the parallelisms of the Hebrew poetry, which, the editor maintains, cannot be done by plain-song or Anglicans, owing to the unequal length of their sections. The melodies are kept within moderate range, so that they may be sung in unison by the congregation, and changes of chant are given wherever demanded by the words. A method of printing is adopted with a view to prevent hurried recitation, and short, barless chants to avoid false accents. DRAMATIC. Sir Arthur Pinero’s ‘“‘ Playgoers,” in one act, was produced at the St. James’s Theatre, on March 381, before Mr. A. E. W. Mason’s “‘ Open Window.” On April 22, at the New Royalty Theatre, Mr. Rudyard Kipling’s first play was seen— the first, that is to say, from him as his own dramatist ; for ‘“‘ The Light that Failed ” and ‘* The Man Who Was ”’ owed their conversion to drama-form to other hands. The new piece is entitled ‘‘ The Harbour Watch,” and is to be played, for a commencement, at six matinees in all. ‘‘ The Light that Failed,” it may be mentioned, was one of the items of Mr. Forbes Robertson’s farewell season at. Drury Lane. Mr. Forbes Robertson’s season also included revivals of Madeleine Ryley’s ‘“‘ Mice and Men ” and Mr. Bernard Shaw’s “‘ Cesar and Cleo- patra.’ The latter was more than a revival, however, as there were additions since the original production, including a prologue. On April 1 Mr. Ernest Denny’s comedy ‘** Vanity ’’? was produced at the Globe Theatre by Miss Ethel Irving. April 8 saw the first night of Mr. Frank Stayton’s “* The Inferior Sex,”’ at the Comedy, with Messrs. Kenneth Douglas and QO. B. VTHE AUTHOR. | Clarence and Miss Renée Kelly in the leading parts. The run of ‘ Lolotte,”’ as adapted by Mr. John Pollock from the French of Meilhae and Halevy, terminated at the Coliseum on April 5. The play has been taken on tour by Madame Lydia Yavorska (Princess Bariatinsky). The bill at the New Royalty on April 22, in addition to the already mentioned Kipling play, contained a comedy called “* Thompson,” by the late St. John Hankin, completed by Mr. George Calderon. Messrs. Vedrenne and Eadie are the producers of “‘ Thompson.” The repertory season at the Grand Theatre, Croydon, opened on April 14 with Miss Eliza- beth Baker’s ‘‘ Chains.” At the King’s Hall, Covent Garden, on April 29, the masque “* Love and the Dryad ” was produced. The music of this is by Agnes H. Lambert (Mrs. Heygate Lambert). In Mr. Galsworthy’s revival of “Strife” at the Comedy, which is due just as we are going to press, Mr. Norman McKinnel resumes his role of John Anthony. Others in the cast are Mr. J. Fisher White, Mr. Kenneth Douglas, and Mr. O. B. Clarence. ‘Strife’? has just been produced in Vienna under the German title “ Kampf.” Mr. J. M. Barrie’s new play, “‘ The Legend of Leonora,” will be produced by Mr. Frohman in London, at the beginning of the autumn season. The Drama Society will present before the close of this month a new play by Mr. Gilbert Cannan. Oe PARIS NOTES. 1 HE prize awarded annually by La Vie Heureuse has been given this year to M. Emile Nolly for his book, ‘‘ Gens de Guerre au Maroc,”’ about which we spoke in the January number of The Author. The book by Pierre Loti, entitled ‘* Turquie agonisante,’’ has made its way to all countries. The result has been that the author has been besieged by documents and letters giving him further information. He has now added so much new matter to his original book that the new edition should be read by all who are interested in the subject. In a new volume, ‘Les Merveilles de l’Instinct chez les Insectes,’’ J..H. Fabre, the celebrated naturalist, gives us a series of well- chosen extracts from his ‘‘ Souvenirs Entomo- re is = bow we pee ae me Sew wo ee a. ee Se Peer eae a Ee ey it _ GED ht ot £ Ake THE AUTHOR. logiques,” and some hitherto unpublished studies concerning ‘‘ Le Ver luisant ”’ and “ La Chenille du chou.” The chapter on the grave- diggers and the studies of the spiders and the glow-worms are remarkable. Dr. G. V. Legros has now published the life of the great naturalist “La Vie de J. H. Fabre.” The titles of the chapters will give an idea of the book: Intuition de la Nature, Instituteur primaire, Séjour en Corse, Fabre d’Avignon, Un grand Educateur, Dans l’ermi- tage, Interprétation de la Nature, La merveille de l’Instinct, Le Transformisme, L’Ame des betes, Harmonies et dissonances, Traduction de la Nature, L’épopée animale, Vies paralléles, Les Veillées de Sérignan, Au crépuscule. In the last chapter Dr. Legros gives us an idea of the simple, dignified life which the great naturalist has led. The whole book is well worth reading. “‘Ta Belle Madame Colet’’ is the title of the book by J. de Mestral-Combremont which we have been awaiting for some time. It is the first one to give us a definite account of this déesse des romantiques. The biographer has had access to many documents which throw new light on the history of this extraordinary and not very interesting woman. We have many enlightening details about her various friendships and her efforts to become acquainted with the chief writers of her day. Another new novel is announced by M. Henry Bordeaux. The title is “ La Maison.”’ M. Frédéric Masson continues his series of books on the Bonaparte family. The tenth volume is entitled ‘“‘ Napoleon et sa Famille.” It treats more particularly of the fatal years 1814 and 1815. “Elisabeth de Baviére,”’ by Jacques de la Faye, is another interesting biography by a writer who has given us several valuable historical works. The preface is written by M. Maurice Barrés. The first volume of the works of Paracelsus has recently been published in French. M. Grillot de Givry has undertaken to translate the whole series. “Le Costume civil en France,” by Camille Piton, is to be published in twelve parts. It is a work which will be of great value to illus- trators, as there are to be some 700 illustrations of the various transformations which costumes have undergone from the thirteenth century to the nineteenth. The death of M. Honoré Champion will be regretted by all bibliophiles. He was not only a seller, but a true lover of books, and all those in search of curious editions wended their way 231 to the Quay to consult with M. Champion. To the favoured few he would show his treasures, one of which was a manuscript of the ‘‘ Memoires d’outre-tombe,’”’ written by Hyacinthe Pilorge and annotated by Chateau- briand himself. A curious legal case has just been tried in Paris. A novel, entitled “‘ Kowa la Mystér- ieuse,” by Charles Foley, was translated, without the author’s permission, and pub- lished in an Argentine paper, La Prensa, which has a branch office in Paris. M. Foley brought an action against the manager in Paris, and has won his case. The story was published before the legislation of the country concerned had agreed to protect the rights of literary property, but, as copies of the journal had been sold in Paris, M. Fole¥ won his case. An appeal was made to a higher court by the Paris manager of La Prensa, and M. Foley has once more won. At the Comédie-Francaise, ‘‘]’Embuscade,”’ by M. Henry Kistemaeckers, has been greatly appreciated. It is a four-act piece, with plenty of movement and a strong plot. “ Hélene Ardouin,” the comedy in five acts, by M. Alfred Capus, is still being played at the Vaudeville. At the Gymnase ‘“‘ La Demoiselle de Magasin,” a three-act play by MM. Fonson and Wicheler, is now being given. Atys HALLArD. “Gens de Guerre au Maroc.” (Calmann Lévy.) “Turquie agonisante.”’ (Calmann Lévy.) “Ta Vie de J. H. Fabre.” (Delagrave.) ‘Ta Belle Madame Colet.” (Fontemoing.) “ Napoléon et sa Famille.” (Ollendorff.) ‘“ Blisabeth de Bavitre.”’ (Emile Paul.) Works of Paracelsus. (Chacornac.) “Le Costume civil en France.” (Flammarion.) —___—_+—_->—_+____—__ NEW UNITED STATES COPYRIGHT ACT. —+-——+ (Received from the Copyright Office : The Library of Congress.) (Note: The new matter in this amendatory Act is printed in italics.) AN ACT To amend section fifty-five of “‘An Act to amend and consolidate the Acts respecting copyright,” approved March fourth, nine- teen hundred and nine. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That section fifty-five of the Act entitled “‘An Act to amend and consolidate the Acts respecting copyright,”’ 232 THER AUTHOR. approved March fourth, nineteen hundred and nine, be amended to read as follows : “‘ Sec. 55. That in the case of each entry the person recorded as the claimant of the copy- right shall be entitled to a certificate of regis- tration under seal of the copyright office, to contain the name and address of said claimant, the name of the country of which the author of the work is a citizen or subject, and when an alien author domiciled in the United States at the time of said registration, then a statement of that fact, including his place of domicile, the name of the author (when the records of the copyright office shall show the same), the title of the work which is registered for which copyright is claimed, the date of the deposit of the copies of such work, the date of publication if the work has been reproduced in copies for sale, or publicly distributed, and such marks as to class designa- tion and entry number as shall fully identify the entry. In the case of a book, the certificate shall also state the receipt of the affidavit, as provided by section sixteen of this Act, and the date of the completion of the printing, or the date of the publication of the book, as stated in the said affidavit. The register of copyrights shall prepare a printed form for the said certificate, to be filled out in each case as above provided for in the case of all registra- tions made after this Act goes into effect, and in the case of all previous registrations so far as the copyright office record books shall show such facts, which certificate, sealed with the seal of the copyright office, shall, upon payment of the prescribed fee, be given to any person making application for the same. Said certifi- cate shall be admitted in any court as prima facie evidence of the facts stated therein. In addition to such certificate the register of copyrights shall furnish, upon request, without additional fee, a receipt for the copies of the work deposited to complete the registration.” Approved, March 2, 1913. ———_+- o_o —__—__ DRAMATIC REPRESENTATION AND INSURANCE. > R. JAMES T. TANNER, one of the members of the Dramatic Sub-Com- mittee of the Society of Authors has kindly called the attention of that committee to a method of protecting dramatic returns in ease of fire at a theatre. It has been his custom—after some difficulty and negotiation —to arrange for an insurance policy by which he is to be paid a certain sum per. week in case the run of a piece is interrupted through a fire or an agreed amount of total compensa- tion should the run of the piece be entirely stopped by the destruction of the theatre by fire. The Dramatic Sub-Committee think the matter of such importance to members of the profession generally, that they desire, through the columns of The Author, to draw attention to the details. The insurance policy in the case mentioned is for £2,000, though the amount could be fixed either higher or lower according to the wishes of the insurer ; and a special memoran- dum, which covers this special policy, runs as follows :— ‘In the event of the said theatre being damaged or destroyed by fire during the run or rehearsal of one of the insured’s plays at said theatre, thereby occasioning loss to the Insured, this Company shall be liable to pay to the Insured the sum of £40 per week or a pro rata share thereof during the period for which the performance of such play is . in consequence of the damage done by such fire, ut not exceeding in all the sum of £2,000 (two thousand pounds). “Tt is, however, hereby declared that in the event of the entire destruction by fire of the within mentioned theatre, the Company shall pay to the Insured the total amount insured by this Policy, viz., £2,000. The Insured’s interest in the said theatre is hereby admitted.” There are some further special stipulations, and some further points in the usual policy issued by the company are cancelled. “The Insured binds himself under Clause 6 as follows : On the happening of any fire by reason of which the Insured shall sustain any Loss under this Policy, the Tnsured shall forthwith give to the Company notice thereof and shall use due diligence and do and concur in doing all things which may be practicable to minimise and to avoid or diminish such loss, and shall, at his own expense, deliver to the Company a claim in writing for the loss, together with, if demanded, a statutory declaration in support thereof, and no claim under this Policy shall be payable unless and until the terms of this condition are complied with.” We have by the courtesy of Mr. Tanner set out the main features of the policy, and shall be pleased to give any further details in confidence to members of the Society. His contract is with the Phoenix Assurance Company ; it is possible, however, that other companies would be willing to enter into a similar contract with dramatic authors should they desire to protect themselves in the same way as Mr. Tanner has done. No doubt the loss that a dramatist would sustain if a theatre was burnt in the full run of his play would be very serious, and it is perhaps probable that this chance has not entered the minds of numbers of the dramatic authors. Again, if it has done so, it is possible that they have been unsuccessful in carrying out the desire SN. a ne ee - twenty-five copies, or positive films. THE AUTHOR. to protect themselves against loss. The Dramatic Sub-Committee hope, therefore, that those who wish to protect themselves may follow in Mr. Tanner’s footsteps and take up the idea which he has so kindly presented to them. a MOVING PICTURES. s HE excellence of Moving Pictures is already such, and their development is so rapid, that before long the Picture Palace will undoubtedly come into more or less acute competition with the Theatre. Dramatists, therefore, are advised to give some serious attention to the Moving Picture, as a vehicle for expressing their thoughts, and generally to the Picture Palace industry. The machine that flings the Moving Picture on to a screen is nothing more nor less than a superior magic lantern, but instead of the glass slide of our childhood there is run through this lantern a long piece of celluloid gelatine covered with photographs. This piece of celluloid gelatine is less than an inch wide, and is from 100 to 2,000 feet in length. It is called a film. This film in its original state is passed very rapidly through a camera, which is focussed upon the subject of the Moving Picture. When it is complete it is called the negative, and from it it is possible to print That number is not always printed, but can be printed in the case of a successful picture. The first exhibition of the film is what is called ‘‘ exclusive,’’ that is to say, it is exhibited in one, or possibly, two halls only. It is practically impossible to say what price is charged for the “exclusive”’ exhibition of a film. It depends upon the subject, the excellence of the film, and a variety of other conditions. In time the name of an author will also give it value, that is when authors write more regularly for the picture theatre. But the fact that the price I have mentioned is so uncertain, makes it essential that the author should be paid by taking some share of the money that the manufacturer receives. The “exclusive” period being over, the film comes on to the open market. Now it is the custom in Picture Theatres to change the programme twice in every week. Any one film therefore is let twice in each week, and for each of these lettings £6 odd is charged. This goes on for about six weeks, when the value of the film is supposed to have lessened. It is 233 then shown for about another six weeks, a little over £4 per let being charged for its hire. It then arrives at what is known as its third or final re-lease, when £2 per let is charged for it. It is not returned to the manufacturer, but remains the property of its last hirer, who resells it, or sublets it, to the small cheap halls, where the price of admission is 1d. or 2d. It will be seen that in its earlier stages one film earns over £12 per week for, say, six weeks. Say this equals £72. If twenty-five films of the same subject are also busy at the same time, twenty-five times £72 is earned, or £1,800. In the next six weeks the film is let twice in each week at £4 per week, that is to say £8 per week in all. In six weeks this equals £48. If twenty-five films.are at work the result is £1,200. If £200 were charged for the first ‘* exclusive ” exhibition of the film, you will see that £3,200 could be earned by a successful picture, without counting the small money when it gets down to its £2 value. When, therefore, an author is invited to sell a story or a play, or write an original scenario for Moving Picture purposes, it seems highly desirable that he should insist upon a percen- tage of the gross fees earned by the films of his subject being paid to him. There is no difficulty about this. I recently received the following letter from a well-known American manager. “ Regarding the matter of moving pictures of plays, our custom here is to pay from £200 to £400 down on account of royalty, which runs from 5 per cent. to 15 per cent. of the profits accruing to us from the sale of films, rentals and exhibitions through our subsidiary companies and affiliated companies. But this amount depends entirely upon the prominence of the play or the popular value of the star. We make the same terms with the star who owns the play, or any who appears for us in a standard work of fiction. “These are terms that we are now using. Of course there is something in a business connection with a company of good standing which does the work. There are numbers of predatory companies who make big offers, and take their chances upon capitalising their quarry, just as you might find it with theatrical management. “With a sound and well-established company there is no difficulty about honest payments, as special, verified accounts in books are kept of each separate display. We also have other terms, such as paying £100 outright for a copyrighted novel (of which we have many in this country), and which the publishers realise are a help in stimulating the sale of the novel.” The highest terms above quoted are a little exceptional, however, and they refer mostly to a novel experiment that has been tried by certain American film manufacturers, who induce well-known actors and actresses to appear for them before the camera either in scenes from a popular play or in specially 234 written incidents. The remuneration of these actors and actresses is a percentage of the earnings of all the films showing such scenes and incidents. The Picture Palace proprietor is thus able to announce :-— “‘ Mr. Lewis Waller as ‘ Beaucaire ’ every night.” and the public is drawn accordingly. I do not know whether Mr. Waller has ever appeared for Moving Picture purposes, I merely give his name as an example of the system. As will be seen from the letter I have quoted, in the special cases referred to the author gets the same percentage as the star actor. It will be found, however, that, speaking generally, such a payment, down, as £400 on account of 10 per cent. is rather high, and can only be secured by authors with very well- known names. £100 down on account of five per cent. is quite fair remuneration either in this country or in America. All kinds of different prices have been charged. In America it is said that everybody writes moving picture plots, and that their price is $2. In this country endless plots have been written for £2 and £3 a piece. But this period is passing away, as the pictures develop upwards and require better work. I know of several instances in which dramatists have séld the Moving Picture rights of their plays for £200. That looked like becoming a standard price, but competition luckily brought an advance. Not long ago an author received £500 for the entire rights in a play, and more recently an author with a world-wide reputa- tion received £750 on account of a percentage of the gross. What I have said above refers to England and America. Dramatists should remember that there are several rights in a subject, the English right, the American right, the Con- tinental right, and so forth, though manu- facturers as a rule like to deal with the All- World right when they purchase, and this is only reasonable, because when once a film has been made it is difficult to control and easy to copy. What is the custom on the Continent with regard to the payment of authors I am unable to say. The French Society of Authors and Composers sent a long communication to the Dramatic Sub-Committee of the Authors’ | Society, laid emphasis on “ urgency,” sug- | gested a conference, and announced that they | had appointed a sub-committee. Since then our secretary has received no further com- munication. THE AUTHOR. On the other hand, we have had very interesting communications from America. It is only right that I should mention ‘a method of payment which some people hold in favour. Instead of a percentage on the gross receipts earned by the various films of any one subject, they advocate a payment of so much per foot on the films manufactured. Of course, if a film is 1,000 feet long, and twenty-five copies are made of it, and you charge let us say 1s. per foot, you would, as author, receive 25,000 shillings, or £1,250, But a good subject is not necessarily a long subject. A bad film may be 2,000 feet long. A brilliant and most effective film may be only 500 feet long. Payment by length is never so desirable as payment by merit. Also, so far as my enquiries go, I doubt whether any manufacturer would pay so much as 1s. a foot. In thinking of the value of their work, dramatists should remember that in the making of Moving Pictures, scenery repre- senting exteriors cannot be used. It is pos- sible to photograph upon a film any built-up interior, but when you come to an exterior, it must be a real exterior, or at any rate some- thing that looks like a real exterior. I¢ cannot be ordinary paint and canvas scenery such as are used in theatres. I am now speaking of course of the author who has in his mind the writing of a serious plot for a Moving Picture representation. Ifa dramatist wants to write a ‘“freak”’ plot, that is to say, a story in which people fly over the roofs of London by night, or jump over houses, or visit the moon, he had much better go to a Moving Picture manufacturer first, and before he wastes much time upon his work, ask the manufacturer if the idea is possible. Very remarkable results are sometimes produced in “ freak ” or “‘ faked ’’ films. In writing plots for Moving Picture purposes, authors should remember that set words for the characters to speak are useless. The plot should be written out in exactly the same way that a ballet is written. The facts and the emotions only should be stated, as for example : “Gretchen is sitting Centre reading her lover’s. letter by the aid of a candle. Suddenly the door R is thrown open, and her father enters. Gretchen springs up in surprise, holding her lover’s letter in her left hand, which she keeps behind her. Her father eyes her sternly. He throws down his rifle, flings from his shoulder the dead chamois that he has brought back from his hunting, and throws aside his cloak. He comes down stage and for a moment eyes her critically. He holds out his hand as Av dup * Sititegs 3 ye ted) Le <A Dera G WET ne uh “SP aS as FADE UR Racks ” he Ta i Ff THE AUTHOR. though he would say, ‘Show me what is in your hand.’ She holds out her right hand before him. He shakes his head and demands the other hand. Vevy reluctantly she holds out her left hand from which, with a quick gesture of anger, he snatches her lover’s letter. He reads it and turns fiercely upon his daughter who falls back to the table L.” It is in these terms that the actual producer of a moving picture has got to think. If the author desires to be successful, the author must do likewise. In connection with the Moving Picture industry there are at present three combina- tions, the actual manufacturers of films, the renters, or middle-men, who do the work of distribution and the arranging of leases, and the exhibitors, who are the actual proprietors of the picture palaces. Between these bodies, both in this country and in Ametica, there is friction. In the fulness of time the renters will probably become extinct as a separate body, and will be amalgamated as part of the manufacturers’ organisation. The exhibitors naturally want to get their films wherever they like. Some of the greater manufacturers are a little inclined to say : “You shall take ours and ours only.”” The combination of manufacturers would of course, be very powerful, and could dictate to the best halls, what they could and could not show. . But these considerations do not, for the moment, affect the author very much. They may some day. At present the author should watch the developments of picture palaces regularly and seriously. They are bound to affect him. The production of words by means of the gramophone to be spoken in connection with the moving picture has been frequently attempted, but is not perfect yet. Something of the sort will come, however. A machine has already been patented which successfully reproduces noises, such as the ringing of bells, the blowing of motor horns, engine and steamboat whistles, which works quite correctly and automatically in connection with moving pictures. The singing of a song by a gramophone while the moving picture shows the artist is sometimes remarkably accurate, but is a little difficult. The time is not far distant, however, when public speeches will be taken down on a gramophone while the speaker, with all his movements and gestures, is being taken by the film. A speech made in Liverpool at twelve o’clock in the morning will be heard and seen at the Palace on the same evening. The Grand National Steeplechase which was run at Liverpool did not finish till nearly three 235 o’clock, but it was seer practically from start to finish on the screen at the Palace Theatre the same night. The needs of the Moving Picture will, in all probability, be of great advantage to dramatic art though not to dramatic literature. The moving picture story is told, not by beautiful and well-chosen words, but by dramatic and expressive gestures. These things are rare on the English stage, though they are common enough in France and Italy. Hundreds of artists who will be wanted for Moving Picture purposes in this country will have to give up looking fearfully well-bred, and doing nothing to emphasize their words except twiddling their watch chains. Their faces will have to express, their hands will have to indicate, they will have to act all over with their bodies, they will have to be something more than authors’ gramophones. And for this blessing let us be grateful to the Moving Pictures. Ceci RALEIGH. ——____+—~>-+ MAGAZINE CONTENTS. — BLACKWOODS. Some Novels by Surtes. By Moira O'Neill. Musings Without Method. Lord Acton’s Letters. British REVIEW. Poetry: The Grey Rock. By W. B. Yeats. Pennant and His Friends. By the Countess of Denbigh. CoNTEMPORARY. The Fairy Tale in Education. donald, M.D. Maeterlinck, the Revolutionary. By J. H. Harley. The Optimism of Ibsen. By Edwin Bjorkman. The Conception of Resurrection in Literature. By Greville Mac- CoRNHILL. Books and Reading: a Retrospect. Green. By the Rev. W. C. Enoeuiso REVIEW. To Swinburne: a Poem. By John Helston. A National College of Music for Wales. By Granville Bantock. Literature as a Fine Art. By R. A. Scott-James. SCALE FOR ADVERTISEMENIS. [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT.) Frout Page ae FOE A vie £4 0 0 Other Pages ot 80.8 Half of a Page .. “i 0 Quarter of a Page Highth of a Page eae Nes ee ae Single Column Advertisements perinch 0 Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for Twelve Insertions. All letters respecting Advertisements should be addressed to J. F. Brimont & Co,, 29, Paternoster Square, London, £.C. oor me 0 5 6 7-0 6 0 HOW TO USE THE SOCIETY. — 1. VERY member has a right toask for and to receive K advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination, 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeayour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ——— ee WARNINGS TO THE PRODUCERS OF BOOKS. —+—>— + ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I, Selling it Outright. * This is sometimes satisfactory, if a proper price. can be THE AUTHOR. obtained. But the transaction should be managed by 4 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 pre- duction forms a part without the strictest investigation, (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for ‘office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental] rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor | III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in The Author. IV. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. —__—_———__+—>_>+—___ WARNINGS TO DRAMATIC AUTHORS. EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established — manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, THE AUTHOR. (2.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (é.e., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (d.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. 9, Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. a REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. <> + CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same tules, with the exception that a play will be charged for at the price of 2s. 6d. per act. 237 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. gg WARNINGS TO MUSICAL COMPOSERS. ee ae ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. a i oe ee ee STAMPING MUSIC. a 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. ie ee ee THE READING BRANCH. ——> + EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. Tbe Readers are writers of competence and experience. The fee is one guinea, —_——_—_—_—_.—>—_____—__ REMITTANCES. AEs The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittences should be crossed Union of London and- Smiths Bank, Chancery Lane, or be sent by registered letter only. 238 COLLECTION BUREAU. 1 HE Society undertakes to collect accounts and moneys l due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. : The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. —_——__+ > +___— GENERAL NOTES. ——— + Tur AutHors’ LEAGUE OF AMERICA. WE must give our heartiest welcome to the first number of the Bulletin of the Authors’ League of America, which was issued on April1. We hope the date is not ominous; but, putting aside this question, it is of the greatest interest to see that the American authors are combining, and it is very flattering to see that they are combining almost entirely along the lines of our own Society. We note their list of members and the statement that they number already 350, and that applicants are coming in daily. All this is very healthy and very satisfactory, and we feel convinced that the Authors’ League will justify its present popularity by showing that it really turns out useful information, and gives to its mem- bers strong legal support, according to the proposals set out in its paper and its pro- spectus. The committee of the Society of Authors promised to give the League its best assistance. As we hope the League may be able to furnish the Society with interesting advice as to the position of publishers, editors of magazines, theatrical managers, and others who deal with copyright property in America from the trade side, so the Society will be able to help the League by information from England. But why, if the League considers it necessary to appoint a literary agent in London, do they appoint a publisher? We THE AUTHOR. deal with the matter on principle. How can a publisher act as a literary agent, for it means either that he cannot publish himself any of the work put into his hands, or if he does publish it himself, that he ceases to be an agent. Perhaps the American Authors’ League will reconsider the position and explain. PUBLISHERS’ ASSOCIATION. WE desire to tender our congratulations to Mr. J. H. Blackwood on his election to the presidency of the Publishers’ Association, in succession to Sir Frederick Macmillan, who retired and was elected vice-president. While, in many cases, the interests of authors and publishers are necessarily opposed, there are still not a few matters on which their interests are at one. The recent Copyright Bill to which Mr. Blackwood, in proposing a vote of thanks to the retiring. president, referred, afforded the Society of Authors and the Publishers’ Association an opportunity of working together. We feel certain that in the event of any matter arising where joint action between the two bodies is feasible, we may count on the assistance and co-opera- tion of the Publishers’ Association’s latest president as we could on that of his predecessor in the chair. Movine Pictures. By the desire of the Dramatic Sub-Com- mittee, we print an article on Moving Pictures, being a report compiled by Mr. Cecil Raleigh for the benefit of dramatists who are members of the Society. Although Mr. Raleigh has been so successful in presenting the matter in practical form and in giving the figures obtainable, the Dramatic Sub-Committee desire to impress upon members the fact that before making any contract affecting their cinematograph rights, they should apply to the Society for advice. All information which is forwarded to the Society concerning these contracts will be submitted with the sanction of the member, to the Dramatic Sub-Committee and will be treated in absolute confidence. It is hoped that members will give their best support to the efforts of the Dramatic sub-Committee. It may be necessary with the larger develop- ment of the cinematograph to amplify and amend the report. The more information therefore at the disposal of the sub-committee, the more lasting will be the conclusion at which it is possible to arrive. THE AUTHOR. MacazinE RicHTs IN THE U.S.A. Toucutne the matter of magazine rights, an American correspondent informs us that most of the better class magazines will accept or return a serial of some 60,000 to 100,000 words within ten days, while a short story takes about the same time to get through, because, as a rule, it fetches a much higher price in proportion. Practically all magazines pay on acceptance, and have their stated pay-days, weekly, fortnightly or monthly. Those magazines that are of best repute for quick decisions and prompt pay get the pick of the market in fiction, and those at the bottom of the grade—information concerning which every author can easily obtain—get the dregs. He states further that almost every editor in America is easily accessible to, and is even anxious to meet, any contributor who shows promise of affording him scope of adding to his circulation. Serra, RIGHTS IN THE U.S.A. Tue Information Bureau of the Authors’ League of America received a number of letters from members, asking what practical steps it was necessary to take in order that the author of the serial story appearing in a magazine in America may obtain for himself copyright of all other rights excepting the right of first publication owned by the magazine. The same question is constantly arising in Great Britain. We take pleasure therefore in printing the reply to such a question received from Mr. Thorwald Solberg, who is the Registrar of Copyrights in Washington. In addition to following the instructions contained therein, the author should, of course, publish under each instalment of his story a notice of the copyright reserved by him :— . “ Liprary or CONGRESS, ‘**CopyRIGHT OFFICE, ‘* WASHINGTON. “ Authors’ League of America, “30, Broad Street, New York. “ Duar Sres,—In response to the question raised in your letter, I beg to say that it would no doubt be a safer course to pursue to file a claim of copyright in each serial instalment upon the deposit of a copy of the periodical containing it in accordance with the express provisions of the copyright law. “ Under the express provisions of the statute, only the numbers which are deposited at the same time can be included in one registration. In the case of serial publica- tions some publishers believe that it is a secure enough procedure to hold numbers and send three or four at one time, and if this is done the Copyright Office will register them upon the responsibility of the claimant. “Tt is to be noticed, however, that if that course is 239 pursued, any inquiry as to whether the work has been registered for copyright in the United States must be answered in the negative before the deposit has been made. It is probably to obviate the possibly practical difficulties which might arise from such negative answers that more cautious publishers will deposit each instalment separately and pay a separate fee for each. “To the above I must add also that there is of necessity a limit of space in the record books of the Copyright Office for indicating the date of publication, and therefore the Office cannot undertake to include a great many separate issues of magazines with separate dates of publication for one registration. (Signed) ““THORWALD SOLBERG, “ Register of Copyrights.” We only wish it had been possible to obtain an equally authoritative answer to the question how to obtain copyright in Great Britain and America in the same story when it is published serially in both countries. Tue AUSTRALIAN MARKET. In another column of this issue we print an article from the Bookfellow, Sidney, Australia on The Tied Book System. The article needs consideration as it has been written by an Australian with a knowledge of the Austra- lian markets, but although it is important to hear that side of the question, the statements contained in the article are not in accord with other statements that have been received at the Society’s office with regard to the Austra- lian book trade. Indeed, in those cases where English authors have published themselves with one Australian publisher, the result has. been most satisfactory and the authors have obtained a wider circulation than they generally obtain from the free competition. We trust that the time is not far distant when the Australian publisher will come forward, contract with the English author and produce an edition in Australia for the Australians. If such a contract could be entered into, the advantage to the publisher as well as to the author would stimulate a much wider circulation. If a person produced a book at his own expense in England, no publisher would take it up unless he had a monopoly of publication. Why the same rule should not apply in Australia it is difficult to say. Toe TREATMENT OF THE LATE COLERIDGE TAYLOR BY THE Frrm oF MEssRs. NovELLo. In a paper called the Musical News, in the issue for March 22, there is an article on this subject by Mr. T. Lea Southgate. It is a rather pathetic presentation of the 240 relations between authors and composers and their publishers which were thought proper in the evil old times, when the artist regarded his publisher as his patron. Mr. T. Lea Southgate pleads his age and experience entitling him to discuss the whole question at large, but in truth the world has moved on without his knowledge, leaving him with nothing to say worth saying. We are glad to acknowledge his fairness, however, in one direction. He acquits Mrs. Coleridge Taylor of responsibility for the efforts of the chairman of the Society of Authors on behalf of her and her family. Tue AUTHOR AND THE PUBLISHER. A CORRESPONDENT has sent us a funny little pamphlet with this title, written by Mr. Filson Young, and reprinted from the Eyewitness. In this pamphlet we are told that ‘‘ agencies and societies exist for no other purpose than to point them (the sins of the publisher to the author) out’; and that “it is seriously believed also that, except for the vigilance of societies and agents, authors would all be starving in the gutter, and pub- lishers would all be millionaires.” To the novelist who is prudent enough not to séll his property outright unless he can get good terms we have this reference: ‘‘ Over a quite worth- less library novel he talks importantly about ‘reserving the copyright,’ with the fond idea that his grandchildren may possibly derive a handsome annual income from it.’ To the novelist who would act in business affairs like any other sensible person, and would take his wares to the best market, wherever that might be, the following advice is addressed: “ For the author who writes books from any serious motive, and who wishes them to live, the plan of sticking to one publisher is far the best.” The pamphlet might make a good circular for a publisher, but as the counsel of an author to his brother authors it is an amazing piece of work. E. M. Unprerpown, K.C. WE regret to record the death of Mr. E. M. Underdown, K.C., which occurred suddenly last month. He was, for many years, honorary counsel to the Society, and one of the very earliest members of the company of authors from which it has_ evolved. Mr. Underdown rendered the Society many services in its earlier years—more particularly in connection with copyright law reform, which from the date of its foundation the Society THE AUTHOR. was endeavouring to promote. Many of the Bills initiated in those early days by the Society failed to obtain the Parliamentary facilities necessary for their transformation into Acts of Parliament. Nevertheless, the time spent was not wasted, and the knowledge of copyright law possessed by Mr. Underdown was of great assistance to the Society, and was generously placed at its disposal by him. He was an extraordinarily accomplished man, a great commercial lawyer, an expert musician, and at home in five European languages. Proressor EpwarD DowDEN. WE have also, with regret, to chronicle the death of Professor Edward Dowden, whose contributions to literature are well known to all students. Elected to the professorship of English Literature and Oratory at Trinity College, Dublin, in 1867, he published, eight years later, his first Shakespearean study, ‘‘ Shakespeare : His Mind and Art.” This work made him widely known as a critic, and was translated into German and Russian. Many other essays in criticism followed, but it was his ‘ Life of Shelley,’’ published 1886, which brought his name to the notice of the general public. He was also the author of several books of poems. His scholastic honours included the Cunning- ham Gold Medal of the Royal Irish Academy (1878), an Honorary LL.D. of Edinburgh, and an Honorary D.C.L. of Oxford. Apart from his literary work he held several public posts, - and displayed keen interest in political ques- tions as a Unionist. His association with the Society continued till his death, though his many other interests gave him little leisure for active participation in the Society’s work. ——_ FIELD-MARSHAL THE YISCOUNT WOLSELEY, K.P., P.C., ETC. E regret to chronicle the death of Field - Marshal Viscount Wolseley, K.P., P.C., ete., which occurred on March 27. It is unnecessary in these columns to give a detailed statement of his distinguished career as a soldier and of the brilliant services that he rendered to his country during the many campaigns through which he fought; all this has already been set out in the general press. It is only for us to chronicle his work as an author. ‘‘ The Soldier’s Pocket Book for Field Service”’ was already in its fifth edition THE AUTHOR. in 1886. This work without doubt, from the practical point of view, from the point of view of Lord Wolseley as the writer for his own pro- fession, is the most important work that he produced as an author. He wrote other works which are recognised as authoritative on their subjects, and they all of them deal with mil- tary matters: “The Life of the Duke of Marlborough,’ ‘‘The Decline and Fall of Napoleon,” and his own auto-biography, which is confined to the soldier side of his life, are the most important of these publica- tions. Though he was first and last a soldier, he was successful as a writer, as might have been expected, because he always wrote out of the fulness of his knowledge. He joined the Society in June, 1903, was elected to the Council, and, although he took no active part in the Society’s work, he was fully in accord with the principles on which’ it is based. We have pleasure in recording that his daughter, who succeeds to the title, has also been a member of the Society for some years. ———_+——_+___—_ THE ANNUAL GENERAL MEETING. 1 2 ieee Annual Society of Authors was held at 4.30 p.m. on Thursday, April 3, in the rooms of the Society of Arts, 18, John Street, Adelphi, when, amongst others, the following members were present :— Dr. S. Squire Sprigge, Chairman; James Baker, Mackenzie Bell, Percy J. Brebner, Prof. Lewis N. Chase, Mrs. Lewis N. Chase, Miss W. J. Curwen, Mrs. L. F. Wynne Ffoulkes, Charles L. Freeston, Anthony Hope Hawkins, John Helston, Miss E. M. Hine, Mrs. Hope Huntly, The Rev. H. N. Hutchinson, John Ivimey, Cliff Keane, C. Lincoln, Gilbert S. Macquoid, Mowbray Marras, Miss H. E. Marshall, E. D. McCormick, Aylmer Maude, H. W. Ord, H. M. Paull, Mrs. Charles Perrin, Miss Alice Grant Rosman, Firth Scott, P. W. Sergeant, H. W. Seton-Karr, Adolphe Smith, Miss L. E. Tiddeman, Major Philip Trevor, George Vernon, L. C. Wharton, Louis Zangwill. The agenda list was as follows :— 1. To receive, and, if desired, to discuss the accounts and report of the Committee of Management. 2. To elect a member of the Pension Fund Committee under the scheme for the management of the Pension Fund. (Mr. M. H. Spielmann resigns in due order, General Meeting of the 241 but submits his name for re-election. The name of no other candidate has been put forward). 8. To appoint scrutineers to count the votes under the Society’s constitution. 4. To consider a proposal: (a) That all sums recovered through the agency of the Society’s solicitors for those members who are not employing the Society’s Collection Bureau shall be subject to the deduction of com- mission. (b) That the commission so deducted shall be the same as is deducted for the time being in the case of its members employing the bureau. Dr. S. Squire Sprigge, Chairman of the Committee of Management, who presided, proposed that the meeting should take first the second and third items of the agenda. Mr. M. H. Spielmann having been re-elected to the Pension Fund Committee, the election of scrutineers was left in the hands of the Committee of Management. Coming next to the accounts and report, which were already in the hands of the members, the Chairman invited any of those present who had anything to say concerning these to do so. The past year, he said, had been very favour- able to the Society. The membership had gone up, the total number of elections being 345, a great advance on the numbers for the past four years; and the financial position was very strong. There had, moreover, been a drop in the number of resignations, the report showing a loss of 180, including fifty-five erasions for non-payment, ninety-nine resigna- tions, and twenty-six deaths. The question of resignations had always been, said the Chairman, a difficult one for their Society, for apparently a great number of people only came to them when in trouble. If these people, after obtaining the aid which they sought, did not remain to share the troubles of others, but dropped their membership again, then they were only a drain upon the finances of the Society. He hoped that the decrease in the number of resignations, even if it were only a slight one, might be taken as a sign that authors were beginning to recognise that the Society should be used as a form of insurance and a means of co-operation with their fellow-writers. With regard to finance, the accounts showed that their income last year was the largest they had ever received, an increase of £185 bringing the revenue from annual subscriptions to £2,250. At the same time the legal expenses of the year had been smaller, a point for congratulation when their membership was increasing. He again invited any who had remarks to make on the 242 report, or suggestions as to the future conduct of the Society, to make them now. No one responding to the invitation, the Chairman passed on to the fourth item in the agenda. This, he explained, arose partly out of a proposal, somewhat to the same effect, made at the last Annual Meeting by Mr. Paull. Similar suggestions had reached the Committee of Management, generally in letters from members, the effect of which was that it seemed to them a legitimate source of income to the Society to charge a small commission on moneys collected. Members usually made the suggestion when sending donations at the end of successful actions undertaken on their behalf by the Society. The Committee of Management had, therefore, decided to put forward the proposal now before the meeting, without expressing any collective opinion of their own either for or against it. They were not, indeed, all agreed upon it; but the proposal, in its present form, was the result of several debates in committee. The fact that the net result of its being passed would be an increase of revenue was a matter of importance to the Society, for, though their financial position was good, their growing work necessitated larger offices and more clerical assistance, and it must be remembered that the bigger their income the more good they could do on behalf of authors. It must also be remembered that they were not at resent banking any substantial reserve fund, and that the guinea subscription barely covered the expense of the services rendered to members. He asked Mr. Paull if he would speak first on the subject. Mr. H. M. Paull said that what appeared upon the agenda was not in so many words his own proposal, but he welcomed it never- theless. A large number of members did not appreciate the cost to the Society of the recovery of sums due to them. He knew himself of cases where the money recovered amounted to several hundreds of pounds. A small percentage charged as commission on such would be very acceptable to their funds. How could any reasonable objection be made to the charge of a small percentage? Yet he knew that some authors at least made no return to the Society for the money which it obtained for them. He expressed his pleasure in putting forward the proposal as it stood. Mr. Anthony Hope Hawkins said that he was sorry that this matter had been brought before so small a meeting as the present one. The decision would be hurried if they adopted the proposal now and instructed the committee to THE AUTHOR. act upon it. He regarded it as a departure from the guiding principles of the Society hitherto, and suggested certain modifications as being necessary. For instance, members who had already paid subscriptions for several years without asking for legal assistance ought to be exempt from such a charge. They might get the case of an author, who was also a poor man and who had already paid five guineas in the course of five years, and who then sued, through: the Society, for the recovery of a sum of five guineas, on which he would be called upon to pay a commission of 10s. 6d. Might he not justly think that he had already paid five guineas in subscriptions toward the expenses of recovery of his five guineas? Then there were some cases in which all that was needed was the sending of a lawyer’s letter. Was it reasonable to charge for this 5 per cent. on the sum recovered ? The Society wanted to get hold of every author it could. Would it get more members if it adopted this proposal, or would it not rather lose members thereby ? He thought that it would be right for the matter to be decided upon by a more representative gathering than was present that day. Let them not enable people to say, with more force than now, that the Society gave nothing in return for the guinea subscription. He would adopt the time-honoured device of moving “‘ the previous question.” It having been pointed out that the proposal had not yet been seconded, Mr. Aylmer Maude begged leave to do so. He admitted that it was a pity the meeting was so small, but considered that those who had come to it had a right to express their opinion. A plebiscite of the Society might follow. With regard to the justice of the proposal, they could not really afford to collect money for nothing. They had started a bureau for the collection of moneys, charging five per cent. commission without the benefit of legal proceedings. But there were some members for whom they were collecting money, with the aid of the law, and whom they were charging nothing. This was surely unreasonable. (Mr. L. Zangwill: No, no). Mr. James Baker, after congratulating the Society on its excellent financial position, said that he thought the proposed step unwise and unlikely to have a favourable effect on the membership. Mr. Louis Zangwill opposed the motion. He disagreed entirely with the sugges- tion that the members of the Society who did not employ the Collection Bureau had i 3 THE AUTHOR. now an undue advantage. As soon as what he might call the non-bureau group of authors passed over into the legal proceedings group they stood merely on a position of equality with the bureau group. Mr. James Baker, having formally seconded Mr. Hope Hawkins’s amendment (‘the previous question”) the Chairman put it to the meeting, when it was carried by twelve votes to seven. Several members did not vote. Mr. Hope Hawkins proposed a vote of thanks to Dr. S. Squire Sprigge for his services as Chairman. This was carried unanimously, and the meeting then came to an end. COPYRIGHT AND “THE LADY.” — 1 N the May number of The Author, 1912, an J article was printed in criticism of a letter which had been issued by the proprietor of a paper to certain contributors. The letter asked for the transfer of the copyright to the proprietor. One paragraph ran as follows :— *¢ We shall be glad to have your assent to this arrangement, which is a mere formality required by the Copyright Act, and does not make any alteration in the conditions existing prior to the Copyright Act of 1911, when the copyright of such articles or photographs was also vested in the newspaper or periodical in which they appeared.’ The article pointed out that such a statement was distinctly mis- leading, that the matter was not one of mere formality, but of serious importance to the author; and that the suggestion that the assignment of such copyright did not make any alteration in the conditions existing prior to the Act was quite incorrect. The reason for bringing the matter forward again is because the manager of The Lady has asked the editor of that popular paper to send out a circular for the signature of contributors. It runs as follows :— 39 anp 40, BeprorpD STREET, Srranp, W.C., March 13, 1913. “The Lady.” Dear Mapam,—The Manager has requested me to send you the enclosed for your signature. The idea, so I under- stand, is to save contributors the trouble of sending him a special form of acknowledgment on receipt of each cheque. Once the enclosed has been signed, the indorse- ment on the cheque will be the only receipt required by the Manager. Yours truly, THe Eprror. 248 [ENCLOSURE. | To the Proprietor of “ The Lady”? Newspaper. Tn consideration of your publishing in your newspaper or purchasing any article or drawing written or made by me I hereby assign and transfer to you the original and the copyright therein and also agree to assign and transfer to you the original of and copyright in all future articles and drawings written or made by me which may hereafter be purchased by you or published in your newspaper. Signature........ Wetec. co os as It is quite true that “ once the enclosed has been signed the endorsement at the back of the cheque will be the only receipt required by the manager”; because under the docu- ment which.the author or artist is asked to sign he is transferring not only all his rights under the Copyright Act of 1911 in_ any contribution he is making at the time, and also the original of the drawing—if the matter refers to a drawing—but he is also assigning his copyright in any future article or drawing that he may contribute. The members of the Society have often been warned that in selling their work to a paper they should not sell anything beyond the first serial use of their work for that paper, and there is no real reason why the proprietor or manager should demand more than this. According to the ‘‘ Writers’ and Artists’ Year Book,’? Zhe Lady publishes articles which should not exceed a thousand words and stories of about 5,000 words, and also illustrations. If the author is writing on any special subject, and no doubt articles in The Lady would fall under the category, it is quite possible that he or she may wish to reprint the articles at a later date in book form. This could not be done, however, if the paper printed above were signed. The writer of a short story of 5,000 words might wish to deal with it in many ways. He might wish to republish it in a volume of stories, he might wish to sell secondary serial rights, he might wish to amplify it into a novel, or he might wish to dramatise it as a sketch for the theatres and music-halls. None of these undertakings would be open to him if he had signed the enclosure printed above. The question remains, “* Does the manager or the editor desire to print these articles in book form ? does he desire to utilise the short stories for dramatic purposes or for further publica- tion in any form?” If he does not so desire, and it is most improbable that he will, then there can be no reason for him to ask for the assignment of the copyright—it is mere greed hoping to trade on possible ignorance, and this comment would be due concerning any assign- 244 ment of copyright, without any consideration by a contributor to serial literature. But here the position is worse. The manager of The Lady asks for the assignment not only of those articles and drawings that are sub- mitted to him, but for the copyright of all future articles. An author might sign the paper inadvertently, thinking it referred merely to one article, but might, a year afterwards send another story and _ then suddenly find that he had transferred his copyright in that also. If The Lady desires such full rights and so wide a power, then the manager or proprietor should pay for them proportionately. There is no mention in the document of the usual rate of payment. But supposing an author was willing to sell a short story of 5,000 words for £4 a thousand | for the first serial use, which would amount to £20, he most probably would not sell the whole copyright for a sum under £100, and if he was asked at the same time to bind himself to sell the copyright of future work, as his obligation increased his price would increase to £150 or £200. Would the manager of The Lady be willing to pay these prices ? As regards literary work, the contract is bad enough, but when it comes to artistic work it is even worse. An original MS. is really not of much value after it has been through the printers’ hands, as it generally comes back to the author in a mutilated condition, but an original drawing has always its market value ; and if artists in subsequent years became famous, these drawings some- times fetch a good price. The artist, therefore, is not only asked to sell the copyright, that is the right to reproduce the work in any form, in any size, and by any process at any price, but he is also asked to sell the original under the enclosure printed above, and to bind him- self to do the same with regard to any future work. Again, it is necessary to point out that the usual contract that a paper or magazine enters into with an artist is the right of reproduction in that paper or magazine, the author retaining the original drawing, which in many cases he will be able to sell, as well as the right to reproduce that drawing in other forms and by other process of production if necessary. The demand, therefore, which is made by the manager of The Lady through the editor is contrary to custom, though put forward in a way that might lead any unsus- pecting author or artist to think that it was a quite usual arrangement. If any more members of the Society have this enclosure forwarded to them, and it would THE AUTHOR. appear that it has been sent out as a general circular, they should at once refer the matter to the Society. THE TIED BOOK SYSTEM IN AUSTRALIA. nh ee ah (Reprinted from the Bookfellow, Sidney, Australia,) EER. Ale. Stout. Stingo. Heavy. wet. With all variants from four-’alf to the brewer’s pride measured into a wine-glass for sixpence. The any-class, low- class, no-class people who live in English stories like Edwin Pugh’s or Neil Lyons’s seem to think that the drinker is better served in a ‘* free house ”’ than in a ‘“‘ tied house.” You know more about that. Weknow more | about books; and we affirm that authors and — readers are better served with a “‘ free book ” than with a “ tied book.’’ For just the same reasons. As soon as you give an English ~ publican or an Australasian importer a monopoly of his goods, either the price will tend to go up or the quality will tend to go down. We say “‘ tend,’”’ because the rule has — exceptions. Nevertheless, the rule is that as — soon as checked competition interferes with free consumption somebody is bound to suffer, — Because every monopolist is bound to get a | profit on his monopoly as well as a profit on the goods. “ That’s business.” How iT OPERATES IN AUSTRALIA, Not long ago we showed how the tied-book — system in fiction was operating in Australasia to reduce, upon the whole, the range and — quality of novels offered to readers. Authors come into consideration too. Australian — novelists publishing in London, as well as — English and American novelists, need to think hard about the tied book system. . Take the case of a book like “‘ The Happy _ Warrior,” which recently we called (provi- sionally) the “* biggest ” English novel of 1912 The London publisher of “* The Happy War rior ” sent the book for review. But you can’t — buy that book. Why not? We are informed — that it is because an importing firm has ~ “bought the Australasian market,” and “The Happy Warrior” is tied, bound, and — hermetically sealed to the importing firm. - Yet even so, why does not the monopolist — sell the book ? There may be several reasons. In the first place, a monopolist in Australasia, — buying novels in London, cannot always fore- — 998 2A EE Me Le) ud oT THE AUTHOR. see how many copies of a novel can be sold in Australasia. He may not have enough stock to go round all the booksellers. In that case, he is apt to keep the book off the market while he is getting fresh supplies from London in order that he may prevent dissatisfaction by supplying all the booksellers together. In the next place, a monopolist importer is apt to accumulate so many tied novels that even voracious Australasian readers cannot swallow them all at a gulp. Besides, English publishing follows the sun and the seasons : novels are published chiefly in the English spring and autumn; so that, tallying with the English spring and winter, there are “ slack seasons ”’ here when there may not be enough good novels to satisfy readers’ demand. So a monopolist importer is apt to lay by a few novels for the slack season, and feed them out judiciously when he thinks that readers are hungry. His agreement with the English publisher ensures that the Australasian market is preserved to him. Thus a novel published in a London “Colonial Library”? in March may be held over for Australasian sale in September, or in December, or later still. A monopolist Australasian importer is like a Marguerite plucking her petals of tied books and murmuring ‘“‘ This year—next year—some time—any old time will do for Australasian readers.” Sometimes a few books filter past the barrier, but not many ; because the English publisher has tied himself by agreement. In considera- tion of an Australasian importing firm buying so many copies of a new novel, he has under- taken not to sell that novel to anybody else in Australasia. Usually all Australasian book- sellers who want a tied book to sell to their customers must come and buy it from the monopolist at the monopolist’s price. The marketing system causes a lot of business friction. Naturally. Booksellers, readers, and authors are affected in this way. The author of a novel is usually paid by a royalty on sales. Upon every copy of his book that is sold at the usual English price (4s. 6d.) the London publisher may agree to pay him 25 per cent. of the price—sometimes less. Then the London publisher puts the book into what is called a ‘“ Colonial Library,’’ and it is offered to Australasian readers at 3s. 6d., or perhaps at 2s. 6d. in paper covers. “‘ Colonial Libraries ”’ usually get a separate clause in the -author’s agreement with his publisher. As the price is lower, the author is not promised so high a royalty per copy sold. Perhaps the 245 author is promised 3d. per copy. Perhaps he gets 14d. s But, whatever the author gets, he is paid usually according to sales—for ‘ Colonial Libraries ” too. So that anything tending to hamper the Australasian sale of a book reacts against an author. If fewer copies are sold in Australasia, he gets usually a smaller payment for his labour. And the marketing system, the tied-book system, is apt to be such a hamper on sales. The rule has few exceptions. Suppose that ‘The Happy Warrior” is a tied book, and Louis Stone’s ‘‘ Jonah ”’ is a free book (since many English publishers in the best class have refrained from selling the Austra- lasian market of their books to a monopolist importer). Then, if a monopolist has bought 1,000 copies of ‘‘The Happy Warrior” in order to secure the Australasian market, clearly, when the monopolist is ready to sell ‘“The Happy Warrior,” he is likely to put ‘Happy Warriors” in the front row and “ Jonahs ” in the back row. Or even he may put all his tied books in all the rows and leave out some free books altogether, because his business eggs are in the tied-book basket. He has so many tied books which he must sell or lose money. And, as a monopolist, he makes a higher profit on his own tied books than on other people’s free books. So that, comparing the tied author with the free author, the free author is unlikely to get the fairest innings in a monopolist’s shop. Consequently, it is to the interest of free authors to oppose the monopoly system, because the free trade system is more likely to give every novel a chance of sale on its merits. But the tied author does not get a fair chance on his merits either. Because the booksellers who are not monopolists prefer to sell the free books. They may have to pay more for the tied book, because the monopolist wants a profit on his monopoly ; so that the free book- seller is not unlikely to get a smaller profit on, the tied book. Or, with good business reason, they may object to supporting a trade monopoly. So that all the time, in Australasian book- selling to-day, monopolised trade and _ tied books are fighting free trade and free books ; and the unfortunate author is squeezed out of his royalties in the middle. He may be squeezed very little, or he may be squeezed a whole lot; but always he is being squeezed, for always he has one section of booksellers standing against him. Not necessarily pulling against him, since when a book is demanded by readers it must be sold; but standing against 246 him. Declining to push a book on its merits because it is tied to an opposition monopolist. Or declining to push a free book because invested money must first be got out of a monopolised book. The effect of the tied-book system must be to limit the sale of any given book, since always under that system there is a section of book- sellers actively or passively hostile to a sale of any given book. The tied-book author makes his quick sudden profit only by bringing into operation forces that tend to restrict his further profit. And, not in every case, but in the long run, it is true that as many copies of a free novel will be sold in Australasia as a monopo- list can offer to buy. The cost of exceptions comes out of the monopolist’s pocket. Mono- poly is beer and skittles, but it isn’t all beer and skittles. For these reasons and others, should oppose the tied-novel system. authors THE SNOBBERY OF FREE-LANCING. —_1+—~—+— By AN Ex-Eprror wuHo Is ProupD OF His PROFESSION OF FREE-LANCE. HIS has been roused by an article in the April Author on ‘“‘ The Common-sense of Free-Lancing.” I want to protest as vigorously as I know how against those patronising obiter dicta of the editor who now leans back in his arm- chair, serene in the dignity of Editordom, complacent in the easy réle of critic, passing out from the editorial.desk crumbs of consola- tion to the poor free-lance. I want to protest against that tacit assump- tion that the one and only career for the free- lance must lie along the paths of journalistic snobbery. I. want to protest against that smug patronage of the profession to which I have the honour to belong. Snobbery. The: idea that the free-lance must set as his rungs of ambition the pages of solemn mausoleums such as the ancient weekly and monthly reviews; and his goal the rever- sion of an editorial chair in their musty sanctums. Snobbery. Servile bowing before the senile and gritless in journalism, merely because of a past tradition from the days when critic was king and creators courtiers. Snobbery. The ignoring of the vast popular THE AUTHOR. Press of to-day—daily and weekly and monthly —which reaches, and influences, its hundreds and thousands of readers to every unit reader of the former. A “cachet” is supposed to attach to the contributor who has an article accepted by the Joves of the journalistic Olympus. At least, that is what the free-lance coming fresh from the country is told. He is to gain fame by writing formal essays and criticisms of other men’s work for papers which announce on the front page: ‘‘ We neither return manuscripts nor enter into any correspondence regarding them. A manuscript not acknowledged within a month can be considered as rejected.”’ I contend that any professional free-lance with a pride in his calling should throw such papers in the discard. Writing for them can be left to those who take up authorship as a sideline and are content to wait hat-in-hand on the pleasure of self-important editors. ‘ The professional free-lance has a far wider, far more lucrative, and far more self-respecting field elsewhere. If he avoids the snobbery of free-lancing, and concentrates on the popular Press, Grub Street can be left very far behind. Certain very well-known writers have pointed the way. Many of us are quietly following, and finding it profitable as well as exceedingly pleasant—making incomes easily larger than editorial incomes, and being freed from the shackles of the office desk. Articles for the popular monthly magazines yield ten to twenty guineas apiece even for the rank and file of us who have not yet “ made our names.” Stories for the popular magazines—say of 5,000 words in length—can be sold even by the rank and file of us for twenty-five and upwards, counting English and American rights together. Book rights and translation rights may easily add another ten or fifteen. Such stories (I speak from personal experience) can be evolved—plot, writing and revision—in from three to five days apiece. Many of the popular weekly papers pay as highly for their articles as the gods of Olympus. A few pay higher. The daily papers of to-day, with their “ fourth-pages ” and their ‘‘ magazine pages,” offer a splendid field. All these media are profitable not only in actual coin, but what is more important tor the professional free-lance, in publicity. A signed article in the popular evening oF morning papers brings the unknown’s name THE AUTHOR. before half a million to two million readers. At the same expenditure of mental energy, he would secure in the Olympian Press a mere 10,000 to 30,000 readers—mostly of the Victorian era. Moreover, the gods of Olympus like to veil their contributors in anonymity. From the professional point of view, writing unsigned articles is a fool’s game. Very few indeed amongst readers ever trouble to guess who the author may be. The unsigned effort brings in merely the bare monetary payment, stripped of the larger payment of publicity. Better a signed article in Answers than an unsigned in the Atheneum. I hope that the readers of The Author will agree with me in my contention that the professional free-lance needs no patronising from the Olympian editor. The free-lance is his own master. He builds up in his name a property of his own. He is not dependent for his income on the whims of one individual proprietor. He is not shackled to an office desk. He is free to travel the whole wide world and earn his living at the same time. He can work on ocean liners as well as on terra firma. He can choose town or country, England or the continent, Europe or America, for his writing-desk. The common-sense of free-lancing, I maintain, is to avoid the snobbery of free-lancing; to treat one’s work as a profession ; to study the modern reading demands; to join one’s professional union, exchange knowledge of publishing conditions with fellow-workers, and unite with them in action for the rights of the profession; to let it be known that we are proud of our calling and want no smug patronage from an outworn Olympus. Max RITTENBERG. .CORRESPONDENCE. —+ + CONCERNING Cat ATHLETICS. Dear Srr,—I am always ready to oblige a fellow member of the Authors’ Society, and so let me help “ Justice” to the career he contemplates by telling him that the sum ‘to a ha’penny” I have ‘‘ put out advertising” to “ arrive ” at my “ present stage of success ” is just exactly £0 Os. Od., and I have no doubt that Mr. Bennett and Mr. Shaw will confess to an equal parsimony. What my publisher spends is between himself and God. I never 247 pay for advertisement or corrections, never allow. an agency clausé in my agreements (I generally don’t do business through agents), always take 25 per cent. upon a 6s. book, always exact a big cheque on account of royalties (rather larger than what is caused by the certain sales), always reserve the right to publish a cheap edition at less than 13d. at the end of two years, and never suffer a 13 as 12 clause. I draw up my own agreements with Messrs. Macmillan, who also, as a matter of courtesy—and subject, of course, to a con- siderate use of the privilege—give me unlimited free copies. If an author is really worth while publishing, he can get these terms from any decent publishing house, and I wish we could make some agreement among authors to hold the publishers generally at this level. In the past I was not so wise as I am now; [ left nearly all my business to an agent. T am still encumbered with his slovenly and disadvan- tageous agreements. Now I do business with an agent when it suits me. None of them is good all round, and none can be trusted to “handle” the whole of an author’s affairs. One agent is rather good with short stories, another is brilliant at a serialisation, another who goes about upsetting authors with imperfectly substantiated offers of large sums in order to get hold of their business is a dangerous nuisance. The ideal thing for an author to do is to fix up a standing agreement on the lines I have given above with a big honest solvent firm, give his books to a capable agent to serialise—and think no more of these things. H. G. WELLS. oo CoMMON SENSE AS IT APPEARS TO A FREE LANCE. I reap with keen interest the reply to my article: ‘‘ The Sorrows of a Free Lance,”’ in the March Author, but common sense does not allow me to convince myself (nor, I think, will it convince free lances in general, whether sorrowing or not) that amending one’s ways will suffice to turn one in due course into an editor. If luck is left out of the reckoning as an incalculable factor in getting to the top— the fact that a free lance has succeeded in doing so proves that he must have been amongst the “strikingly uncommon, clever people compelling attention” which I did not overlook in my article, even though I do not belong to their class; one cannot be guided by exceptions. All contributors know that 248 contributions are, in any case, sent at owner’s risk, but what they do not always realise is, what they are “ risking.” The object of my article was not a complaint, and I made this clear by my final statement ; to me at least it has been very well worth while, but a warning to would-be writers not to “risk” starving if they had nothing to live on but their incomes, as “ ordinary ”’ Free Lances. A Free Lance. 9 Epiror1aL Courtesy. S1r,—The discussion of this subject in The Author seems to me rather one sided. I hold no brief for any editor, but nearly all your correspondents imagine that editors only exist to adjudge the merits or demerits of Free Lancers’ unsolicited MSS., and are all animated by a desire to decry and neglect aspiring contributors to the journals of which they are “the head and front.” This appears to me an absurd assumption. The various and varied duties of editors, occupying their available time, may preclude them from giving due attention to the numerous MSS. of unknown writers; business modes and methods may not have formed a portion of their early training, or may be, neither nature nor art have exactly fitted them for their onerous position. Be this as it may, I think the complainants in The Author are some- what eaigeant, and expect too much from the often harassed controllers of periodicals. One remembers the thorny chair of Thackeray. It is a fact that disappointment and weariness of spirit are the natural concomitants of all those who are striving to gain the ear of the public through editorial channels. It must then be patent to your correspondents that if all free lancers would at once desist from launching their MSS. on the uncertain sea of free lancing, and the agents would also abandon their efforts to gain a hearing, all the periodicals of the United Kingdom would still flourish without their assistance. The experiences of very many years have justified my remarks. I have been on the staff of three weeklies at once; I have had commissions to furnish articles, and the doubtful luxury of free lancing has also been mine. I have had the pleasure of interviewing editors, and have been in correspondence with many, and, of course, with a very few excep- tions, taking them all in all, I have always met with civility, politeness, urbanity, and ' THE AUTHOR. often kindness, and I am glad to be allowed to testify this fact in The Author. Yours, etc., IstporE G. AscHER. —- 1 —_ Review Copies. Dear Str,—Mr. Ascher’s suggestion, in the February Author, that publishers and authors should enclose stamps for the return of unreviewed books, seems at first sight a good one, but supposing that 100 (one hundred) copies go out, postage say 6d. (six pence) a copy, there’s £5 (five pounds) right away for the publisher or author to add to his initial expenses! No, I think some other solution could be found. How would it be for the procedure to be reversed, and for newspaper editors to solicit copies of advertised forth- coming books, on a halfpenny postcard if they like? An editor could tell a publisher exactly what he is prepared to review, and decide what is in his line and what he has space for, just as well from the printed description of a book as he can from its flaring red cover. Why should 60% (sixty per cent.) of an author’s venture be wasted? It is almost impossible for a writer to be certain that such-and-such a paper has not reviewed his book, the press cutters are human (very much so, we are told), and it is not thanks to mine that I saw the most important (from a business point that I should see) review of my book. Still, about two-thirds of the copies sent out for review were, as far as I can ascertain, unnoticed. My book had twenty-eight notices, counting its birthday notice, on All Fools’ Day, in the Morning Post! I have a complete list of the eighty-five papers to which the book was sent, and it amounts to this: that 57 (fifty- seven) copies have been, as the saying is— thrown away. So I think my experience was more disastrous than Mr. Storey’s, related in the April Author. But all this, to my mind, comes, to a large extent, from writers not knowing the rules of the game. My book was advertised for just one fortnight (I knew no more about the cost of an advertisement than I know about Marconis !), and sixteen of the reviews and notices are dated April. My deduction, therefore, is that just as long as a book is advertised from the start will it live in the newspaper columns; and there is reason in this, considering the advertisements are a paper’s vital source of income. I think this is the crux of the whole thing, for we live in a commercial world, where business is business and should be such. Yours faithfully, F. R. M. Furspon. April 5th, 1918. 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 08 (May 1913) Subject The topic of the resource The Author, Vol. 23 Issue 08 (May 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-05-01-The-Author-23-8 publications The Author https://historysoa.com/files/original/5/527/1913-04-01-The-Author-23-7.pdf 68ce8e7ed9d051b0bd63b9017facc3e9 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-04-01 Volume 23 Issue 7 Pages Page range in volume 187–218 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130401 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMuthbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. j Vor. XXIII.—No. 7. APRIL 1, 1913. [Price SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS: AUTORIDAD, LONDON. —__—__—_.——e____—__ NOTICES. ——_—+—~+—— | | aoe the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or eq paragraphs must be taken as expressing the ige opinion of the Committee unless such is 28 especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. y= eeanterre ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind 4 members of the Society that, although the | paper is sent to them free of cost, its production “7 would be a very heavy charge on the resources ‘9 of the Society if a great many members did not 1 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, “2 §.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. 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. og Oe re THE SOCIETY’S FUNDS. —_+—<— + ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other matter closely connected with the work of the Society. (2) The Pension Fund, This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. "2 188 THE PENSION FUND. So - NFJanuary, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £800 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :-— Nominal Value. £8: a. Local Loans .......----eeeeees 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock ..........-- 250 0 0 Egyptian Government Irrigation Trust 4% Certificates ........ 200 0 0 Cape of Good Hope 84% Inscribed Stock 220.5255 + 2.35.5 ee 200 0 90 Glasgow and South-Western Rail- way 4% Preference Stock .... 228 0 0 New Zealand 34% Stock........ 247 9 6 Irish Land 23% Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1997—57....:.-..-.5... 488 2 4 Jamaica 84% Stock, 1919-49 1382 18 6 Mauritius 4% 1987 Stock ...... 120 12 1 Dominion of Canada, C.P.R. 33% Land Grant Stock, 1988 ...... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- dinary Stock ........ fue sk oe 232 0 0 $2,000 Consolidated Gas and Electric Company of Baltimore 44%, Gold Bonds ............ 400 0 6 250 Edward Lloyd, Ltd., £1 5% Preference Shares .......... 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ............ 550 0 0 THE AUTHOR. Nominal V alue. £ 3.24 8 Central Argentine Railway £10 Preference Shares, New Issue.. 380 0 QO Total. vince. £4,764 6 0 i PENSION FUND. a a ae Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October 1, 1912. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 3 mooooooooooascececoco: 1912. Oct. 2, Todhunter, Dr. John. . Oct. 10, Escott, T. H. S. : : Oct. 10, Henderson, R. W. Wright Oct. 10, Knowles, Miss M. W. : Oct. 11, Buckley, Reginald . Oct. 12, Walshe, Douglas Oct. 12, “‘ Penmark”’ . c Oct. 15, Sinclair Miss Edith . Oct. 16, Markino, Yoshio Oct. 20, Fiamingo, Carlo Oct. 29, Henley, Mrs. . Nov. 8, Jane, L. Cecil . Nov. 14, Gibb, W. Dec. 4, De Brath, S. . : Dec. 4, Sephton, The Rev. J. Dec. 4, Cooper, Miss Marjorie Dec. 7, MacRitchie, David Dec. 11, Fagan, James B. Dec. 27, Dawson Forbes 1913. Jan. 3, Toynbee, William (in addi- tion to his present sub- scription). .- ; : Jan. 9, Gibson, Frank . ‘ Jan. 29, Blackley, Miss E. L. Jan. 31, Annesley, Miss Maude Feb. 6, Rothenstein, Albert . Feb. 10, Bradshaw, Percy V. ‘ tt et HKOooomuanno? Cr oocooooororoooOooCooorFnh ~~ _ SONS Or Or OU Ot et Or coooo? Donations. 1912. Oct. 2, Stuart, James . : Oct. 14, Dibblee, G. Binney . . Oct. 14, Michell, The Right Hon. Sir Lewis, C.V.O. ; a of _ o- ao Or AHRHASSS Bes pti! TH. -t9@ Oct. 17, Ord, H.W. . ‘ ‘ »Jo0 Oct. 20, Yorke-Smith, Mrs. . vow Nov. io Nov. 9G Dec. vo Dec. 4 Dec. o@ Dee. 9 Dec. 90 Dec. wo Dec. Dec. Dec. Dec. 1913. Jan. Jan. Jan. Jan. ia) Jan. 2, d3 3 re: | tap is rf 8G aL . Jan. , Jan. Feb. Feb. Feb. Feb. ‘Feb. 10, Hood, Francis 20, Kennard, Mrs. N. H. 5 4, McEwan, Miss M. S. . ‘ 4, Kennedy, E. B. ‘ 11, Begarnie, George . : 11, Tanner, James T. 11, Toplis, Miss Grace . : 14, Watson, Mrs. Herbert A.. 14, French, Mrs. Warner : 17, Smith, Miss Sheila Kaye . 17, Marras, Mowbray 27, Edwards, Percy J. 1, Risque, W. H. 1, Rankin, Mrs. F. M. 2, Short, Miss L. M. 2, Mackenzie, Miss J. Webling, Miss Peggy 8, Harris, Mrs. E. H. . 8, Church, Sir Arthur, K.C.V.O., ete. . 4, Douglas, James A. . 4, Grant, Lady Sybil . 6, Haultain, Arnold . 6, Beveridge, Mrs. : . 6, Clark, The Rev. Henry . 6, Ralli, C. Searamanja . . 6, Lathbury, Miss Eva . . 6, Pryce, Richard . 7, Gibson Miss L. S. : 10, Use . . 10, Ford, Miss May : 12, Greenstreet, W. J. .14, Anon . . 15, Maude Aylmer . 16, Price, Miss Eleanor . : 17, Blouet, Madame 220, PH. and MLK... . 22, Smith, Herbert W. . 25, Anon. . : . 27, Vernede, R. E. ‘ . 29, Plowman, Miss Mary . . 29, Todd, Miss Margaret, M.D. . Bl, Jacobs, W. W. ; Feb. Feb. Feb. Feb. Feb. 1, Davy, Mrs.E.M. . 3, Abraham, J. J. ; 4, Gibbs, F. L. A. A, Buckrose, J. i. 4, Balme, Mrs. Nettleton . 6, Coleridge, The Hon. Gilbert 6, Machen, Arthur : 6, Romane-James, Mrs. ‘ 6, Weston, Miss Lydia ‘ ‘ 14, Saies, Mrs. F. H. (in addi- tion to her subscription) o CORP H OH OH ONHFOOCOCOOBH OH OCOOCOOCOROWOORNWH eooooco Cr oooOoOMoOoOoUNCO Oh Bb p= | Om ok Ow ono Oo Wk © pat pont Or Or Or Or Or © _ bt — _ = > Anke KOH OH ONE NBROOBEK OFM OOS Oe Or AUTHOR. = wo; db oe ec sescooonaseacooaoanaccooocoocoocosoosoocoooeoecsese ecooooco ecoocooooo eo ooaone 189 iv} BOF OANOSO: Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Mar, 14, O’Higgins, H. J. . : 15, Stephens, Dr. Ricardo 15, Jones, Miss KE. H. 17, Whibley, Charles 22, Probert, W. S. 24, S. F. G. : 27, XX. Pen Club 7, Keating, The Lloyd . 7, Tharp, Robert C. 10, Hall, H. Fielding 18, Moffatt, Miss Beatrice 14, Bennett, Arnold. 17, Michell, The Right Hon. Sir Lewis, K. C.V.0: . 17, Travers, Miss Rosalind i COrroooOoO® Rev. 5 : Mar. : Mar. Mar. Mar. Mar. aoc oo SO Or Or Or SS0C0OSD SCOOKAOMAAOe oe or ee oo Mar. ah a COMMITTEE NOTES. — +e HE Committee of Management held their third meeting of the year at 13, Queen Anne’s Gate, S.W., on March 3. The business was carried through in the usual order. Following the signing of the minutes of the previous meeting, the elections were proceeded with. A full list appears on another page. Twenty members in all were added to the list, making the total for the current year up to eighty-seven. The Committee accepted, with regret, sixteen resignations, but they are glad to report that the number is considerably smaller than during the corresponding period last year. * The solicitor then reported the cases during the past month. The first was an action for accounts and money against a publisher. The accounts had been delivered, an arrangement for settlement by two instalments had been made. One of the instalments had been paid, and the solicitor had no doubt that the second instalment on May 1 would be met in due course. Against another publisher the Society has four cases. It has been necessary to issue summonses in two of these, and in the other two, if the sums due under the accounts obtained are not paid, action will also be taken. The Society has three claims against a travelling actor, and in all three writs have been issued. In one of these, part of the sum due in royalties has been paid, but in none has a proper account been rendered. 190 The solicitors received instructions to carry the matter through. There were two small cases against a paper for unpaid contributions. The proprietor has declared himself unable to pay. In one case the summons has been issued, and the. solicitor was instructed to proceed to judgment and then determine what action should be. taken in the second case. The solicitor reported, with regret, the loss of a County Court action during the past month. There was a direct conflict of evidence between the plaintiff and the defendant, but as the onus rested on the plaintiff to make out the contract, the Judge considered this onus had not been discharged. There was no written agreement to produce in evidence. In two other small claims the debts have been paid after the writs had been issued. The solicitor next reported that one of the members of the Society having entrusted the original MS. of one of his published works to an agent for sale for a fixed sum, the agent had sold the MS. for a quarter of the amount. However, under pressure brought to bear by the Society, the MS. had been restored to the author, and the money to the purchaser. Another case was quoted by the solicitor where it was impossible to obtain the return of a MS. from the editor of a magazine. After a writ had been issued, the MS. was promptly returned. Then followed two dramatic cases. The first referred to the infringement of the work of a member of the Society by the roduction in the music halls of a sketch. The defendant put forward in defence that the play produced is a condensed version of a play written by himself prior to the publica- tion of the member’s book, but it does not appear that the original MS. is forthcoming. The second case was brought to the Society by a member, with the recommendation of the Dramatic Sub-Committee. The alleged infringer is also a member of the Society. After consideration of the evidence, the solicitor came to the conclusion that if any action was taken it should be rather for breach of confidence than for infringement of copyright. In both these cases the committee decided to carry forward the matter on behalf of the complainants. The next case related to an infringement of a member’s copyright, by the publication of a story in a penny weekly. It was decided to take the matter up. The next case related to an infringement of copyright in Canada, and here, also, the committee decided to support the author, but subject to the latter being responsible for a portion of the costs. A case of a demand made by a THE AUTHOR. publisher against an author under a contract between them, was also reported by the solicitor, and the committee decided to a defend any action brought against the author by the publisher. The secretary. then reported a complaint made against him by a member of the Society, in a case where he had acted as arbitrator. The secretary read the correspondence, and it was decided to write to the member on the subject. The secretary mentioned, also, to the committee a dispute arising between a member and his publisher on various points of accounts and the interpretation of clauses in the agreement. The committee authorised that counsel’s opinion should be taken, and if this opinion was favourable stated that they would support the member by legal action if necessary. After the cases had been disposed of, the — secretary laid before the committee the letters . he had received from editors, dealing with — the question of payment to contributors of — accepted contributions. It was decided, in — accordance with suggestions from important editors, to invite a formal conference at an . early date. The committee hope that a large : number of editors may agree to some definite — and uniform arrangement being established. — The next matter discussed was the practice of the proprietors of certain magazines who send receipts to contributors for their : signature, and, in some cases, cheques with e a receipt printed at the back, purporting to convey copyright to the magazine, although — no contract for such a transfer had previously — been made. The secretary was instructed — to deal with the whole subject in The Author. : The committee discussed at length the question to be placed before the General Meeting and the Council in regard to the — commission to be charged by the Society om all sums collected by members through the intervention of the solicitors in whatever country action were taken. The committee decided to support a proposal that in all eases where the member did not employ the Collection Bureau the commission should be 10%, as against 5% which the Bureau charges — its members for carrying through the same matter. At the suggestion of the Composers’ Sub- Committee, an article had been written dealing with an agreement from a music publisher. This article was laid before the committee and assed, and appears elsewhere in this number of The Author. THE AUTHOR. ComposERS’ SuB-COMMITTEE. ‘T . Tuts sub-committee held their March mect- ging at the new offices of the Society, No. 1, ‘a9 Central Buildings, Tothill Street, Westminster, ¥7.S.W., on Saturday, March 8. After the aiiminutes of the previous meeting had been seeread and signed, the secretary reported that , an article referring to Messrs. Curwen & Sons’ “mg agreement, had been passed by the Committee / tof Management for publication in The Author. o/ The secretary then placed before the sub-com- jipmittee the papers of The Genossenschaft Deut- oscher Tonkunstler, and received instructions 26 to send out a copy of their contract to all the “emembers of the sub-committee, and to place o) the matter on the agenda for the next meeting. 11The secretary reported, also, that the circular ‘to. settled at the previous meeting of the sub- ‘i: committee had been sent out to the members | 1 of the Society of British Composers, and that _s he had obtained a further list of composers, to ts whom it would be sent in due course. The ‘fs answers would be laid before the sub-committee 4: at their next meeting. L The question cf mechanical rights was i) discussed, and a suggestion made that com- ‘oc posers should deal with these separately, and ‘0; not in conjunction with the sale of their sheet j@ music. The secretary was instructed to take i steps to get into touch with the mechanical reproducers with a view to coming to some “1 arrangement. F, A question relating to the manufacture of ‘ai stamps for the mechanical reproductions of “o compositions was discussed, and it was decided, ’ a in those cases where it would not pay individual “9 composers to purchase large quantities of »} stamps, that the Society should manufacture J stamps which could be endorsed with the “© initials of the composer. os Cases. Durine the past month there have been “44 twenty cases in the hands of the secretary. ‘1 The list is rather a curious list. Usually the claims for money exceed other cases, but in the past month claims for MSS. head the list. There have been seven claims under + this heading and three have been successful, the MSS. have been returned and forwarded to the authors. One failed owing to the fact that although the agent to whom the MSS, had been sent had tried to find them, the author had no evidence that they had actually reached the agent’s office. Itis possible, there- fore, that they may have been lost in transit. 191 Two are still in the course of negotiation. In one case the claim is in Hungary and the other in the United States. Sufficient time has not elapsed for a reply to be forth- coming to the secretary’s demand. The last case has only recently come into the office. There have been six claims for accounts from publishers, and all these have been settled. The accounts have been delivered, and where money was due, the money has been paid. Three questions have arisen out of author’s agreements. Here again two are in foreign countries, both being in the United States of America ; in one case the author is an American citizen, and in the other case the publisher. Sufficient time has not as yet expired in order to obtain a reply, but no doubt before the May issue these cases will have been closed. The third case is one of a dispute between the author and a publisher as to the charge for corrections. These cases are always very difficult to deal with, but if the publisher can show the proper vouchers, the author will have to meet the claim; at present the vouchers have not been produced. There were four cases of claims for money, two of which have been settled and the money has been paid. The third is in the course of favourable negotiation, and the fourth has only recently come to the office. There are still three cases open from last month, and two cases which have had to be placed in the hands of the Society’s solicitors. The work of the Society’s solicitors and the law work of the Society is fully detailed in the Committee Notes. ++ Elections. 50, Hans Place, S.W. “The Knoll,” Kid- more Road, Caver- sham, Reading. ** Gleneairn,’? Cam- bridge Road, Bournemouth. ‘** Homesfield,” near Sheffield. Broadbent, D. R. Campbell, Mrs. Perugini ‘anning, Ethel , Carpenter, Edward Fish, W. Wilfred Blair (‘‘ Wilfred Blair ’’) Grantham, Mrs. Frederick (‘ Alexan- dra von Herden”’’). , Ireland, John. : Beelcigh Abbey, Maldon, Essex. 4, Elm Park Mansions, Chelsea, S.W. 5 192 Keating, The Rev. John ‘“ Ariston,” New Lloyd, M.A. Church Road, Hove. Kindersley, Mrs. D. Y... 15, Gwydyr Man- sions, Hove, Sussex. ** Derrymore,”’ Park- stone, Dorset. 4, Bertram Road, Hendon, N.W. Savage Club, W.C. Southborough Com- mon, Kent. King’s House, Tower of London, Law, Hamilton Martin, Geoffrey : Merrick, Leonard ; Oyler, Leslie Mary Pipon, Miss Geraldine M. E.C. — St. John, Christopher 31, Bedford Street, Marie. Strand, W.C. Sawrey, Miss Fannie H. 22, Earl’s Court Square, S.W. Sholl, Margaret, V. (‘‘ Margaret Heriot Hallam ’’). Tharp, Robert C. . 86, Ladbroke Grove, WwW Turquet, Madame 59, Loxley Road, André (“ G. Turquet- Wandsworth Com- Milnes ’’). mon, S.W. Wigley, H. (‘“ Lincoln Green ’’). ee ele BOOKS PUBLISHED BY MEMBERS. — While every effort is made by the compilers to keep this list as accurate and exhaustive as poumble, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. BIOGRAPHY. Lirtte JENNINGS AND Ficutine Dick Tatsot: A Lire oF THE Duxr anp DvucuEess or TyRconNEL. By Parr W.Sererant. 2vols. 674pp. 17 illustrations. Hutchinson. 24s. n. BOOKS OF REFERENCE. CassELL’s Dictionary oF Practica, GARDENING. Edited by W. P. Wricut. PartI. 103 x 74. 48 pp. Cassell. 7d. n. InpDEXES TO THE ANCIENT TESTAMENTARY RECORDS OF Westminster. By A. M. Burks, F.S.A, 11} x 7}. 104 pp. Eyre & Spottiswoode. 12s. 6d. n. DRAMA [AND ELOCUTION. Quen Tana. By Darrent Fiaais. 6% x 5. 92 pp. Dent. Ils. n, THE AUTHOR. Towarps 4 New Tuxarre. Forty Designs for Stage Scenes, with critical notes by the Inventor, Epwarp Gorpon Craig. 13 X 114. 90 pp. 40 Plates. Dent, 21s. n. Four Prays. By Gmpert Cannan. 74 X 5. 84 Pp. Sidgwick & Jackson. 2s. 6d. n. FICTION. Tue Souttor A Man. By Durex Vanz. Holding Hardingham. 6s. Tue Matine or Lypia. By Mrs. Humpury Warp, 72 x 5. 462 pp. Smith, Elder. 6s. Srupizs In Love anp IN TEeRRoR. By Mrs. BEL1o Lownpzes. 74 x 5. 299 pp. Methuen. 6s. THe Riaut HONOURABLE GENTLEMAN, Norris. 74 x 5. 315 pp. Constable. 6s. SieEpine Waters. By Joun TREVENA. pp. Constable. 6s. THE Two CaRNATIONS. 280 pp. Cassell. 6s. Mrs. Pratt or Parapise Farm. By KatTHarine Tynan, 7% x 5. 310 pp. Smith, Elder. 6s. Aunt OLIVE IN Bonemisa. OR THE INTRUSIONS OF A Farry GopmotHEer. By Les~rz Moorn. 74 x 4h Alston Rivers. 6s. Natuatia. By Frep WnuisHaw. 7} xX 5. 320 pp. By Mansoriz BowEn. 72 X J. Long. 6s. A“ Youne Lavy.” A Study in Selectness. By H. W.C, Newrtr. 74 x 5. 393 pp. Chatto & Windus, 6s. Ir rr Pieasz You. By Ricwarp Marsu. 7 X 316 pp. Methuen. 6s. Lovz’s Sotprer. By Oxive Curistran Macxrrpy (Mrs. Archibald Mackirdy). 7x 5. 336pp. Cassell. 62. Porson. By Aice and CLaupE ASKEW. 74 X 290 pp. Nash. 3s. 6d. n. Tue SicN or Four. By A. Conan Doyir. 6} X 286 pp. (The Nelson Library.) Nelson. 7d. n. Tue CatrisH. By Cuar“es Marriorr. 8 x 5. 352 p Hurst & Blackett. 6s. THE ComBrneD Mazz. By May Sincuar. 7} X 336 pp. Hutchinson. 6s. Tue Strotiine Sart. By Rarant SABATINI. 7} X By Una L. SmperraD. 74 X 328 pp. Stanley Paul. 6s, 383 pp. Constable. 6s. 7% x 5. 298 pi Karen or LowsBore. Lirrep Curtains. By E. Nosie. Constable. 6s. Tue Beacon WatcHEers. By Viotet A.Smreson 7} 43. 366 pp. Chapman & Hall. 6s. Requirat. By Mrs. J. 0. Annotp. 72 xX 5. 301 p Methuen. 6s. Everyman’s Desire. By Mary Gaunt. 73 X 4% 341 pp. Werner Laurie. 6s. Wars Mottry. By Max Pumperton. 72 x 5. 3! pp. Cassell. 6s. Guioomy Fanny AnD OTHER [FouR] Stories. By Morte: Rozserts. 74 x 5. 259pp. Nash. 6s. Tur RETURN OF THE Perticoat. By WARwick DEEPIN 811 pp. (Revised Edition.) Cassell. 1s. n. HISTORY. Tue Passinc of THE TURKISH Empire IN EUROPE. Captain B. GRANVILLE Baker. 9 X 5}. 335 pi Seeley Service. 16s. n. LITERARY. Tous or THE Spratt. A Book of Thoughts. By Aue SrrmnpBerG. With an Introduction by A. BaBILLoT! Translated by CuauD Fienp. 7$ x 65. 286 Allen. 5s. n. THE AUTHOR. ©; Atone THE Roap. By ArTuuR CHRISTOPHER BENSON. Le 8} x 5). x. xX 383 pp. Nesbit. 7s. 6d. n. = Dr. JoHNson anp His Crrctz. By JouNn Batney. : 256 pp. Tue Victortan AcE IN Literature. By G. K. Cuesterton. 256 pp. THe Nrewsparer. By G. Bryyzy Drpster. 256 pp. 63 x 44. (Home ee Library.) Williams &,; Norgate. ls.j n. each. MEDICAL. 1 1A Hosprran mw THe Maxine. A history of the National H Hospital for the Paralysed and Epileptic (Albany Memorial), 1859—1901. By B. Burrorp RawLines. 74x 5. 271 pp. SirIsaac Pitman. 5s.n. MISCELLANEOUS. d= PERSONALITY AND TELEPATHY. By F. C. CoNnsTaBLe. a Kegan Paul. 7s. 6d. n. i Tue Mystic Way: A PsycHonocican Stupy IN Caris- T gran Ortcins. By Evetyn Unperuiy. J. M. Dent % & Sons. 12s. 6d. n. MUSIC. i ‘THe Sun’ Worsnrpper. Words by PETRONELLA ) O’DonnELL. Music by the Rev. M. T. Coatzs. Bristol: i Ernest Crichton. 1s. 6d. oM Moon anp Sua. Words by PrrronetntaA O'DONNELL. £ Music by the Rev. M. F. Coarzs. Bristol: Ernest ) Crichton. Is. 6d. NATURAL HISTORY. 2 British Brrps’ Nests. How, Where, and When to Find and Identify Them. By R. Kearton, F.Z.S8. 9} x 6. 520 pp. Cassell. 14s. n. mE Tue Crectine Year. By W.P. WesTett, D.Sc. Part I, { Rambles in Spring. Part Il., Rambles in Summer. i Part ITI., Rambles in Autumn. 9% x 74. Nelson. PHILOSOPHY. “£ AnIntropuction To Metapnysics. By Henri Bercson. Authorized translation. By T. E. Hutmg. 8 x 5. 79 pp. Macmillan. 2s. n. POLITICAL, From THE Near East, 1909—1912. By 74 x 5. 187 pp. Smith, Elder a2 Lurrers Maurice Barine. 3s. 6d. n. 27 Panama AND WHatit Means. By Joun Foster Fraser. 7k < 5.291 pp. Cassell. 6s. SOCIOLOGY. “W WaySrtations. By Eximaseru Rosrs. Hodder & Stoughton. 6s. n. THEOLOGY. ©) Conressions of A ConvERT. By Roperr Huan Benson. : 8 x 54. 164pp. Longmans. 3s. 6d. n. 4 RELIGION AND THE Crisis. By Harotp Brecair. 7} Xx 4%. 126 pp. Cassell. Is. n. Oo On THE INFLUENCE oF RELIGION anp Upon TrUTH- FruuNess. By F. H. Prrrycosrn, B.Sc. 73? x 5. 324 pp. Watts. 45s n 8x 5. 352 pp. TRAVEL. 9 ‘Qursec: THe LAvRENTIAN PRovINcE. f Wittson. 9 x 5h. xii. 10s. 6d. n. By Brcxizs x 271 pp. Constable. 193 LITERARY, DRAMATIC, AND MUSICAL NOTES. ee T the annual meeting of the Royal Literary Fund, on March 12, Mr. Rowland E. Protheroe, who presided, said the amount raised by the dinner was the largest with two exceptions in the history of the fund. He wished, however, that they could secure a more permanent and _ less fluctuating source of income to rely upon, and an increase in membership. They had at present some 700 members, and it would be a very good thing if they could raise their mem- bership to 1,000. The annual dinner was fixed for May 27; Lord Curzon would preside, and the Archbishop of Canterbury and Lord Morley would be among the speakers. The annual report, which showed that the income of the fund (including a balance from the previous year) was £5,487, and that during the year £3,020 was voted in grants to forty applicants, as compared with £2,125 to thirty-eight applicants in the previous year, was adopted. The president, vice-presidents, and members of the council were re-elected, with the addition of Viscount Haldane of Cloan as vice-president, and Mr. Reginald J. Smith, K.C., as a member of the council. Mr. Eden Phillpotts’s new novel, “‘ Wide- combe Fair,’”’ has been published by Mr. John Murray. It is a study of the varied life and interests of a sequestered West Country village. ‘‘ The Joy of Youth,” Mr. Phillpotts’s story which is running serially in the Fortnightly Review, reached its twelfth chapter in the March issue. “The Mating of Lydia” is the title of Mrs. Humphry Ward’s new novel, published last month by Messrs. Smith, Elder & Co. Mr. Henry Arthur Jones has issued, through Messrs. Chapman & Hall, ‘‘ The Foundations of a National Drama,”’ a collection of lectures, essays, and speeches of the years 1896—1912, revised and added to. Mr. Jones dedicates his work to “ Brander Matthews, Professor of Dramatic Literature in Columbia Univer- sity,’’ whom (he says) he has so often quoted, that he is “ urged by duty, no less than by friendship and sympathy,” to make the dedication. The book is embellished by a photogravure of Mr. Robert J. Aitken’s bust of the author. The price is 7s. 6d. net. Mr. Frankfort Moore’s new book, ‘‘ Fanny’s First Novel,” published by Messrs. Hutchinson, has reached its second edition. In it Mr. Moore returns to his favourite period. The “Fanny ” is, of course, Fanny Burney. 194 Mr. Jeffery Farnol’s ‘‘ The Amateur Gentle- man’? was published by Messrs. Sampson Low, Marston & Co. on March 8. Sir Isaac Pitman & Sons announce a new and cheaper (5s.) edition of Mrs. Ellis H. Chadwick’s ‘‘ Mrs. Gaskell: Haunts, Homes and Stories,” of which the original 16s. edition appeared in September, 1910. The new matter includes what is stated to be a strikingly beautiful portrait of Mrs. Gaskell before her matriage. The same publishers have brought out Mr. B. Burford Rawlings’s ‘“‘ A Hospital in the Making,” which is a history of the National Hospital for the paralysed and_ epileptic (Albany Memorial) between the years 1859 and 1901. The price is 5s. net. In ‘The Romance of an Elderly Poet” (Messrs. Stanley Paul & Co., 10s. 6d. net), Messrs. A. M. Broadley and Walter Jerrold collaborate on “‘A hitherto unknown chapter in the life of George Crabbe,” based upon a series of letters written by Crabbe in 1815—25 to Miss Elizabeth Charter. Much information is given in them concerning life in Bath and its neighbourhood at the period. Messrs. Stanley Paul announce two new Napoleon books, ** Napoleon in Exile at Elba, 1814—1815,” and “Napoleon in Exile at St. Helena, 1815—1821,”’ both by Mr. Norwood Young, and both containing a chapter on the iconography of Napoleon at the time, by Mr. A. M. Broadley. The first-named work is priced at 21s., the second at 82s. net. Messrs. Stanley Paul are also the publishers of ‘‘The Life of James Hinton,” by Mrs. Havelock Ellis, a biography drawn largely from private papers and the assistance of intimate friends; of ‘‘ The White Slave Market ” by Mrs. Archibald Mackirdy (Olive Christian Malvery) ; of “‘ Samphire,”’ a volume of essays by Lady Sybil Grant, daughter of Lord Rosebery; of ‘‘ Torquemada and the Spanish Inquisition,” by Rafael Sabatini ; and of a new edition (the sixth, 5s. net.) of Mr. J. F. Nisbet’s ‘“‘ The Insanity of Genius.” Mr. Albany F. Major has written, and the Rev. C. W. Whistler has edited, a book entitled ““The Early Wars of Wessex: Studies from England’s First School of Arms in the West Country.”’ This deals with the warfare of the pre-Norman period in Western England and particularly with the Danish invasions. There are to be maps, plans, and diagrams, and the volume is to be published by the Cambridge University Press, at 10s. 6d. net, but sub- scribers before April 80 will be entitled to purchase at 7s. 6d. THE AUTHOR. In “‘ The Lawyer, Our Old Man of the Sea ” (Messrs. Kegan Paul, 7s. 6d. net), Mr. William Durran criticises the legal systems of England, India, and America, and gives a warning of the dangers threatening this country if legal . reforms are not soon introduced. A foreword is contributed by Sir Robert Fulton, M.A., © LL.D. Messrs. Longmans, Green & Co. are the publishers of ‘‘ English Local Government : The Story of the King’s Highway,” by Sidney ~ and Beatrice Webb; of ‘‘ Confessions of a Con- — vert’’ and ‘‘ The Paradoxes of Catholicism,’ both by Monsignor R. H. Benson; and — of “ Levia-Pondera: an Essay Book,” by Mr. John Ayscough. They have added to their Silver Library a new edition of Sir. H Rider Haggard’s ** Rural Denmark and it Lessons.” Mr. Cecil Headlam is the author of the volume on France in Messrs. A. & C. Black’s ‘* Making of the Nations ”’ series. Thirty-two full-page and sixteen smaller illustrations — decorate the book, of which the price is 7s. 6d. net. Three new medical works from the same | firm are ‘“‘ The Handbook of Medical Treat ment ”’ (8s. 6d.), ‘* The Pocket Clinical Guide ” © (1s. 6d.), and ‘‘The Pocket Prescriber ”’ (1s.), all by Mr. James Burnet, M.A., M.D. M.R.C.P.E. Mr. John Foster Fraser’s “‘ Panama and What It Means ’’ was published at the begin- | ning of last month by Messrs. Cassell, at 6s. It is the fruit of a special visit to the Canal zone. Messrs. John Long last month published a — novel entitled ‘“‘ A Girl of No Importance ” by Olivia Ramsey, author of “The Other Wife,” ‘‘ Two Men and a Governess,”’ etc. © The story depicts some love episodes in the life story of a young peer, the scenes being — laid alternately in London and in the heart of © the country. Messrs. John Long are also the publishers. of a new novel, ‘‘ Nathalia,”’ by Fred Whishaw, | author of ‘‘ The Revolt of Beatrix,” ete. The scene is laid at Moscow in the period which — just preceded the birth of Peter the Great, whose parentage was from the first a matter” of mystery and controversy in Court circles. — Mr. Whishaw extracts his romance out of the: life of the beautiful Nathalia Narystkin, — mother of Peter. Messrs. Watts & Co. have published, on behalf of the Rationalist Press Association, a — volume by Mr. F. H. Perrycoste entitled ‘‘ The: Influence of Religion upon Truthfulness.” otk jem ork THE AUTHOR, ‘1) This volume comprises two more chapters of the author’s magnum opus, of which a first instalment appeared three years ago under the title of ‘‘ Religion, Faith, and Morals.” «| In a prefatory note to the new volume the JHE 200 LE ic ey Fob aid ish the rig EG AT od to : off soe 10f He iREE fio ve Be HE Mt A A ME if ee Lie author expresses the hope that it may be possible anon for him to do justice to himself and his critics alike by publishing the chapters of his Prolegomena, in which the scope and method of the whole work are explained in detail, and the philosophical foundations for his historical enquiry are laid. “Celestial Fire,” a Seventeenth Century devotional book, re-edited by E. M. Green, with a preface by the Rev. George Congreve, gives in its introduction the story of what is probably a unique experience in publishing. The editor acknowledges the most acceptable help, in unravelling the tangle, of the Society of Authors. The Rev. James Eckersley edits ‘‘ The Responsive Psalter,’ which, as the sub-title states, contains “‘the psalms set to chant- forms in accordance with the parallelisms of Hebrew poetry, and designed to conduce to a natural and expressive rendering of the words on the part of both choir and congregation.” The publishers are Messrs. Simpkin, Marshall & Co. “The Celibacy of Maurice Kane” is a novel by V. Conway-Gordon, published by Messrs. Holden & Hardingham. In “Where Education Fails” (Messrs. Ralph, Holland & Co., 1s. net) Mr. Preston Weir attempts to find the explanation of the non-success of the modern educational system in England compared with the hopes of its promoters. Lord Sheffield contributes an introduction. Miss Jeannette Marks publishes her “* Gallant Little Wales’ through the Houghton Mifflin Co., of New York and Boston. The book is illustrated from old prints, and is sold at a _ dollar and a quarter. Mr. F. Cullen Gouldsbury’s ‘“‘ Songs out of Exile (Rhodesian Rhymes) ”’ is published by Mr. T. Fisher Unwin at 3s. 6d. net. The same publisher is bringing out a play entitled “‘ This Generation ” by Mr. S. M. Fox. This play (which has not yet been acted), though not professing to give a picture of contemporary Socialism, has for its hero a _ socialist who is in conflict with his environ- ment. Some months ago a prize of 5,000 francs was offered for the best French novel published in 1911, in the judgment of a number of Parisian society celebrities. The prize was 195 carried off by a story by M. Louis de Robert, which is now to make its appearance in English under the title “‘ Life’s Last Gift.’ It deals with a young man stricken down with ill- health and seeking to requite a passion which comes to him in his last months of life. The English publishers are Messrs. Stanley Paul & Co., who will also add the book to their Colonial Library. ** Shepherds of Britain,” by Miss Adelaide L. J. Gosset (Messrs. Constable & Co., 7s. 6d. net), is a prose anthology of literature dealing with shepherds and sheep, including contribu- tions from the pen of the editor herself. A companion volume is her ‘Shepherd Songs of Elizabethan England” (same _ publishers, 5s. net). EK. Newton Bungey’s ‘‘ The Fordington Twins”? (Lynwood & Co.) deals with twin children brought up in poor circumstances, who unexpectedly inherit large property and have to own it jointly, as no one knows which is the elder. The book, which is mainly on humorous lines, will be out at the end of April or the beginning of May. About the same time a 2s. edition of the same author’s previous novel, “‘ Corn in Egypt,”’ will be issued. Mr. Stephen Knott’s new novel “ Once Round,” a story of Military life, will be pub- lished on April 2, by Messrs. Murray & Evenden. A short story by John Hasleth Vahey will appear shortly in the Pall Mall Magazine, and a new novel by the same writer, to be called ‘‘The Shadow of Salvador,’ with Messrs. Heath, Cranton and Ouseley, is also expected this spring. Mr. Vahey’s last novel, “<The Mesh,” appeared through Messrs. Sampson Low & Co. Mr. J. Stanley Little’s address delivered at Farnham on “ Thomas Hardy: Our Greatest Prose Poet,” is to be published shortly. ‘““The Green Powder,’ a new novel by Miss Lillias Campbell Davidson, has just been published serially in the pages of the Daily News. Messrs. Partridge & Co. announce an immediate issue of a third edition of the same writer’s, ‘‘ A Girl’s Battle.” A booklet which has just been issued, under the suggestive title of ‘“‘ More Light on the Woman Question,” contains a record of the proceedings of the first Congress of the Men’s International Alliance for Woman Suffrage, held in London in October last, and gives the salient points from the numerous speeches made on the occasion by the English repre- sentatives and foreign delegates. There are two illustrations—a portrait of Sir John 196 Cockburn, K.C.M.G., the President of the International Alliance, and a photographic group of the delegates and associates of the Congress. Mr. Jaakoff Prelooker, editor of The Anglo-Russian, is responsible for the literary part of the record, which is issued from the headquarters of the Men’s League for Women’s Suffrage, price 2d. : Mr. Philip W. Sergeant’s new two-volume biography, ‘‘ Little Jennings and Fighting Dick Talbot,’ was published by Messrs. Hutchinson & Co. at the beginning of March. Mr. Perriton Maxwell announces his retire- ment as manager and editor of Nash’s Magazine, and is returning to the United States to take charge of Hearst’s Magazine. Mr. Stanley Paul, of 31, Essex Street, Strand, has acquired the business of Messrs. Greening & Co., Ltd. The firm of Greening & Co. will be continued under its own name ; and as there are some 800 titles on its list, Mr. Stanley Paul, who will conduct both businesses from his office in Essex Street, will by this arrangement control the management of upwards of 1,300 current books. The firm of Greening & Co. was founded sixteen years ago by Mr. Arthur Greening. The Lotus Library of foreign classics in trans- lations is one of the firm’s most valuable properties, containing stories by Anatole France, Daudet, Zola, Flaubert, Dumas, de Maupassant, Gaborian, Gautier, and de Musset. Mr. Paul intends to add a large number of more serious volumes to balance the fiction library in the list, and among the first books are announced a series of ‘“‘ Memoirs of Secret History,” concerning the French Revolution, the ‘‘ Recollections of an Officer in Napoleon’s Army,” and a volume on Madame de Pompadour in the Court Series of ‘‘ French Memoirs.” Mr. Arthur Beckett’s book, ‘“‘ The Wonderful Weald, and the Quest of the Crock of Gold,” is shortly to be republished in a 6s. edition by Messrs. Mills and Boon. In addition to the twenty illustrations in colour by Mr. E. F. Marillier, the new edition will contain a novel map in which the most romantic places in the Weald of Sussex will be shown in symbolic form. DRAMATIC. The notable run of “ Little Miss Llewellyn,” at the Vaudeville Theatre, has been followed by a revival of Sir Arthur Pinero’s farce ““The Schoolmistress,’’ which was first seen at the Court twenty-seven years ago, and attained its 292nd performance there. The THE AUTHOR. cast at the Vaudeville includes Miss Hilda Trevelyan as Peggy Hesslerigge, Mr. Edmund Gwenn as Admiral Rankling, and Mr. Dion Boucicault as Vere Queckett. A new one-act play—or domestic episode, as we understand it is called—by Sir Arthur Pinero is in rehearsal at the St. James’s Theatre. Its title is ‘‘ Playgoers,” and it is to be played in conjunction with Mr. A. E. W. Mason’s *“‘ Open Windows,”’ of which the first performance took place on March 11, with Mr. George Alexander and Miss Irene Vanbrugh in the leading parts. Miss Cicely Hamilton’s dramatic version of Mr. Edgar Jepson’s ‘“‘ Lady Noggs, Peeress,” is to be transferred from the evening bill at the Comedy Theatre to the afternoon, during Mr. Kenneth Douglas’s season, which com- mences at the Comedy early this month. March 4 saw the production at the Aldwych Theatre of ‘‘ Her Side of the House,” a three- act comedy by Mr. Lechmere Worrall and Miss Atté Hall. On March 20 ‘‘ The Greatest Wish,’’ Mr. E. Temple Thurston’s dramatisation of his own novel, was produced by Mr. Arthur Bourchier at the Garrick Theatre, succeeding Mr. Stanley Houghton’s “‘ Trust the People.” ‘The Morning Post,” a one-act play by Mr. Morley Roberts and ‘“‘ Henry Seton,” was. seen at Miss Esmé Beringer’s matinée at the Court Theatre on March 11, and subsequently was put into the evening bill at the Strand, as a curtain-raiser to ‘‘ The Woman in the Case.” On Easter Monday “ The Happy Island,” Mr. J. B. Fagan’s adaptation of the Hungarian dramatist, Melchior Longyel’s “* The Prophet,” was the play chosen by Sir Herbert Tree for his reappearance at His Majesty’s Theatre. The title first announced was “A White Man’s Burden,” but ‘‘ The Happy Island” was what was finally decided upon. At the Gaiety Theatre, Dublin, on February 25, there was seen a new poetic tragedy in three acts—** Queen Tara,” by Mr. Darrell Figgis. The play has been pub- lished in book form by Messrs. Dent, at 2s. cloth, and 1s. paper. The Stockport Garrick Society recently performed a play in three acts and a prologue, entitled ‘‘Jephthah’s Daughter,” by the author, whose pseudonym is X.Y.Z. At the Théitre Mboliére, Paris, on February 28, “‘ Une Adventure du Capitaine Lebrun ” was played for the first time. The author of this was Mrs. Irene Osgood, who has since the production been elected a member of the Society of Dramatic Authors in Paris. Nel RS + et. Pipe See ge tos 3M THE AUTHOR. An organisation has been established for the representation of French plays in London, with Mr. J. T. Grein as chairman of the Executive Committee. The name of “‘ The Little French Theatre’? has been selected, and a West End house is to be secured, for Sunday performances in the winter, and week-day performances in the summer. The prospectus points out that, as the productions will be private, all the recently successful plays in Paris will be open to inclu- sion in the repertory. The regular company will be recruited from the considerable body of French actors in London. The annual subscription to the society will be 10s. 6d., which will entitle members to a certain number of seats. Further particulars can be obtained from Mr. Philip Carr, who is the ‘ adminis- trator ”’ of the Executive Committee. The Masque, “‘ Love and the Dryad,” com- posed by Agnes H. Lambert (Mrs. Heygate Lambert), will be given, under the direction of the composer, at the King’s Hall Theatre, Covent Garden, on April 29, at 3 p.m. There will be a full orchestra, conducted by Mr. Eugene Goussens. The dances have been arranged for the stage by Miss Ruby Gernier, who will play the part of the Dryad. The caste includes Miss Evangeline Florence, Mr. Herbert Bromilow, Mr. Ernest Groom and others. The Masque will be followed by a dramatic scene ‘‘ Pan and the Woodnymph,” written and composed by Mr. Harrison Frewen, in which Miss Evangeline Florence will take the principal part. Tickets may be obtained from Messrs. Chappell & Co., and Messrs Keith, Prowse & Co., Bond Street. At the production of prize plays in the Lyceum Club competition at the special matinée, King’s Hall, Covent Garden, on March 12, one of the plays acted was Mrs. Steuart Erskine’s ‘‘ John Anderson’s Chance,” the scene of which is laid in “‘ the dining-room of a small house at Hampstead” at the present day. Mr. James A. Douglas, the author of ‘“‘ The Outcome of Agitation,” produced at the Kingsway Theatre, and another four-act play, just secured by a prominent London manager, has a story of the North West Territory, entitled ‘‘ The Lovers of the West,” in the Canadian News. MUSICAL. Mr. William Wallace, on January 1, delivered an address on ‘“‘ The Musician and Personal Responsibility,” to the Incorporated Society of Musicians, then in annual conference at Bir- mingham. This address has now been printed. 197 PARIS NOTES. — > A Colline inspirée,” by Maurice Barres, h after appearing as a serial in the Revue hebdomadaire, is lished in volume form. ‘** La Comédie de celui qui épousa une femme muette,”’ a two-act play, by Anatole France, has also appeared, and is in great demand. “Vers les Humbles,” by Madame René Waltz, is an extremely delicate psycho- logical study, written in the form of a diary. It is the history of a girl’s disillusions and of her moral evolution, told in the same simple, natural way as this author’s previous book, ‘‘La Vie intérieure,” which won for her an Academy prize. ‘** Les Contes de Minnie ”’ (Histoire de bétes, d’enfants, de fées et de bonnes gens), is another of the charming series of books by M. André Lichtenberger, stories of children for grown-up people. Madame Marguerite Poradowska gives us a strong novel, under the title of “Hors du Foyer.” “La Poursuite du Bonheur,” by B. Van Vorst, is interesting and instructive, coming, as it does, from the pen of an American woman. ‘La Famille Impériale 4 Saint-Cloud et a Biarritz,” by Dr. Barthez, is a volume con- sisting of a series of letters written by the doctor to his family. He gives an account of the everyday life of the Imperial family from the year 1856, when he was appointed medical adviser for the little prince, then only three months old. The letters continue until the year 1863. The last two volumes of the important work by Georges Goyau, entitled “‘ Bismarck et VEglise: Le Culturkampf,” have now been published. The first two volumes comprised the years 1870 to 1887, and the two which have just appeared continue up to the year 1890. The subject is treated very thoroughly and, thanks to the various anecdotes which the author gives, it is by no means a dull book. The account of the journey to Berlin, under- taken by the future Cardinal, Galimberti, is most interesting. Louis XIII. wished to sound Bismarck as to his attitude with regard to Italy and his ideas about the European situation. His messenger was to find out whether the intervention of the Pope was likely to be required on the Alsace-Lorraine question. After the lapse of so many years, it is most curious to return to that period of European history and to read details which have probably never been known by the now pub- 198 majority of people. It is a work which must have required a very great amount of docu- mentation, and only an extremely conscientious historian could have given us the valuable work which M. Goyau has just terminated. The Marquis de Ségur has now published the second volume of his work entitled, “ Au Couchant de la Monarchie.”” The first volume was on “Louis XVI. et Turgot,’’ and the second is on “ Louis XVI. and Necker ”’ (1776— 1781). Among the memoirs and studies of historical characters, a book which will be read with great interest is the volume on Mirabeau, by M. Louis Barthou. It is curious to read an appreciation of a politician like Mirabeau by so well known a statesman as M. Barthou. The last volume of articles and lectures by Henri Poincaré is entitled ‘‘ Derniéres Pensées.” He was preparing it himself, up to the time of his death, as the fourth volume of his works for the ‘‘ Bibliotheque de Philosophie scienti- fique.’ Among the subjects treated in it are the following: ‘‘L’Evolution des Lois,” “‘ L’Espace et le Temps,”‘ “ Pourquoi l’Espace a trois dimensions,” ‘La Logique de l’Infini,” ‘‘Les Rapports de la Matiére et de l’Ether,” “‘La Morale et la Science.” M. Henri Poin- caré was considered to be the most remarkable mathematician in France, and he was also one of the most eminent philosophers. ““La Science moderne et |’Anarchie,”’ by Pierre Kropotkine, comes at a very opportune moment. The chapters which the author devotes to modern warfare, its financial origin and its atrocity are most instructive. A little weekly publication, in the form of a small review, commenced in the month of March, entitled Le Fait de la Semaine. The idea of the founders of this little publication is to take up the chief subject of public interest every week and study it from different aspects. The first number was devoted to the question of the military service of three years, the second number was entitled “Le Renouveau de la Presidence,’’ and the third is on the subject of ‘Les Drogues qui grisent.” The idea is an excellent one, as, thanks to this little weekly messenger, we shall be able to hear more than one side to a question. In the Revue de Paris (Nos. 4 and 5), M. Emile Boutroux has written an excellent article on Henri Poincaré, and in No. 5 there is also an instructive article entitled ‘* La Crise de notre Organisation militaire,”’ by Baiberti. The Revue hebdomadaire continues to publish the excellent series of lectures organised by the Société des Conférences. Among the THE AUTHOR. lectures published in recent numbers are those of Emile Faguet on ‘‘ La Fontaine,” and a series entitled ‘Mes Souvenirs,” by Jean Richepin, Gaston Deschamps, Maurice Donnay and Maurice Sabatier. Pierre de Quirielle also writes, in the same review, an article on Paul Thureau-Dangin, the late Sécretaire perpetuel of the French Academy, whose death is a great loss to the French literary world. The theatres have been more than usually active this year. The number of new plays and the quantity of small theatres must tend to make the task of the dramatic critic for the daily papers no easy one. At the Comédie- Marigny, M. Maurice Donnay’s four-act play ‘‘ Les Kclaireuses,’”’ has been, and still is, a great success. The feminist question is very much discussed in France, and M. Donnay has made it the theme of his play. i At the Thédtre Sarah Bernhardt, Henri Lavedan’s two-act play, ‘‘Servir,” is excellently played by Guitry, M. Capellani and Mme. Gilda Darthy. At the Vaudeville, M. Alfred Capus is having his usual success with his five-act play, ““Héléne Ardouin,’ and at the Bouffes- Parisiens, M. Henry Bernstein, with his new piece, ‘‘ Le Secret.” Atys HAuarp. ‘La Colline inspirée.”” (Emile Paul.) “La Comédie de celui qui épousa une femme muette.” (Calmann-Lévy.) ‘Vers les Humbles.”” (Calmann-Lévy.) “Les Contes de Minnie.” (Plon.) ** Hors du Foyer.’ (Editions du Temps present.) “La Poursuite du Bonheur.’ (Hachette.) “La Famille Impériale & Saint-Cloud et 4 Biarritz.” (Calmann-Lévy.) “ Bismarck et ?Eglise: Le Culturkampf.” (Perrin.) * Au Couchant de la Monarchie.’’ (Calmann-Levy.) **Mirabeau.” (Hachette.) “< Derniéres Pensées.”” (Hachette.) “La Science moderne et l’Anarchie.”’ (Stock.) a THE CANADIAN BOOK MARKET. —+—~>— + — HE article in the January issue of The Author, entitled ‘‘ The Book Market in Canada,” contains some _ interesting generalisations on the conditions existing there, especially those relating to the close proximity of the United States. There is no doubt that the representatives of United States publishers find the Dominion a favourable selling ground and an agreeable addition to their own exten- sive market. So do the representatives of ae) Pet Reet te ES ee arian, Nas Sehr Naga? SGD ) a ‘THE AUTHOR. British publishers, while at the same time the publishing houses of strictly Canadian origin, which are chiefly located in Toronto and Mon- treal, are doing a satisfactory and increasing business. The latter are probably making more extensive sales in Canada to retail book- sellers than either their American or their British rivals. As book-buyers, Canadians are, as a rule, better customers than Americans. An instance corroborating this statement is found in a recent declaration by a publisher’s salesman familiar with both markets. He said that Canadian cities—he instanced Lon- don, Ontario and Vancouver, 3B.C.—were worth for business purposes more than Ameri- can cities of double their population. The Canadians are free book-buyers, and while their purchases in this line run chiefly to fiction, they will compare favourably with the book- buyers of the United States in respect to the more serious departments of literature. The writer of the article referred to sketches very fairly the influence of the United States on Canada in reference to clothes and food. He might also have mentioned boots and shoes, since Canadians are not slow to take advantage of the fact that the Americans are the best makers of footgear in the world. He is also right in saying that a flood of ephemeral American literature is poured into Canada. The magazines of the United States are legion, and there is a great market for them in Canada, not only in the cities, but in all places where men are subduing the earth, either as agricul- turists, miners or prospectors. It may be suggested, however, that the large sale of these publications is rather in spite of their specially American characteristics than be- cause of them. McClure’s Magazine sells in Canada, not because it exploits the Standard Oil or other scandals, not because it deals in a trenchant way with other purely American sub- jects, but because it. prints stirring stories and articles of general interest. In like manner it will be found that the alleged strong influence of the United States will not sell a book in Canada which is, to use a phrase in common use in publishing circles, “too distinctly American.” The sale of a book depends on a complexity of causes, but so far as fiction is concerned, these are its human interest—apart from locality—and the possession of those characteristics which go to make up what is called the “ story element.” “David Harum” was turned down by one Canadian publisher because he thought it was “too American.’ But its subsequent large sale in Canada proved that its humour and its 199 story, though redolent of the United States, were of universal appeal. In like manner the novels of ‘‘ Ralph Connor,’ whatever may be thought of their literary quality, have sold as well in the United States as in Canada, the land of their production, or in England. On the other hand, American topographical and Civil War novels do not have a large sale in Canada, and it is not likely that they ever will. While, therefore, the author of the excellent article on ‘“‘ The Book Market in Canada ”’ is right in most of his conclusions, it may be submitted that he pushes too far the notion that the readers of Canada are controlled by American influences. A very large proportion of the books in the public libraries of Canada are of British origin, and in the reading rooms of those institutions the copies of the English reviews and magazines are always eagerly read. Canada welcomes good literature from every source, but the note of Canadian life is dis- tinctly British. The ideals of Imperial unity have an increasing hold on the people. Those ideals are fostered by Canada’s educational system, by her churches, by the boy scout and cadet movement, and by the provisions of the Canadian Militia Act. They are also stimu- lated by the annual migration of Canadian visitors to England. BernarpD McEvoy. —_____+—>—+___—_ THE AGREEMENT OF MESSRS. JOHN CURWEN & SONS WITH MUSICAL COMPOSERS. —_ ++ — ‘'N the July number of The Author last year an article was published under the heading ‘‘ Composers’ Agreements.” In that article, an agreement issuing from the offices of Messrs. John Curwen & Sons was printed, with the approval of the Committee of Management, and with sundry favourable comments. Since that date, owing to the change in the Law of Copyright, Messrs. Curwen & Sons have issued another agreement, which was brought to the notice of the Com- posers’ Sub-Committee of the Society. The fresh agreement has some important clauses inserted in it, and, owing to the insertion of these clauses, the sub-committee and the Committee of Management find it impossible to approve the agreement in its present form. Members are referred to the agreement as printed in The Author of July, 1912. In the first clause an important alteration has been 200 made. The original agreement was limited to publication in ‘‘ Great Britain and Ireland, its Colonies and Dependencies’; in the new agreement the publishers have added, “ and in foreign countries.” They have also added a clause dealing with performing rights, which runs as follows :— “That in consideration of an undertaking hereby given by the publishers that no charge shall be made for permission for performances of the work, and subject to the clauses hereinafter mentioned, the composer hereby agrees to sell and assign to the publishers the exclusive rights of performance during the whole period of the copy- right of the work.” and a clause dealing with the licence for mechanical reproduction, which runs as follows :— “That in consideration of the payments and subject to the clauses hereinafter mentioned, the composer hereby agrees to sell and assign to the publishers the exclusive licence for the mechanical reproduction of the work.” The Composers’ Sub-Committee wrote to Messrs. Curwen & Sons in the following terms :— “The Composers’ Sub-Committee of this Society con- sidered your letter of the 18th ult. at their meeting on the 8th inst. They regret you do not see your way to accept the suggestion put forward by them. They desire to point out that under the Act of 1911 copyright includes the performing right and the right of mechanical reproduction, and they have always made it a point in these agreements that the composer should not give away either the right of performance or the right of mechanical reproduction, and that no agreement demanding such control as suggested by yourselves on behalf of the publisher could be approved by them as acting for the composer. The sub-committee see no necessity, even granting that the publisher shares in these rights, for the sole control to remain in his hands. In making this statement, the sub-committee do not allow that the publisher has any claim to either of these rights, or to a share of these rights which they do not make any attempt to market. “As your agreement was printed in The Author as receiving the approval of the Composers’ Sub-Committee, I am asked to say that it will be necessary to give in that magazine the same publicity to the view of our sub- committee on the present agreement you have put forward.” In answer to that letter the publishers have replied as follows :— “In reply to your letter of ... we shall have no objection to your printing our agreement in The Author with your comments, provided you make it clear that the agreement is one that is used in cases where it is agreed that no charge is to be made for the performing right, and that the rights of mechanical reproduction are to be shared. Where this is not the case our agreement would not, of course, contain these clauses.” While the meaning of the publishers’ letter is clear, we do not understand the reason of the statement, ‘‘ the agreement is. one that is used in cases where it is agreed that no charge is to be made for the performing right.” If THE AUTHOR. * no charge is to be made, and the composer is willing to endorse this statement—no doubt there are certain forms of music on which it would be very inadvisable for a composer to make any charge for the performing right— there seems to be no reason whatever why, in order to accomplish this, the composer should sell and assign the exclusive right of perform- ance to the publisher. It is just as easy to agree to make no charge on the performing right if that right is still held by the composer, as if it was held by the publisher, with this additional security to the composer that he would still have the control of his own property, and would know how to act in case of any infringements of his right. It cannot be too often repeated that it is most important in the question of performing rights that the com- poser should retain the control and should have the power to act on his own judgment. The latter part of the letter refers to another alteration in the agreement which we have not as yet quoted. Clause 10 runs :— ‘The publishers shall pay the composer, his heirs, executors or assigns the sum of... of all moneys received by them in consideration of permission for the mechanical reproduction of the work, and shall make such payment within one calendar month from the time such moneys are received.” This says that some portion-—not men- tioned—of the mechanical reproduction rights is to be handed over to the publisher. If the composer is unbusinesslike enough to allow the publisher to take a certain portion of the rights of reproduction on mechanical instru- ments (several articles have been written in The Author dealing with this point), there is no reason why these reproduction rights should be transferred to the music publisher. It is just as easy for the composer to retain control of these rights, and allow the publisher to have a certain portion of them, as it is to convey them all to the publisher, who would then have the absolute control. Indeed, it is much more important that the composer should have this control, for it may be that he does not desire his work to be reproduced on. mechanical instruments at all; or it may be that he wants to sell them for a sum of money out and out; or it may be—which is much more probable—that he does not want the publisher to have any share in that pro- perty which does not belong to him. It is on account of these very serious and important alterations that the Committee of Management have been forced to withdraw their approval of the agreement in its modified form. THE AUTHOR. THE COMMON-SENSE OF FREE-LANCING. 1 By an Eprror. (A Repty To “THE Sorrows OF A FREE- Lance” in “ Tae Autuor,”’ Marcu 1). OME time ago I read in one of the morning papers the account of a bank clerk who gave up his situation (he was earning £3 a week, and living at home), and came to London to try free-lance journalism. He began idiotically by taking a room in Holborn at a rental of a sovereign a week, and finished by writing advertisements for whatever stray shillings he could obtain. I have been wondering, since reading the article by ‘A Free-Lance’’ in the March Author, whether the writer of that lugubrious and misleading story is any better equipped in the item of common-sense than the poor clerk. To begin with, the very best way to gain an editor’s attention is to post articles to him; when ‘‘ Free-Lance’”’? mentions the “ fearful postage expense to the author,” he simply shows that he was never intended by nature for any situation save one, where the plums drop straight into his mouth. If he cares to read my personal experience it may be of interest to him. I came from the West country, having for twelve months made a few extra guineas by verse and short story work. On the day of my arrival I took a room within a twopenny "bus ride of the City, at a rent of 10s. per week, including fires— for it was winter. And then I wrote. What hours of effort, of grim despondency, of glorious exhilaration, that little ‘‘ bed-sitter’? knew! And what teas, when the young artist, who lived in the room below, came upstairs to exchange chatter and to tussle with me at chess; what chaff, when a chance friend, a reporter (now a well-known sub-editor) called to tell me of his escapades, and to charm me back to good cheer ‘with his irresistible stories ; what conversations with the kindred spirits who loved Keats, Meredith, Francis Thompson, who held opinions on Shaw, Chesterton, Henry James, and everything under the sun, and ex- pressed them pithily and sometimes profanely ! Soon, pace ‘“‘ A Free Lance,” without once interviewing a single editor, or sending any preliminary letters, and with not one intro- duction, I began to have a fair number of items accepted. The grave and_ benign Spectator honoured me several times by taking an article, and once by commissioning an essay : the Academy, the Outlook, Punch, the World, the Pall Mail and Westminster, opened their 201 f columns tome. Two or three papers wrote asking me tocall. On one occasion the editor of an old-established weekly telegraphed to know if I could let him have a sonnet ona national event by three o’clock the same afternoon. It was in the printers’ hands by the hour mentioned ; but I sincerely trust that never again shall I have to write a sonnet, a really respectable sonnet, against time. For three years this true friend—a dear, courtly old man, who died not long ago—took topical humorous verse from me almost every week, beside very many stories. Then came review- ing, plenty of it, without asking. In journalism, perhaps more than in any other profession, one thing leads to another ; the unfamiliar name, seen with a strong article or story, becomes talked about in the offices. Let a free-lance once give way to depression, and he might as well finish with his work. Let him worry over “ fearful postal expense,’’ and he may resign; one of my articles was refused by nineteen papers and accepted by the twentieth—the Spectator ; of course, it had been retyped several times. This brings me to the purchase of my type- writer, which saved me at once five or six shillings a week—for I never sent a hand- written article out on any consideration ; excepting, naturally, an urgent immediate commissioned one. That machine paid for itself several times over; it “did” a couple of novels without a pennyworth of repairs ; and both the novels were published at the publisher’s expense. Now, by a turn of the wheel, I read other people’s contributions instead of writing my own—though to all editors comes the task of an occasional article or review. And I read these piles of essays and poems, typed or scribbled, all the more sympathetically because I know exactly what some of their writers are going through in the way of hope deferred. Hundreds of them had better be tinkers, tailors, soldiers, sailors—especially the “poets ’?; but everything is read. It has been said a thousand times (yet no free-lance believes it!) that editors are on the look-out for good, original stuff; and it is perfectly true; at the same time, let the free-lance remember that there are a dozen reasons why his article may come back to him. Many papers, for example, have verse enough accepted for ten or twelve weeks ahead, or readable ‘“‘ middles”” have reached a goodly pile; then the editor, however, sympathetic he be, must relentlessly send back everything since his paper is not elastic. 202 The one charmingly sane remark of “A Free Lance’? concerns the interviewing of editors. The visiting contributor is nearly always a bore; sometimes he—or she—is a lunatic, apparently. Only a few weeks ago a lady passed, by guile, into my office, and began unpacking a small portmanteau; its sole contents were poems, neatly confined in scores or dozens, by elastic bands. Another time a soiled gentleman penetrated to the sanctum with a brown paper parcel under his arm that suggested the week’s washing; it also contained innumerable sheets of poetry. According to him it was poetry; according to the critical standard it was not. People who bring articles, generally omit to leave a stamped envelope, and write pathetically a few weeks after, wondering why they have not received a cheque. No editor cares to read a contribution while the writer waits. Person- ally, if an essay seems near the mark, but uncertain, I set it aside and read it again after the lapse of a day or two; I know many editors, and they are all, without exception, conscientious in reading everything that reaches them. With regard to the observations of ‘‘ A Free Lance’ on the difficulty of obtaining pay- ment, and the period that may elapse before publication, does he expect his editors to enquire solicitously when he would like his contribution to appear? They have some- thing better to do. Certain papers are risky ; they are well known, and contributions are in any case sent ‘“‘at owner’s risk.” With the good papers publication is a sufficient guarantee of payment. Let ‘“‘ A Free Lance ” amend his ways, and his sorrows, dear man, will dwindle to vanishing-point. +> —_____ BRITISH COPYRIGHT IN CANADA. —_—+—> + — [Reprinted from the “* Musical Times” by kind permission of the Editor. | AN INJUNCTION GRANTED TO RESTRAIN THE ImporTATION INTO CANADA OF BRITISH CopyricnHt Music REPRINTED IN THE UNITED STATES. A judgment of far-reaching consequences was delivered on February 14 ult. by the Honour- able Mr. Justice Middleton in the High Court Division of the Supreme Court of Ontario. The plaintiff was Mr. Oliver Hawkes, of the well-known London firm of Hawkes & Son, and the defendants were a prominent Toronto firm of music dealers and publishers. The THE AUTHOR. complaint was that the defendants had in- fringed the plaintiff's copyright by importing into Canada an American reprint of one of the plaintiff's publications, which—although it enjoyed no copyright in the United States of America—was nevertheless protected in Canada by virtue of the provisions of the British Copyright Acts. Under the British Copyright Law everything that is copyright in Great Britain is ipso facto copyright in Canada. It was therefore origin- ally unlawful for anyone to import into Canada a foreign reprint of a work first published in Great Britain. But by a British Act passed in the year 1847, the British Colonies were enabled to import such foreign reprints on condition that they passed a local law designed, to compensate the British proprietor of the copyright. Canada in 1850 duly passed such a law, fixing the duty to be levied on the imported copies at 124 per cent. ad valorem for the benefit of the British owner, and by Orders in Council of December 12, 1847, and of July 7, 1868, the clauses in the British Acts against importation of foreign reprints were suspended as regards Canada. In consequence of a clause in the British North America Act (1867), which conferred upon Canada the right to legislate in Canada on the subject of copyright, serious disputes arose between the Mother Country and the Colony as to the nature and extent of that right. The Canadian Government maintained that Canada was entitled to legislate for its own territory, even to the exclusion of the British Copyright Acts. Consequently Canada, having in 1875 passed a local Act which conferred Canadian copyright only on condition that the work was printed and published in Canada, claimed that unless British works were so printed and published, they lost all their rights in Canada, and that foreign reprints might be imported from the United States without restriction. The British contention had always been that the British North America Act had only enabled Canada to legislate for the copyright of works of Canadian origin, and that Canadian copyright legislation could have no effect on any British work first published outside Canada. The point was finally settled against Canada in the Canadian case of Smiles v. Belford. More recently another attempt was made to get round the decision in Smiles v. Belford. There is a provision in the British Customs. Consolidation Act of 1876 that the importa- tion of foreign reprints into British Colonies: can only be restrained when the Colonial THER AUTHOR. 9 (Customs have been duly notified that a copy- of right, in any given case, exists. There is, 4 however, an exception in the Act which renders such notification unnecessary in cases where a » Colony has made entire provision for the : management and regulation of its own Customs. i In the important case of Adam & Charles } Black v. The Imperial Book Company it was , decided that Canada had made such a pro- 211 vision, and that consequently importations of rch British copyright works from the United -~* States into Canada could be restrained without “any previous notification to the Canadian a) Customs that a copyright existed. Eventually + im 1894, Canada passed a Customs Act under ‘+ which she formally declined to collect the ef 123 per cent. duty, which in 1850 she had FAs aindertaken to collect for the benefit of the sce British owner, but which in fact she had never ») troubled to collect. The question then became a simple one. 4° The British owner was no longer fettered by ied the British Act of 1847 and the Orders in ‘oD Council thereunder; for Canada had repu- => diated her obligation to collect the duty. ‘ ‘And the case of Adam & Charles Black v. The eet L Imperial Book Company had decided that ©: importation of reprints of British copyrights . could be restrained without any notice to the s) Canadian Customs. The field was therefore j thrown open for a test action such as that of if ‘Hawkes v. Whaley, Royce & Company. In sald that case the contention of the British copy- ») right holder has been completely vindicated, and the decision is of such importance to all it who are interested in the protection of British » copyright property, that we print the Order of /) ithe Court in full, with the object of giving it ‘48 additional publicity. In THE SUPREME CouRT OF ONTARIO. Hicu Court Division. Tur HoNouURABLE Friday, the Four- “Mr. JusticE MIDDLETON teenth day of February, 1913. “BETWEEN : Oliver Hawkes, Plaintiff. and Whaley, Royce & Company, Limited, Defendants. Upon motion made unto this Court this day ‘by counsel for the plaintiff in the presence of counsel for the defendants, and upon hearing read the Writ of Summons herein and the ‘notice of motion served, and the affidavit of ‘Frederick Harris filed in support of the motion, and the affidavit of Eri Whaley in answer, and vupon hearing what was alleged and counsel 208 f for both parties consenting that this motion be turned into a motion for judgment and that judgment be entered as_ hereinafter provided, 1. Tus Court poTH ORDER AND ADJUDGE that the defendants, their officers, servants and agents, be and they are hereby perpetually restrained until after the expiry of the plain- tiff’s copyright in and for the British Do- minions now existing in the musical book or publication known as ‘Otto Langley’s Tutor for the Violin,’ from printing or causing to be printed, or importing for sale or selling, publishing or exposing for sale or hire or causing to be sold, published or exposed for sale or hire, or from having in their possession for sale or hire without the consent of the plaintiff any copy or copies of reprints of the plaintiff's said publication published by one Carl Fischer of the City of New York in infringement of the plaintiff's said copyright, under the title of ‘Otto Langley’s New and Revised Edition of Celebrated Tutor to Violin,’ or any other reprints or copies of plaintiff's said copyright. 2, ANpD TuIS COURT DOTH FURTHER ORDER AND ApJuDGE that the defendants do pay to the plaintiff his costs of this action, including costs of this motion, forthwith after taxation thereof. Judgment signed this 14th day of February, 1913. ——___—_—>—e_<_ MAGAZINE CONTENTS. eg British REVIEW. Munchausen: The German Comic Giant. George. The Poetry of Alice Meynell. By Albert A. Cock. ENGLISH. Poem: Aphrodite at Leatherhead. By John Helston, Synge. By Lady Gregory. The Brain Thief. By Haldane McFall. The Commercial Side of Music. By G. Herbert Thring. Ragtime: The New Tarantism. By Francis Toye. NATIONAL, The Post Impressionist. By W. L. SCALE FOR ADVERTISEMENTS. ema [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.] Frout Page £4 0 0 Other Pages a ee 0. Half of a Page ... a hes tee ive as es vee ke a8 Quarter of a Page ies ese ver ie ca in ac 0 15-6 Highth of a Page is soi re sie 0°70 Single Column Advertisements 6 0 Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for Twelve Insertions. All letters respecting Advertisements should be addressed to J. F. BeLMont & Co., 29, Paternoster Square, London, E.c. per inch 0 204 HOW TO USE THE SOCIETY. — 1 —<—4$-—— 1, VERY member has a right toask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 8. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7, Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. a Se coh SaeeeeEemmneee! WARNINGS TO THE PRODUCERS OF BOOKS. <1 ERE are a few standing rules to be observed in an agreement, There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be THE AUTHOR. . doctor ! obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: C1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for ‘office expenses,”’ unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— : (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. ——_——__+———__- —_____—_ WARNINGS TO DRAMATIC AUTHORS. —+— + EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— : (a.) Sale outright of the performing right. This is unsatisfactory, An author who enters inte such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, THE AUTHOR. (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding seale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (‘.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (3.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10, An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. 2 gg REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —— $< CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. 205 DRAMATIC AUTHORS AND~ AGENTS. —_+-—~<9—+ 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 elaim 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 T. assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ——————— STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe, The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble. —_—___+——+-—____— THE READING BRANCH. a gc EMBERS will greatly assist the Society in this, \ branch of its work by informing young writers of its existence. Their MSS, can be read and, treated as a composition is treated by a coach, The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works, The Readers are writers of competence and experience. The fee is one guinea, i REMITTANCES. So 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. 206 COLLECTION BUREAU. —t+~< + HE Society undertakes to collect accounts and moneys j due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. CHANGE OF ADDRESS. ere From March 1, the Society’s Offices will be at No. 1, Central Buildings, Tothill Street, ‘Westminster, S.W. GENERAL NOTES, Tue AUSTRALIAN CopyricHT Act. WE have to thank the Colonial Office for its courtesy in supplying the Society with a copy of the Australian Copyright Act. We endea- voured to obtain it in other directions, but this is the first copy that has come to hand. We have pleasure in laying it before members in the form of a supplement. The careful perusal of the Act will show that on the whole it is satisfactory. The schedule referred to has been omitted, as the British Copyright Act was printed as a supplement to the July number (1912) of The Author. The Clauses referring to summary proceedings need the careful attention of all members of the Society. It will be seen on comparison with the Clauses in the English Act that they give a much wider protection. This is satisfactory, for the Clauses referring to summary pro- THE AUTHOR. ceedings in the British Act were ruthlessly, and in many cases quite unwarrantably, cut down, leaving a very poor chance of recovery for infringement ; but members must also note that these Clauses in the Australian Act cannot be enforced unless the literary work or dramatic piece has been duly registered in Australia. This has its disadvantages, but also its advantages. Its disadvantages arise owing to the trouble necessary to carry through the registration, though the matter is not very complicated. Its advantages are that such registration affords prima facie evidence in the Australian Courts that the author is the owner of the copyright, and it will not, therefore, be necessary for him to prove his title in the Australian Courts. It might be a matter of considerable difficulty to prove a titleif it was necessary, as it is necessary when summary proceedings are taken, to carry the matter through rapidly. Tue AMERICAN PRINTING TRADE. From the March number of Chicago Dial, we quote a very interesting passage referring to the increase of papers in the United States and Canada. We wonder how these statistics compare with the statistics in Great Britain. It seems extraordinary that in a great in- dustrial nation like the United States the printing and publishing industry is exceeded in number of employees and value of product by only four other industries. “The growth of the periodical press seems to keep pace with the growth of the world’s population. In the United States and Canada, for example, there was in 1912 a birth- rate of newspapers and periodicals amounting to more than five each week day ; that is, 1686 new publications started into being. But the death-rate was so nearly equal to the birth-rate that the net increase for the year was only thirty-six, about equally divided between this country and our northern neighbour, and chiefly confined to the field of daily journalism. So largely are we Americans a nation of readers that the printing and publishing industry is exceeded, in number of employees and value of product, by only four other industries—or so the statisticians assure us. In the last ten years the value of the annual output of printed matter in America has increased by more than eighty-six per cent. Nearly every trade and industry has its one or more periodicals, and the whole mass of periodical publications is divided into 208 classes, with the weekly issues of all sorts in a large majority. A study of the ‘American Newspaper Annual and Directory’ impresses one with the magnitude of the industry that supplies to thousands of energetic Americans practically all the reading matter they ever avail themselves of.” ———— THE AUTHOR. UNITED STATES NOTES. —— T the joint session last December of the American Academy of Arts and Letters and the National Institute of Arts and Letters (the body from which the Academi- cians are chosen) the president, Dr. Henry Van Dyke, deprecated the idea that the company present was one of “ self-appointed inheritors of mortal celebrity ’”’—all members of either society being chosen by the votes of their competitors and rivals. It was natural and proper that such a disclaimer should be made in an assembly of this kind, for no one knows better than literary men how divergent are the judgments of the day and of posterity respectively upon books and their writers. How many of to-day’s geniuses—or, to put the matter on a lower plane, to-day’s best-sellers— will be found hereafter in the list of the real, not the academic, immortals ? Only a publisher or a second-rate critic can, with any appearance of confidence, hail a work as “‘ the greatest novel ” (or whatever it may be) since this or that masterpiece, as “a book that is destined to live,” and so on. Perhaps posterity will preserve some of those volumes to which allusion has now to be made, but here it only falls to my lot to record their names and their authors. Fiction, as usual, comprises by far the largest section. Two dead writers are repre- sented in David Graham Phillips’s ‘‘ George Helm” and Myrtle Read’s ‘“‘The White Shield ’—the latter a collection of short tales. Robert W. Chambers has two works to his name, “‘ Blue Bird Weather” and “ The Gay Rebellion,” a skit on the suffragettes. L. J. Vance’s new book is “‘ The Day of Days” ; Booth Tarkington’s, “The Flirt” ; Edith Wharton’s, “The Reef’; Charles Egbert Craddock’s, ‘* The Ordeal”’; Margaret Deland’s, “The Voice’; Payne Erskine’s, “ Joyful Heatherby’”’?; Gouverneur Morris’s, ‘‘ The Penalty’’; Randall Parrish’s, ‘‘ Gordon Craig, Soldier of Fortune.” Hallie Erminie Rives had brought out ‘“‘ The Valiants of Virginia,” Ridgwell Cullum ‘‘ The Night Riders,” Mary Thompson Daviess ‘‘ Andrew the Glad,” H. S. Harrison (author of Queed) ‘“ V. V.’s Eyes,” John Fox, jun., ‘‘ The Heart of the Hills,’ Montagu Glass ‘‘ Elkan Lubliner, American,” and Will Irwin ‘‘ Where the Heart is. With ‘“‘ The Lady and Sada San,” Frances Little jumped into the envied list of best sellers before the end of 1912, though too late 207 to be mentioned in the last issue of these Notes. Theodore Dreiser’s “*The Financier” and H. L. Wilson’s ‘“ Bunker Bean,” are two novels, very different in kind, that have attracted a lot of attention. Nor must notice. be omitted of the following :—‘** Paul Rundel,”’ by W.N. Harben, ‘‘ A Jewel of the Seas,” by Jessie Kaufman, ‘‘ The Olympian,” by James. Oppenheim, “ The Harbor of Love,” by R. H. Barbour, *“* A Living Legacy,.”” by Ruth Under- wood, ‘** Concerning Sally,”’ by W. J. Hopkins, “Madison Hood,” by Hamilton Drane, ‘*‘ Which One?” by R. A. Bennet, “The Locusts’ Years,” by Mary H. Fee, “ Jack Lorimer, Freshman,” by W. L. Sawyer, ‘‘ Miss Jimmy,” by Laura Richards, “Sally Castleton, Southerner,” by Crittenden Mariott, ‘‘ The Shadow,” by A. Stringer, and ‘‘ Everbreeze,”’ by Mrs. S. P. McLean. “The Lost Million ” is a sensational tale by Winthrop Alder—which is stated to be the pseudonym of a well-known author. Two collections of short stories are J. R. Scott’s ‘‘ The First Hurdle and Others,” and Mrs. L. B. Van Slyke’s ‘“ Eve’s Other Children.’ Lastly, if it is to be classed under Fiction, George Ade’s latest is “‘ Knocking the Neighbours.” As this goes to the printers I have time to include in my list three more novels, published early in March :—‘ Pollyanna,” by Eleanor H. Porter; ‘‘ The Case of Jennie Brice,” by Mary Roberts Rinehart ; and ‘‘ The Poisoned Pen,” by Arthur B. Reeve. In comparison with the swarm of novels, the list of biographical works is very small, even. if it be made to cover personal reminiscences. John Van de Zee Sears has published ‘‘ My Friends at Brook Farm.” J. K. Hosmer’s “The Last Leaf,” and Hubert Howe Bancroft’s ‘“‘ Retrospection ” are both the results of the life-long observation of two old and respected Americans. The title of George Iles’s ‘‘ Leading American Inventors ”’ sufficiently explains the book. Of the ‘“ Writings of John Quincy Adams,” edited by W. C. Ford, the first volume has just appeared. In “Lincoln’s Own Stories”? Anthony Goss illustrates Abraham Lincoln’s life by means of authentic stories told by and of him. Under History we find ‘The History of Plymouth Plantations, 1620—1647,” by Governor William Bradford ; ‘‘ The Sunset of the Confederacy,” by Morris Scaff; ‘* The Elmira Prison Camp,” by C. W. Holmes ; and “The Unseen Empire,” by Dr. D. S. Jordan, who characterises his work in his sub-title as “a study of the plight of nations that do not pay their debts.” 208 Description and Travel have a longer list, among which may be noted the following : “The Beginnings of San Francisco,” by Z. S. Eldridge, and ‘‘ San Francisco as it was, as it is, and how to see it,” by Helen Purdy ; “The Colonial Homes of Philadelphia and its Neighbourhood,” by H. D. Eberlein and H. M. Lippincott ; “* Boston, New and Old,” by T. R. Sullivan; ‘‘ Panama,” by C. W. Burris, and “Panama Canal: What it is, What it Means,” by John Barrett; ‘“* The Awakening of the Desert,” by J. C. Birge ;_ and “Seeing Europe on Sixty Dollars,” by W. F. Fauley. ‘‘ Old Chinatown ”’ is a collection of ninety-two pictures by Arnold Genthe, with an accompanying letterpress by Will Irwin. In ‘“‘ Myths of the Modoes,” Jeremiah Curtin deals with an Indian tribe in California and Oregon. The former state is treated more generally in the late Bradford Torrey’s “Field Days in California.” ‘A Mexican Journey,” by E. H. Blichfeldt, is decidedly topical just now. Of books on social subjects first place may be given to President Woodrow Wilson’s “ The New Freedom.” Bishop C. B. Brewster writes of “ The Kingdom of God in American Life.” In “ The End of Strife : Nature’s Laws applied to Incomes,” J. W. Batdorf proposes a federal income tax to meet the problem of the con- comitant rise of prices and decrease of income. “‘ Industrial Combinations and Trusts” is by Dr. W. S. Stevens, of Columbia University. ‘‘The Temper of the American People” is the title of a work by G. T. Smart; and in “« American Social and Religious Conditions ” the Rev. Charles Stelzle attacks a similar subject. ‘* Americans and Others ” (Agnes Repplier) and “‘The American Mind” (Bliss Perry) resemble the last two books in their titles, but are cast in the form of Essays. Under this head may be placed John Burroughs’s “ Time and Change”; Irving Babbitt’s “ Masters of Modern French Criticism’’; Brander Matthews’s ‘‘ Gateways to Literature’’; and Mrs. L. C. Pickett’s ‘* Literary Hearth-Stones of Dixie,’ though this is semi-biographical. Two learned works are “ Tiglath Pileser III.,” by Professor A. S. Anspacher (Columbia University), and ‘‘ The Inner Life and the Tao-Teh-King,’ by C. H. A. Bjerregoard, Librarian of the New York Public Library. Learned in a different way from either of these is ‘‘The Birds of Eastern North America,” by C. A. Reed, with illustrations in colour of every bird common to the United States and Canada. THE AUTHOR. There are always some new books by women on the feminist movement in every season’s list in the States nowadays. Two may be singled out here among recent publications, “* Why Women are So,”’ by Mrs. M. E. Coolidge, and ‘‘ The Business of being a Woman,” by Ida M. Tarbell. A male writer who handles the subject is Professor E. T. Devine, occupant of the chair of social economy at Columbia University. ‘‘ The Family and Social Work ” is the style of his volume. At the above-mentioned joint session of the Academy and Institute of Arts and Letters, Dr. Van Dyke lamented the literary and artistic losses of the past year, including numerous members of the two societies. Death continues to make inroads upon the ranks of American writers. Too late to include in the obituary section of these notes last January were the losses of Whitelaw Reid (of whom it is superfluous for me to say anything now); of Will Carleton, the poet, who had attained to the age of sixty-seven years when he succumbed to illness last December ; and of Mrs. Laura Case Collins, who was eighty-six and had become but a name to modern readers. Right at the end of the year died General Theophilus Francis Roden- bough, who wrote a number of books and edited an American military journal. In January Mrs. Julia Ripley Dorr, a poetess and a friend of Emerson, Longfellow, Holmes and Lowell, died at the age of eighty-eight. The February obituary includes Anne Warner French, in England, on the 1st of the month ; Mrs. Irene Benson, a writer of juvenile books, on the 6th; Charles Major, author of ** When Knighthood was in Flower,” on the 18th; Cincinnatus Heine (‘“‘ Joaquin ’’) Miller, univer- sally known as the ‘“ Poet of the Sierras,”” on the 17th; and about the same time William de Lancey Ellwanger, another poet. It is a curious fact with regard to many of those whose decease is recorded here that they lived so long. Two octogenarians have been mentioned, and Joaquin Miller was seventy- one. In comparison Major and Ellwanger were young at fifty-six and fifty-seven. Pirie WALSH. $< ——__ THE AGENT LITERARY AND DRAMATIC. —— + 5 ua literary agent must enjoy towards the author a position of great confi- dence and great responsibility. He is responsible not merely for protecting the THE AUTHOR. author adequately from the publisher, the editor or the manager, should such protection be necessary, but he has also to see that in all his own dealings the author is kept fully informed ; it is necessary that the position of great confidence is not betrayed—it is not merely a negative honesty, but a positive virtue that is looked for. The value of the agent is much discussed, but in many cases his services are useful, and in some quite valuable; but from information received by the Society of Authors it would seem that he should be sometimes protected against himself. First he should, before commencing to work for an author, make a fair and reasonable agreement. The question immediately arises, ‘What is a fair and reasonable agreement ? ” If a solicitor is employed to draft a contract, he is paid a fixed fee for the work done. Ifa land-agent or house-agent is employed to let a property, he also is paid a fixed percentage on the first year’s rent obtained for his client. To a certain extent the literary agent combines the two positions, that of the man who finds a market, and that of the man who draws up the contract. If he is a good literary agent, he ought to have the necessary knowledge to a greater extent than the ordinary solicitor. The legal principles are not so much in question as the practical details. The literary agent, however, does not claim a fixed fee, and he does not claim a commission over a fixed term of years. In marketing and drafting a licence for the publication of 4 work, or for the production of a drama, he claims a percentage on the returns, during the legal term of copyright, that is the life of the author and for fifty years afterwards. The | question naturally arises, “ Is this a fair and reasonable contract?” It may be in some cases, in others it is distinctly unreasonable. The Dramatic Sub-Committee of the Society of Authors and a specially selected Sub-Com- mittee each drafted a contract with agents. The first was a contract for the placing of a drama, and the second a contract for the placing of a book. Both of these sub- committees came to the conclusion that a fixed percentage, until the amount reached a settled sum, was the only fair and reasonable agreement with the literary agent for the double work of finding a market and drawing up a contract. The members of the Society are strongly advised to keep this opinion before them. The question is one of great importance, because in some cases an author, ignorant of 209 literary agents’ fees and methods, is advised to go to an agent and is disappointed when he finds that, contrary to the usual arrangement in other businesses, he would have, most probably, to pay the agent 10% during the whole term of copyright, in the absence of a special agree- ment. It is, therefore, clearly a matter of no little moment that the agent should make a fair and reasonable agreement before he begins negotiations, and should place the whole facts of the position candidly before the author. If he does this and a contract is signed, there can be no dispute subsequently. If the author finds the agent is thoroughly trustworthy, he no doubt will allow him, when the total fee decided upon has been collected, to continue to collect the royalties, subject to a reasonable and reduced percentage. The sub-committees referred to considered that 5° was reasonable for the mere collection of monies and checking of accounts. Of course, where a work is sold for a sum down—for instance, the first serial use or the magazine rights in stories, or the licence to produce a play for a year—then the agent would naturally be paid a commission at a fixed rate for the one transaction, as would a house-agent or lawyer for letting a property or settling a contract. The preliminaries then, having been fixed, the agent proceeds to market the work, and from the moment the agreement is signed, the position of the closest confidence ought to exist between the agent and the author. As soon as an offer is made, and, subject to the willingness of the author or the dramatist to accept the financial side, the agent, acting in his capacity of expert adviser—in which sometimes he is by no means an expert—drafts a contract for the signature of the author. If he is a satisfactory agent, he will explain at every turn in the negotiations the disadvantages that may acrue to the author if he accepts some of the terms put forward by the publisher, or if he fails to insist upon some of the terms suggested for his own protection. In many cases the agent is quite clear on these points, and the author goes away with a full knowledge of what he may get and of what he must part with. In some cases that have come to the ken of the Society of Authors, the agent has advised the author to give away rights—thus weakening the contract—not necessarily with a view to the author’s benefit, but because the agent desires, in the rush of business, to get rid of one transaction in order to make way for others that are waiting. In so advising, the agent does not merely damage the individual author, but the whole profession of authorship. 210 He allows abuses to pass into currency until they can almost be defended as trade customs. This point might be dealt with much more fully, but I do not propose to enter into greater detail in the present article. There are many difficult positions in the present marketing of books, dramas, and all sorts of literary produc- tion, which have apparently been brought about by the agent’s neglect of the importance of standing firm on behalf of authors and dramatists. Having made all the points in the publisher’s agreement quite clear to the author (or not, as the case may be, and usually is), the agent then proceeds to insert a clause in the agree- ment, two examples of which are printed herewith :— (1) That the author hereby authorises and empowers his agent to collect and receive all sums of money payable to the author under the terms of this agreement, and declares that the agent’s receipt shall be a good and valid dis- charge to the publishers. The author hereby also authorises and empowers the publishers to treat with the agent on his behalf and in all matters concerning this agreement in any way whatsoever. Or (2) All sums due under this agreement shall be paid to the author’s representatives, whose receipt alone shall be a full and sufficient discharge of the obligation, and the said representatives are hereby authorised by the author to conduct all negotiations with the publishers in respect of the said work. From all the evidence that it has been possible to collect in the office of the Society it does not appear that the agent ever explains to the author the difficulties and dangers which may result when this clause in either form is inserted. That is to say, that on the first point, where the agent’s action touches his own position as confidential adviser, he very generally allows the author blindfold to sign an agreement with a clause inserted that may work mischief for his client. Attention has already been drawn to the difficulties that arise owing to the agent allowing the author to give way to certain of the publisher’s demands, but these can hardly be classed in the same list as the neglect to inform the author of the dangers of the clause referred to. If an author suffers, by the operation of this clause, he is the victim of what I consider to be indistinguish- able from a breach of trust. The first serious fault of which the author should be made aware, is that this clause is technically called “‘an authority coupled with an interest to a third party,” and is irrevocable as between the two parties who sign the agreement. No doubt the agent desires to protect his own interests. He is right to do so, but he must protect them in some other way—in any case THE AUTHOR. he must not abuse his confidential position. It is very easy, should the author desire the agent to collect his monies, to give the agent a separate and formal authority which could be handed to the publisher, and which could be cancelled at any time the author might desire; but even then, it is doubtful if the authority the author should give should be as wide as the irrevocable authority given in the clauses quoted. In clause 1 -and in clause 2 the agent’s receipt shall be a valid discharge to the publishers. In clause 2, indeed, the agent’s receipt “‘ alone’ shall be a valid discharge. Now a further legal point arises. A Court will not allow a statement of accounts to be re-opened when the accounts have once been closed by a formal receipt being given for the money paid, unless it can be shown at a subsequent date that the accounts are not being paid in accordance with the contract, and that there are clearly mistakes in them. If the agent carefully checked the accounts to see they were rendered in accordance with the terms of the agreement, and were correct as compared with the accounts that had already been rendered, even then the power of giving a valid receipt might put great temptation in his way; but on many occasions, from the study of publishers’ accounts that have passed through agents’ hands, it is quite clear that the agents have received accounts and cheques, have forwarded the receipt, and without going into the details have passed them on to the author unchecked. This brings about a very serious position for the author, and there is nothing in_ the clause to make the agent liable for such omission. He does not undertake to check the accounts, although he is permitted to give the valid receipt. These powers, then, in the agent’s hands, might make it difficult for the author to move actively and success- fully in the matter. Another point arises when the author empowers the publishers to negotiate with the agent on his behalf ‘‘in all matters con- cerning his agreement,’ and, as the first clause adds, ‘‘in any way whatsoever.” The author, then, has first irrevocably, during the continuance of the agreement, appointed the agent to collect his monies; . secondly, he has irrevocably appointed him to give a valid receipt; and, thirdly, he has irrevocably appointed him to deal with the publishers in all questions concerning the agreement. If the agent got into any financial difficulties (agents have been known to pass_ through financial crises) the publisher would still be THE AUTHOR. OUR DILATORY METHODS. bound to hand over the author’s money to the agent, and it is possible that when the final crash of bankruptcy came, the agent might have collected considerable sums on behalf of his authors, and the authors would only be entitled to a dividend as creditors in the bankruptcy. If, however, the author gives authority to the agent to collect his monies, that is revocable, a power to give a valid receipt that is revocable, and a power to deal with the publishers concerning the agreement that is revocable, then, if he sees that it is probable that his agentis in difficulties, he can revoke the authority, collect his own royalties, and pay to the agent in due course the commission due to him for placing the book or the drama with which the agreement is concerned; he can give his own valid receipt to the publishers ; and, finally, in any case where a dispute arises under the agree- ment and he prefers to conduct it himself, he can do so, and could most probably settle the matter in a more satisfactory way than the agent, or failing settlement could, if necessary, employ a lawyer to settle on his behalf. There are two points, then, to which attention should be specially drawn, first, the amount of remuneration an agent is receiving for the work he does, and, secondly, the limited power alone which should be entrusted to the agent for carrying out the work which he is able to undertake. It must be repeated that as the position between the agent and author is one of a specially confidential nature, it is all the more incumbent upon the agent to keep that position undefiled! He should explain all the difficulties of the publisher’s agreement, and while advising the author, he must let him settle for himself what he will give up, what he will reserve, and what risks he will take. He should explain the difficulties and dangers inherent in the clauses quoted, and allow the author to act, after appreciating them. For the same reason that the author employs an agent to negotiate his business and market his works, he would most probably desire the agent to collect the monies and to discuss all the difficulties that arise; but in no circumstances should the authority be irrevocable and unlimited, and it is certain that these vast discretions would never be given to agents if the authors understood rightly the various positions which might arise under their agreements. ‘These positions it is the agent’s positive duty to explain to his principal, clearly, correctly and frankly. G. H. T. 211 OME years ago an American organisation in London wrote, asking me to call. I called. At once I was shown in. A great literary work in many volumes was to be produced. Would I like to take part in its production ? I replied “‘ Yes.” Then would I quote my terms ? I suggested that the director I was address- ing should quote a price. He did so. I refused it and quoted as much again. He offered me half as much again as the additional sum I had named, and I closed with the offer. ““ When could I start work ? ” was his next question. I suggested the following Monday. “ Could I start to-morrow ? ”’ I said, ‘‘ Yes—to-morrow.”’ “Then why not start right now ?” he said. “There is a table there that you can use. I will tell you what to do.” Within ten minutes of the time I had entered the room I was engaged and actually at work. Forty other men were engaged in the same way. Sixty shorthand-typists were engaged inside an hour. Recently an English firm wrote tome. They made a tentative proposal. They didn’t want—this was clear—to “ give themselves away.” Would I be prepared to assist in the production of a literary work .. . supposing that my qualifications . . . supposing they could see their way . . . supposing my terms : Would I “ write in’? and say what I thought about it ? I “ wrote in.” Three days passed. Then came a printed form acknowledging my letter. I waited. I waited a week. Then I ‘‘ wrote in ”’ again. Two days passed. Then a typed letter— “My communication was under consideration . . . I should hear in due course.” A fortnight passed. Thinking the “ due course”? must have elapsed, I “wrote in” again. Two days passed. Then a letter: ‘My communication would be brought up at the General Mecting on the following Thursday.” Four days passed. Then a letter—* Would T call at three on Tuesday ? ” 212 I called at three on Tuesday. Mr. was extremely busy. Would I send in my card ? And what was the nature of my business ? Half-an-hour’s wait. Ushered into the presence of the Grand Llama. The Grand Llama most solemn. “ My proposal had been placed before his Board. The Board were favourably disposed, but . . they could not decide at once . . . there were points to be considered . . . my terms seemed rather high... they must take inquiries as to qualifications... had I ‘eredentials’’ I could show . . . what would be my very lowest terms... had I ever done work of this kind before... .?” I named my bedrock terms. The Grand Llama raised his eyebrows. ‘He really didn’t know... he didn’t think . . . con- sidering the enormous expenses the Company would be put to in the mechanical production of so vast a work... it was, of course, extremely speculative . There would be a Board Meeting in a fortnight’s time. He would try then to let me know : . .” Sixteen days passed. Then a letter—‘‘ The Board favourably disposed. Would I call at three on Friday ? ” I rang up. ‘“* The Grand Llama too busy to answer the telephone. What did I want to say to him ? Could the clerk give him a message? No? Then would I please ‘ write in’ making an appointment ? ”’ Appointment made—and kept. Fifteen minutes’ wait. The Grand Llama quite cordial. ‘* Yes, they would want me to do this work. A letter of confirmation would be sent in due course.” Three days. Letter of confirmation re- ceived. “ Would I start work on the following Monday ? ” Total period of delay—two months and two days. And this is not fiction. It is truth. Basiu Tozer. oie ea a ee BRITISH WRITERS AND JOURNALISTS IN PORTUGAL. + By James Baker, F.R.G.S. OR some years past a wish had been expressed by members of the Sociedade _._ Propaganda de Portugal that the British International Association of Journalists THE AUTHOR. should pay a visit to the little country on the Western Ocean, but political events had delayed matters. This year, however, a cordial invitation was accepted by the Presi- dent of the Journalists’ Association, Sir James Yoxall, M.P., and in February a score of men and women journalists sailed by the R.M.S. Hilary of the Booth Line for Oporto. Mr. J. R. Fisher, of the Belfast Northern Whig, was elected chairman of the expedi- tion, as the President was prevented from travelling by Parliamentary pressure. Before reaching Portugal the party received a hearty greeting at Vigo from the representatives of the old friends of Galicia, Senors Oya and Barreras. At Oporto we saw at once an example of the warmth and cordiality of the reception that all Portugal was to give to us. A crowded programme had been prepared by the Sociedade de Propaganda, and Senors Wissmann and Roldan, the chief organisers, both of whom spoke excellent English, with Senor Vasconceles, accompanied us through- out the tour. This programme was added to by every town in their anxiety to give us a hearty welcome. The party included many specialists; and arrangements were made that they should have opportunities for seeing those matters of special interest such as schools, hospitals, prisons, factories with special machinery, and historical and archeological subjects. At Oporto the representatives of the town and of the port of Leixdes, with the chief of the Press, Senor Bernardo Lucas, met us; and a journey by special electric cars was made to the Exchange, where the Maire of Oporto gave us welcome. The birthhouse of Henry the Navigator and his statute told us of Portugal’s early maritime adventures; and a visit to the atelier and artistic home of Senor Antonio Teixeira Lopes, the great sculptor, gave us a delightful introduction to the modern art of Portugal. By kindly forethought, Senor Benoliel, a most expert photographer, was attached to our expedition; with orders to take pictures of any special scene or object for which our members wished. Senor Almeida, M.V.O., who for four years had been second secretary of the Portuguese Legation in London, gave us also great assistance. A reception in the Moorish Salon of the Town Hall brought the day in Oporto to a close. At 6 a.m. on the following morning we were astir for the journey to Braga and Bom Jesus. The architectural glories of these spots are THE AUTHOR. world famous, but added to these we had the walks through the groves: bright with the blooms of camelias, and of the varied mimosa trees. Then we clambered up to Mount Sameiro for the view over a gigantic “ Dart- moor,” then on to the village of Briteiros to visit the Gallo-Celtic ruins of Citania—a vast prehistoric settlement on a high mountain ; with huts and houses and towers and graves and roads. After leaving Citania we journeyed on to Coimbra, where excited crowds received us. The students in long cloaks in true .student turbulency followed us up to the University ; there we had the help and guidance of Dr. Simoes de Castro, the veteran historian. The sequestered retreat of the Quinta das Lacrimas was visited, and the old and new cathedrals. Late at night, in motor cars, we ascended through the silent cedar forest of Bussaco, and by the light of the full moon arrived at the fairy-like Moorish Palace hotel, being greeted by showers of camelias and other flowers. None of the party will ever forget the glorious day spent at Bussaco, in the wild forests, and by the quaint little shrines beneath the cedars, towering to a 100 feet, the glorious views, and the climb up to the grim ridge where Wellington gave the first fieree check to Napoleon’s victorious army. The curious church and cloisters are all that is left of the monastery, and near by is the olive tree, whereto, tradition says, Wellington tied up his charger. But we had to quit this sylvan retreat for an arduous day’s motoring to Batalha, whose cathedral stands out as an _ architectural wonder, with its lofty nave and delicate light pillars. Then from Batalha_ through Leiria, with its finely situated castle, on to Thomar; all this day, Dr. Vierra Guimaraes, who is steeped in the lore of the district, gave us the advantage of his presence and _ his learning. The reception at Thomar was over- whelming. Cavalry escort, many bands, enormous crowds, rockets and showers of flowers; and in the great church of the Knights of Christ, famous for its wonderful “Sea”? window, the school children sang ** God save the King.” After a most interest- ing dinner, we motored to the railway, and at 10 p.m. travelled to Lisbon, arriving at midnight. In the capital our reception was as cordial as in the country districts. Here we went over the latest schools, and the great “‘ Peni- tenciary”” the principal prison; hospitals, -markets and public dining halls, parks and 213 golf links{were visited, as well as Lisbon’s historic buildings, the famous Artillery Museum with the Hall of Henry the Navigator ; and the church of St. Vincent, where lie the Braganzas. A wish had been expressed that our members should meet the President of the Republic, and while in the Museum below the Palace at Belem, where now the President lives, a message was brought that he would receive us. Ushered into his rooms, we had an interesting conversation. He had been in London twice, and found that many English knew the history of Portugal better than the Portuguese themselves. In the evening a banquet by the city of Lisbon was given, presided over by the President of the Council. The Minister for Foreign Affairs, our own Ambassador, Sir Arthur Hardinge, K.C.B., G.C.M.G.; our Consul, P. A. Somers Cocks, C.M.G., and a brilliant company were present. Sir Arthur Hardinge and the Portuguese Minister gave important speeches in French. The present writer replied to the toast of the Journalists, and Mr. Fisher proposed the prosperity of the Sociedade de Propaganda. On the morrow, in motors, we visited Cintra and Monserrat, where General Sartorius received the visitors; Pena and Estorial, where Sir Clement Markham was called upon ; and finally Cascaes. In the evening a special reception was given by the Portuguese Geo- graphical Society. The next day was given up to special work, and the new agricultural school at Queluz was inspected. At 10 p.m. we crossed the Tagus in the only rainstorm we had, and in a special wagon-lit train ran all night down to the famous southern pro- vince of the Algarve. At Villa Nova, at 6.30 a.m., the sun broke through, and we motored to Portima&o and Praia da Rocha, a glorious spot on the Pheenician sea, with sands and worn rocks of lovely hues and strange shapes. We could well have lingered here for days, but our relentless guides, Senors Roldan and Wissmann motored us off to the mountains of Monchique, and then to Lagos, where the whole town was en féte, and a luncheon was served in a flower-bedecked balcony over- looking the glorious bay ; then to the great headland of Piedade, whence a good view was had of Sagres point, where Henry the Navigator thought out his schemes of ex- ploration. : Space forbids description of mule rides upon precipitous heights, receptions in quaint towns -and in peasants’ homes, and the scenes in this prosperous, highly cultivated province, where fig vine and almond and corn _ thrive amazingly. Our last day here was packed with interest, a run through Portimao, with a visit to its great Sardine Factory, and on to Faro, where people and students in their hot hospitality, headed by the Governor of the Province and notables, tried hard to hold us all day, but we ran away to the wonderful Roman ruins of Stoy; Tower and Forum and pavements all untouched; then on in the evening to the strange old Moorish town of Olhao, a veritable Tangiers in Portugal, with quaint arched bazaar-like streets, and Mosque; and here, not far from the Spanish frontier, we ended our tour in Portugal, our special train taking us back to Lisbon in the night, and the next day, after many adieux to our hospitable friends, we embarked on the R.M.S. Lanfrane for England, having proved how wonderful and delightful a country is Portugal in the early spring. The two things most needed in Portugal are roads (including additional railroads) and schools. It is a marvellously rich country, full of immense possibilities. Surely it has a great future before it. ++ ____ THE LETTERS OF AN ORDINARY AUTHOR. — Collected and edited by JouN HASLETTE. III. Mains CoTraGE, SANTOLLER, Bucks. To Messrs. Back and Bleak. Publishers. Dear Sirs,—I have to acknowledge your letter of the 9th inst., and note with pleasure that your reader reports favourably on my novel entitled ‘‘ The Topmost Bough.” It is always agreeable to find one’s work approved by a critic ; still more to have that verdict emphasised by a firm who combine literary taste with business acumen. Person- ally, of course, I think that the book will “ go.” If I had not thought so I should not have troubled to write it, or asked you to savour it with a view to its ultimate appearance in six shilling form. You will forgive me now if I leave the question of literature aside, and deal with that portion of your letter referring to the terms upon which you will agree to publish my novel. You say, and I agree with you, that a first. THE AUTHOR. novel is a difficult proposition ; that the public has an eye for old favourites, and does not always care to wade through many first attempts in an endeavour to provide itself with recreative reading. But, even with that in mind, you will admit that no author has tempted fortune in the first place with a second novel, only an Irishman with the cleverness of Sir Boyle Roche’s famous bird could accomplish the feat. Every novelist has been guilty of a first novel, and many of them have been published by firms like H—— and M——, and even by D—— and M n. You hint (very delicately) that the printing, publishing and pushing of a novel, for a small edition of one thousand copies, costs £100. I have heard this before. I have also heard that it costs £120 or £150, and occasionally £160. Of course, the printers are old-fashioned people, and do not quote close prices. That must be the reason why some estimate the cost of production at 1s. per copy, some at 1s. 3d., and some at 1s. 9d., while the old-established firms of publishers can get a large edition done at about 8d. It occurs to me that your firm might employ the printer favoured by M—— or H , and save money by having your books printed at the cheaper rates. I notice that I am to pay you the sum of £70, and to receive in return the sum of Is. 6d. a copy royalty. Other editions, if any, are to be published by you, free of further cost to me. I am grateful for this generous provision. Your method of reasoning, if I follow it correctly, is something like this : One thousand copies of the novel are brought forth, and of this number you send out one hundred for review, etc. This leaves 900 copies on hand. These 900 copies will bring me, in royalties, some sixty-seven pounds. But, you say, if 900 copies are sold, it will be a sign that there is a good demand, and that a second edition © will be called for, while I shall only be £3 to the bad. This is cheering news. I follow up the idea, and suppose that a second thousand are printed at your expense. Take it that 500 copies are sold. Then my loss of £8 is wiped out, and I am in pocket to the tune of £34 10s. This, as you justly remark, is a profit to me of more than 50 per cent. on my original invest- ment ! When I came to this passage in your letter, I must confess that I was puzzled. It pea to me that I was doing very well indeed. But my horridly logical mind cried out that there was a flaw in the reasoning. After all, I am not an investor, but an author. I did not set out to invest £70 in a publishing house’;, I THE AUTHOR. wrote a novel, and expected to get a return on the capital represented by my brains. When the investor buys stock in a railway company he does not give six months of his time to that company in addition to the solid cash he pays for the stock. Again, there was another point (presented by my wretched mercenary sense) ; so long as you have to sell your goods to make a profit it is certain that you will work hard to effect sales. But, if you are paid for the stuff before- hand, your zeal will languish, you will say to yourself, * Does it really matter if this novel Sells or not? Has not the author already paid for it 1” No, gentlemen—if you will send me a pro- spectus of your company, I may think of invest- ing money in it, but a novel will not be thrown in, like a coupon prize with pounds of tea. I fear much that “ The Topmost Bough ” must venture again upon its lonely pilgrimage. Glad would have been the day that saw your imprint upon the novel—free of charge. But I am not in the literary line for my health. I have none of the vanity of the man who must see himself in print or die. If I could draw a cheque off-hand for £70, it is a question if novel- writing would interest me so much as it does. I regret that your reader and your good selves should have laboured in vain, but so must it be. The novel may fail of other takers ; it may return like the cat of fable, until I am moved to make of it a burnt offering; but you may rest assured that, while I am unable to accept your offer, your words of praise and cheer will brighten many lonely moments of my life. I will keep your letter, and refer to it in moments of depression. I remain, Dear Sirs, Yours truly, “Plenry WYVERN. P.S.—Please return MS. and oblige. IV. Marys CotTraGE, SANTOLLER, Bucks. To Miss Henrietta Briggs. My Dear Aunt,—Very many thanks for your letter sympathising with me on my ap- arent lack of success in the “ life literary.” t is pleasant to hear that I am not forgotten, and to feel that, at least, one of my relatives encourages me in what you so rightly express as ‘‘ an uphill task.” I have carefully read your hints, and have 215 put them away for future reference. They may assist me to a success like that of Mrs when I make use of them. You say that what is wanted nowadays is a story of “ sweetness and light,” a story which shall wring tears from the reluctant eye ; preferably, a story dealing with a dear child which, by its tender example and loving counsel, reclaims its erring father and mother. Failing this, you suggest that I should abandon my present style of writing, and imitate that of our great master of mystery, Mr. Your first idea strikes me as being very novel, and likely to appeal to a wide circle of readers, but I think it may have been done before—in America. Did not Mr. Dooley once speak of ‘ putting parents in the custody of their own childer.” Only one difficulty pre- sents itself to me in this connection. I have very little experience of children; the only little ones with whom I have lately come in contact being Uncle Tom’s boys. You will remember that I found it impossible to work when staying with Uncle and nearly quarrelled with the dear man in consequence. Sensation is another matter. My friend Maitland has a large selection of the works of the Master; and, no doubt, he will lend some to me, if I ask him. My own style of writing, however, is like an Old Man of the Sea. It clings to me persistently, and I find it extremely hard to imitate the style of other authors. Don’t you think this may be due to the fact that our minds differ ? Yes, it is quite true that a year has passed since I turned to the writing of fiction. It does seem a long time, and I must admit that I have not made a fortune during the twelve months. Talking of making money, I am glad to hear that Cousin Harry enters upon a four-year pupilship to architecture. In the circum- stances, the premium of £400 does not seem extortionate. In four years’ time he may be made an assistant. It is quite true that I am engaged to be married. To you, I know, it seems unwise. But even authors were created in two sexes, and I have hopes of making a decent income within a few years. Thanks for your offer of some excellent plots which I could work into stories. If you will take the trouble to write them out, I shall read them with much pleasure, and treasure them for all time. So many kind friends tell me stories, but they are mostly pointless. Yours, however, will be different. You understand that the fact that a man goes to India, and afterwards returns to marry a lady, with whom he was formerly in love, does not make a story. 216 Editors demand something more original. They cannot be brought to see that the simple recital of everyday events interests millions. I must close now, with love to all at the ** Mount,”’ Your affectionate nephew, Harry. ———+ > —_______ A HISTORY OF ENGLISH PROSE’ RHYTHM.* ee praise the work of a master so excep- tional and so universally regarded as Professor Saintsbury savours of im- pertinence ; to epitomise it effectively would be impossible for any one but its author; and to overlook it is impossible. In such circum- stances a reviewer might becomingly plead for permission to say only, ‘‘ Obtain this book, and make a serious study of its contents ”’ ; adding no more; and having said that would indeed have said what was most pertinent. The scope of the work is exactly described in its title. Building upon a foundation, at first essentially analytical, and always his- torical, and beginning from the earliest extant specimens of the language, Professor Saints- bury advances, through memorable observa- tions, on the effect of the Latin influences, until he is in a position to offer definite evidence of what constitutes agreeable or majestic rhythm in English prose. Thereafter he is in a position to test the rhythmic qualities of the prose of selected authors of high reputation, with results that are among the most noteworthy things contained in the book. When mar- shalled according to their ability to command numbers and to balance sentences, the cele- brated authors change in a very remarkable manner their familiar positions. Milton is found by no means always impeccable. Dryden holds his own as a master without fault. For the author a pertinent question will be whether the results of Professor Saintsbury’s investigations have direct value for profes- sional literary men. It must be answered that they are of the supremest value, and such as not to be overlooked by any one who attempts to write English prose. In these days, when poets (of a kind) have easily persuaded them- selves to disregard quantity, there will be enough of those who will declare, ‘‘ We care nothing about these things!”’—a quite un- necessary protest, seeing how abundant in their works is the evidence of that painful truth. But then there is also a story about a *“ A History of English Prose Rhythm.” By George Saintsbury London: Macmillan & Co. 1912. THE AUTHOR. fox and some grapes. To the authors who, on the other hand, do care how their sentences sound, the book may be recommended in the warmest terms. In it Professor Saintsbury has done for the English language what has never before been done for any language ancient or modern. The originality of the work is at the same time not more epoch-making than its doctrines are of supreme cogency. By way of caution, it may not be out of place to add that any one who does not possess an ear, and has also nothing to say, might by a consistently unintelligent use of the informa- tion contained in the volume, and particularly by “minding” the axioms and suggestions contained in the third appendix, succeed in writing English as pedantic and ridiculous as any that has ever been written. . Those who are familiar with the author’s writings will find inwoven with his teaching no lack of the delicious things that give it piquancy; such, for instance, as a reference to ‘“‘ the specious and half-informed ignorance which has now, for nearly half a century, been diffused among the lower classes by board- schools, and, through the contamination of grammar and public schools, among the middle and upper classes.” It must on no account be supposed that the work is of value to the student of English prose alone. Incidentally it throws startling sidelights upon the nature of prose even most remote from English, suggesting solutions of the puzzling phenomena that it in certain cases presents. But the essential thing to be noted here is that every author should procure the book and acquaint himself with its disclosures. CORRESPONDENCE. —~— UNREVIEWED Books. Str,—Perhaps you will allow me to add something to Mr. Isidore Ascher’s article on unreviewed books in The Author of February. This problem was discussed in the Preface of my “ Britannia Poems,’ 1910, the first time it was discussed seriously anywhere, I think. My Preface contains a complete list of the reviews and newspapers that received a copy of my first book, ‘‘ Home once More,” with a starring of them that noticed the book. I believe this to be the first time again that such a summary was published by any author. In my Preface I wrote :— ** , . . So twenty-one copies were thrown in the proverbial gutter! I want to be quite sensible over this old trouble, and to ne as THE AUTHOR. be fair to editors and reviewers, . . . yet I have complaints to make in the interests of authors generally. I sent my book out carefully : to good literary papers, promptly on publication, postage paid. ... Why could not these papers return my book when they could not notice it? Why need they keep books, sent in good faith because they review books, and because by _re- viewing books they ask for others? They may say: ‘We did not ask ior your silly book.’ ...I1 reply: ‘Don’t be absurd! You exist as literary organs because you review books.... You cannot review unless books are sent. ... You get hun- dreds of books and notice dozens... .’ These loose habits are wrong, and the Society of Authors ought to do something. A book is sent out on trust, and should be regarded as the property of the sender until a notice has appeared, or it has been re- turned, like a manuscript. Or how would this do: for editors to be asked beforehand whether they are likely to notice a book if sent? I have tried this several times. . . . There I will leave the problem, en- larging it a little by this that the balance of unnoticed copies is a heavy tax on young authors. And this: that the relations among Authors, Publishers, and Critics, are still as unsatisfactory as ever: if any man can solve this problem he will deserve all he gets!” This part of the Preface was discussed in many papers and received all sorts of treat- ment, from low ridicule to high commenda- tion; but Mr. James Milne, of the Daily Chronicle, went beyond all others. The book had been criticised twice in papers under his literary control, and when he found it was not possible to give it a full-dress review in the Daily Chronicle, he wrote me a letter in which, after telling what had been done already, he ended thus: ‘‘ Now I am returning you the book which, I hope you will agree, completes the matter.” His letter is dated February 3, 1911. Is it too much to declare that Mr. Milne has done a new thing and set a precedent that may be of some historic value in the record of relations between authors and reviews? To me, at least, this returning of my book is a matter of considerable interest, and I am keeping the copy so returned as a literary souvenir. But will the Society of Authors consider the problem ? Yours faithfully, HEDLEY V. STOREY. 21, St James’ Avenue, Brighton. 217 ~ Tae UNEXPECTED. Str,—After about twenty years of—not only my own tribulations in connection with publishers (and agents), but of tribulations undertaken on behalf of others, the unexpected has happened : I have been requested, jointly by agent and publisher, to draw up my own contract ! This, after the one drawn up by themselves, had been submitted to your own valuable and judicious criticism. Not only so, but my amended contract has been accepted and signed. The result is, naturally, amicable relationships all round. I ought, perhaps, in fairness, to say that I made no demur to the pecuniary arrangements ; but in fairness, also, I ought to say that I did demur to several clauses, and that many of my objections were, without hesitation, sus- tained. I have myself so often given vent to objur- gatory remarks on the manners and methods of those pene-omnipotent gentlemen whose calling in life it is to transmute manuscripts into books, that I venture to send you this brief palinode. This letter is not a ‘“‘ free ad.’”’ But, with your permission, I would not mind giving the names of the agent and publisher I speak of to any who, for quite legitimate purposes, would like to know them. Yours faithfully, ARNOLD HAULTAIN. Dear Sir,—The Fortnightly Review of March 1 contains an article entitled, “Is Austria really the Disturber? by Count Liitzow.” It is, of course, always disagreeable to a writer that the authorship of anything that is not from his pen should be attributed to him. May I, therefore, as a member of the Society of Authors, beg you in the next number of The Author to state that I am not the author of the article in the Fortnightly Review, and to publish this letter. As I have frequently written in American and English reviews—ineluding the Fortnightly—this mis- take is all the more unpleasant to me. Believe me, Yours faithfully, (Count) Litzow. [Ep.—We print the above letter with pleasure, but understand that the article was signed in the body of the magazine “Henry Lutzow,” and the author was further identified 218 by the designation, “late Austria-Hungarian Ambassador in Rome.” It is a pity that there should have been an error on the cover.] ConceRNING ‘“ Cat ATHLETICS.” Dear Autuor,—Herewith I respond heartily to the views expressed by “ Progress,”’ in the February Author, in the matters of establishing a publishing union for the protection of writers on a professional basis, and an extra fortnightly supplement to The Author to facilitate inter- change of correspondence on matters of vital importance to Society members. An author can exist without publishers. But show me the publisher who exists without authors ? I should like best to know how much, to a ha’penny, writers like H. G. Wells, Arnold Bennett, or G. Bernard Shaw have put out advertising to arrive at their present stage of success ? Wouldn’t it be a good plan to have them, for the benefit of the many, divulge the lump sums they have earned minus their advertising bills ?—and their agents’ charges ? Assuredly it is high time the “ cat ” should be taught the wisdom of “jumping” the author’s way. JUSTICE. ——e Tue Suort Story WRITER. Dear Srr,—I cannot help expressing my appreciation of the article entitled “ The ‘Short Story’ Writer,’? which appeared in the March issue of The Author. Its strong common sense is very refreshing. In regard to the latter part of the article, may I be allowed to quote a few words from Rudyard Kipling’s speech at the 118th Anniversary Banquet of The Royal Literary Fund? They are these: “We might dis- cover cases where the blessed canons of art would seem to have recoiled upon them- selves—puzzling cases where the apparently flagrant pot-boiler had turned a man from destruction, quite as effectually as an angel -with a flaming sword; cases where a piece of unthinking buffoonery had steadied a man through the ten vital minutes of a life’s crisis, where cheap sentiment and rank melodrama had helped to lift some poor soul to humility, or sacrifice, or strength, that he knew not he possessed.”’ I have no doubt that if the hidden springs of all actions could be revealed, thousands of such cases would be recognised. But, in addition, I think an unbiassed judge would admit that hundreds of cheap stories are well written, true to life, and likely to have a far THE AUTHOR. better influence: over the minds of their readers than a considerable percentage of the ordinary 6s. novel. I am proud to admit that, in addition to being a magazine contributor, I am A WRITER OF PENNY STORIES. ae Sir,—The monthly record of elections to the Society, which appears in your columns, shows that its work is becoming increasingly appreciated by writers, dramatists and com- posers. But the progress made by the Society in this direction during recent years, satis- factory as far as it goes, is far short of what it might be. New authors, new dramatists and new composers are constantly appearing. But how to reach them? The various literary, dramatic and musical annuals are, no doubt, of some help; but, in the nature of things, they can be of little use in tracing, as he appears, the new writer, dramatist or composer. And it is the new members of our profession, inexperienced in the methods of publishers, managers and agents, who stand most in need of the Society’s assistance. To appeal to them, care of their publishers, even assuming appeals are forwarded, is to run the risk of your appeals reaching the waste paper basket more often than not. Re-addressed letters are handicapped from the start, and when they obviously contain, as they must if the Society’s aims and objects are to be placed before the potential member, printed matter, the result is almost necessarily a waste of time, postage and labour. What then can be done ? Surely, the solution of the problem lies with the existing members. Donations to the Society’s funds in return for work done for members are constantly being acknowledged by the committee in your columns. That they are so often received affords ample testimony to the members’ appreciation of the Socicty’s efforts. But we are not all able to make this return, however anxious we may be to show our gratitude for the Society's assistance. What, however, we can do, and, I suggest, we should do, is to take every, opportunity which comes to us of recom- mending the Society’s work to our friends. There is scarcely any need to specify the occasions for the ‘word in season.” “ At- Homes,’”’ lunches, dinners, club theatrical performances, creditors’ meetings of bankrupt publishers—to name only a few. Others will readily occur to the enthusiastic recruiter. Yours, etc., Z. A. B. 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 07 (April 1913) Subject The topic of the resource The Author, Vol. 23 Issue 07 (April 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-04-01-The-Author-23-7 publications The Author https://historysoa.com/files/original/5/526/1913-03-01-The-Author-23-6.pdf 1140c78d8170b4c4b9d2743f1a0532bc 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. 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) 1913-03-01 Volume 23 Issue 6 Pages Page range in volume 157–186 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130301 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthbor. Monthly.) (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR WALTER BESANT. Vou. X XILI.—No. 6. Marca 1, 1913. [Price SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. —____—_e——_e—__ NOTICES. — ++ TCR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 89, Old Queen Street, Storey’s Gate, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from 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. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. SO THE SOCIETY’S FUNDS. —_——>— + “Tj YROM 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 matter closely connected with the work of the Society. (2) The Pension Fund, This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. THE PENSION FUND. —+ N January, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 11d. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. £ 6s. a Local Loans ......-seeeeeeree 500 0 0 Victoria Government 8% Consoli- dated Inscribed Stock .......- 291 19 11 London and North-Western 3% Debenture Stock ........-+-- 250 0 O Egyptian Government Irrigation Trust 4% Certificates ......-- 200 0 0 Cape of Good Hope 33% Inscribed Stock 6... 20sec ee ec teens 200 0 0 Glasgow and South-Western Rail- way 4%, Preference Stock .... 228 0 0 New Zealand 34% Stock........ 247 9 6G Irish Land 23°% Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1927—57.....--.- sees 4388 2 4 Jamaica 34% Stock, 1919-49 .. 18218 6 Mauritius 4°% 1987 Stock ...... 120 12 1 Dominion of Canada, C.P.R. 33% Land Grant Stock, 1938 ...... 198 38 8 Antofagasta and Bolivian Railway 5% Preferred Stock ........-- 237 0 O Central Argentine Railway Or- dinary Stock ..........-.0+-. 232 0 O $2,000 Consolidated Gas and Electric Company of Baltimore 44° Gold Bonds ........-++-- 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .......-.. 250 0 O 55 Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914 (fully paid) ..........-- 550 0 O 3 Central Argentine Railway £10 Preference Shares, New Issue.. 80 0 0 THE AUTHOR. PENSION FUND. —+—~ + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October 1, 1912. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. anccooooooesosescoesosesoo Subscriptions. 1912. £ eg Oct. 2, Todhunter, Dr. John. 1 6 Oct. 10, Escott, T. H. S. : - 0 8 Oct. 10, Henderson, R. W. Wright 0 5 Oct. 10, Knowles, Miss M. W. . 0 3 Oct. 11, Buckley, Reginald . 0-5 Oct. 12, Walshe, Douglas 0 10 Oct. 12, “‘ Penmark” . : 0 10 Oct. 15, Sinclair Miss Edith . 0 10 Oct. 16, Markino, Yoshio Lot Oct. 20, Fiamingo, Carlo 0 5 Oct. 29, Henley, Mrs. . : ta Nov. 8, Jane, L. Cecil . 0 5 Nov. 14, Gibb, W. 0 6 Dec. 4, De Brath, S. . : 0 5 Dec. 4, Sephton, The Rev. J. 0° 5 Dec. 4, Cooper, Miss Marjorie 0 10 Dec. 7, MacRitchie, David 0.5 Dec. 11, Fagan, James B. 1 0 Dec. 27, Dawson Forbes 0 10 19138. Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). 010 0 Jan. 9, Gibson, Frank . ; 0 5 8 Jan. 29, Blackley, Miss E. L. 0 5 0 Jan. 31, Annesley, Miss Maude 010 6 Feb. 6, Rothenstein, Albert . 0 7G Feb. 10, Bradshaw, Percy V. 010 6 Donations. 1912. Oct. 2, Stuart, James . ‘ 1 £ Oct. 14, Dibblee, G. Binney . - 0 16 Oct. 14, Michell, The Right Hon. Sir Lewis, C.V.O. 5 5 Oct. 17, Ord, H. W. . : Ce Oct. 20, Yorke-Smith, Mrs. . > @ & Nov. 10, Hood, Francis . = . 0 2 Nov. 20, Kennard, Mrs. N. H. 5 0 Dec. 4, McEwan, Miss M. S. 0 10 Dec. 4, Kennedy, E. B. 0 5 Dec. 11, Begarnie, George . «0 3 Dee, 11, Tanner, James T. 3 8 Dec. 11, Toplis, Miss Grace . 0 5 esos oooeses 89S oad Dec. Dec. ZT Dec. 9G Dec. a Dec. >» Jan. 6 «CJ an. sl Jan. Jan. . Jan. s— Jan. 5 Jan. ist Jan. is Jan. isu Jan. , Jan. 5 G Jan. fs& Jan. [| Jan. | Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. THE AUTHOR. COMMITTEE NOTES. —+~>—+ 14, Watson, Mrs. Herbert A. . 14, French, Mrs. Warner 17, Smith, Miss Sheila Kaye . 17, Marras, Mowbray 27, Edwards, Percy J. . 1913. 1, Risque, W. H. 1, Rankin, Mrs. F. M. 2, Short, Miss L. M. 2, Mackenzie, Miss J. 2, Webling, Miss Peggy 3, Harms, Mrs. EH. 8, Church, Sir Arthur, K.C.V.O., ete. 4, Douglas, James A. 4, Grant, Lady Sybil 6, Haultain, Arnold 6, Beveridge, Mrs. : 6, Clark, The Rev. Henry 6, Ralli, C. Searamanja . 6, Lathbury, Miss Eva . 6, Pryce, Richard 7, Gibson Miss L. 8. 10, K. : : 10, Ford Miss May 12, Greenstreet, W. J. 14, Anon . : 15, Maude Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 90, P. HH. andM. K. .. 22. Smith, Herbert W. . 25, Anon, . ; : 27, Vernede, R. E. : 29, Plowman, Miss Mar ; 29, Todd, Miss Margaret, M.D. 31, Jacobs, W. W. 1, Davy, Mrs. E. M. 8, Abraham, J. J. 4, Gibbs, F. L. A. 4, Buckrose, J. E. : 4, Balme, Mrs. Nettleton . 6, Coleridge, The Hon. Gilbert 6, Machen, Arthur : 6, Romane-James, Mrs. ; 6, Weston, Miss Lydia . : 14, Saies, Mrs. F. H. (in addi- tion to her subscription) 14, Maunsell, A. E. Lloyd 14, O’Higgins, H. G. . 15, Stephens, Dr. Ricardo 15, Jones, Miss E. H. 17, Whibley, Charles — CH OOOu COPE OH OH ONHOOCOOCHH OHM COCO OPO WOORNWH ooocooo eceoocece _ _ or or Or Or C1 © jal oO Or & Or 09 Or Cr bo Oo ee te — Ane eH AHF COCK ONF NHK OOC RH SH Or _ Ot Ore OLS cooocoocoF cococoooaoooaocooanoascooocosooocosoecece|ce|ces ooococo ASTAADSS HE February meeting of the Committee was held at the Committee Room of the Society, 18, Queen Anne’s Gate, S.W., on the 8rd ult. The committee dealt first with elections. Thirty-three members and associates were elected, bringing the total elections for the year—that is, for the two months of 1913—up to sixty-seven. The committee accepted, with regret, resignations for the past two months, to the number of thirty-two. At the beginning of the year the resignations are, naturally, more numerous than during other periods, and the number is not unreasonable considering the size of the Society, nor above the number for the corresponding two months of last year. The solicitor then reported on the cases that had passed through his hands. In the first case the defendant had agreed to pay the amount of the debt and costs. The second, referring to a claim for dramatic fees, had been withdrawn by the plaintiff on the death of the defendant, and the solicitors’ charges had been defrayed by the member concerned. The next two cases related to unsatisfied judgments. In the first, the solicitor reported that he had obtained a sum of £10 and was still pressing the defendants for the balance, but was doubtful whether anything more would be recovered. In the second, after considerable difficulty, the defendant had been found and had undertaken to pay the debt by small instalments per week. Two _instal- ments had already been paid. Of two actions for accounts and money against a publisher, one had been settled, where the claim was for a small amount. In the second, an arrange- ment had been made for the payment of the sum due, under the personal guarantee of one of the directors of the company, and_ the solicitor hoped that the matter would be satisfactorily carried through. Against another publisher there were two claims. In _ one, the author had received part of the money he had paid towards the production of his book on the understanding that the contract should be cancelled, and that he should be free to deal elsewhere. In the second, as the solicitor remarked, there was the usual struggle to get the publisher to produce the book approximately in accordance with his contract. In a claim against a music pub- lisher, as no reply had been received, the solicitor was instructed to proceed at once, 160 Three claims against another firm had been delayed owing to the fact that the representa- tive of the firm was abroad, but on the repre- sentative’s return to England, immediate action, it was decided, would be taken. The solicitor then reported a case between a composer and an English music publisher which had been settled without going into Court. The publisher had undertaken to withdraw all the offending copies and to deface the plates. Some difficult questions arising under the Copyright Act were next reported by the solicitor. The questions arose under the mechanical contrivances sections of the Act. The committee decided that nothing could be done until one of the members was willing to allow the Society to take action on his behalf. As the point in question is likely to arise very shortly, it will soon, no doubt, be possible for the Society to carry through a test case. The solicitor reported at length on a question of alleged libel arising out of a review. After a careful consideration and on the opinion of the Society’s lawyers, the committee decided that it would be impossible to support the member in an action. The secretary then placed one or two disputes before the committee for their consideration. ‘The committee decided to take up a case of the infringement of dramatic rights, but in a case of infringement of an author’s book rights in Canada, they instructed the secretary to interview the author and discuss matters with him, as the case seemed likely to involve the Society in expense which the committee hardly felt justified in incurring. Another case of alleged infringement of copy- right in England the committee decided to take up, subject to the solicitors’ opinion on the evidence being in favour of an action. The next question was one of some impor- tance. The editor of a magazine received a contribution from one of the members of the Society. He published it without any refer- ence before publication to the author as to terms, and after it had been published sent the author a cheque, and, at the same time, a printed receipt which stated that the cheque was in full payment for the copyright. Other cases closely allied were also brought before the committee. Certain editors, it appeared, were in the habit of sending cheques, the endorsement of which purported to convey the copyright of the article to the paper, in spite of the fact that a contract made before publica- tion provided for the trarsfer of the serial rights only. The committee felt that the THE AUTHOR. matter was of considerable importance, as many authors in need of money, rather than — take action and run the risk of having their contributions refused in the future, endorse the cheque. This has the same effect as signing the form of receipt mentioned in the first instance. In either event the authors are pre- vented from re-publishing their work in book form without the sanction of the proprietors of the magazines or papers. The secretary was instructed to raise the whole matter in The Author, but before doing so, the committee decided to communicate with certain papers that are accustomed to issue cheques bearing on their backs the receipt form in question, in order to obtain, if possible, their views on the position. In the last case, a case of dispute between an author and a printer, the committee gave instructions as to the line of settlement. The next matter before the committee was an important question of copyright between Great Britain and the United States. Mr. E. J. MacGillivray had been asked to explain to the committee his view of the situation ; this he did, in full detail. The committee under- stood from their correspondent in America that the issues had been referred to the Foreign Office, and it was accordingly decided that the chairman, with the secretary and Mr. MacGillivray should communicate with the Foreign Office on the matter, but that, before any appointment was sought, a minute of the proposed representation of the Society's — views should be sent to all members of the ~ committee in order that the chairman of the — Society might be fully instructed as to the line — to adopt. p The secretary reported that, in accordance — with the decisions come to at the last meeting, he had addressed to the editors of various important papers and magazines a letter settled by the chairman of the Society, raising _ the question of payment of contributions on acceptance or within a reasonable time — from acceptance. The secretary reported the receipt of valuable answers to the letters sent — out, the editors in question recognising the — difficulties of the situation and the views of the committee. The committee decided to wait further replies, and then to consider the line of action to be taken. It is hoped to make | some authoritative declaration on the subject in The Author. At the suggestion of the Composers’ Sub- — Committee, the Committee of Management — decided to send a circular to British composers, — dealing with certain important questions — arising out’of the transfer of their copyrights, — iby TOME jade. THE AUTHOR. and with the forms of contract placed before them by music publishers—this with a view to combined and effective action. The secre- tary read a letter which had been approved by the Composers’ Sub-Committee, and it was agreed that it should be sent. It was decided to invest £150 out of the Life Membership Account, the amount to be added to the Capital Fund. The committee passed the Annual Report, which had been circulated to them during the month of January. The accounts and financial statement had been delayed owing to the fact that the accountants had not completed the audit, and it was decided that this should be circulated at the earliest possible moment in order that the Report might then be printed. A question raised by a member of the com- mittee as to the Society charging a commission on all moneys obtained by legal action was considered, and the committee decided to refer it to the Council. The question of a new advertisement con- tract was next discussed, and the secretary was instructed to settle the form of contract and carry it through as soon as possible. It was decided to give the League of Authors in the United States all possible assistance, but the committee regretted that they were unable to accept an offer of interchange of membership between the two Societies. A question was raised as to the sale of cheap edition rights by American publishers, and it was decided that if any member should bring forward a clear case, the committee would, under legal advice, fight the matter in the American Courts. Papers forwarded by a Danish Literary Agency and by the Dutch Society of Authors were considered and noted for the benefit of members of the Society. The committee have to thank Mrs. Went- worth James for a donation of £2, contribution to the Capital Fund, paid out of a sum of £10 recovered during the month by the Society on her behalf. ——_ + Dramatic SuB-COMMITTEE. Tur second meeting of this sub-committee was held on Friday, February 21, at 13, Queen Anne’s Gate, S.W. After the signing of the minutes of the previous meeting, the sub- committee considered the question of the agenda for the Conference of Dramatists. The committee decided, however, to defer the settle- ment of the date till the next meeting, as also 161 the agenda. It is hoped that before that meeting a satisfactory issue may be come to in regard to the Managerial Treaty. A circular referring to the Collection Bureau was ordered to be set up in type, that it might be discussed finally at the next meeting, with a view either to circularising the dramatic section, or to printing it in The Author, for the benefit of members of the Society. The question of foreign agents then came forward, and the arrangement of the terms on which the agents appointed should conduct the business of the Society was considered. The secretary read letters he had received from the agents, and he was instructed as to the terms of his replies. He was also instructed to write to the Society of Dramatic Authors in Berlin. Mr. Walter Jordan, the agent of the Society in the United States, had forwarded to the Society’s office lists of plays produced by the stock companies in America. These lists the secretary submitted to the meeting, and the secretary was instructed to go through them as soon as they arrived and, in those cases where he saw English authors’ works being pro- duced, to write to the authors, if they were members of the Society, enquiring whether the performances had been authorised or not. The dramatic cases were then discussed. The secretary reported that the Committee of Management had taken up a case of alleged infringement of copyright on behalf of one of the members. Another case was reported of a difficulty experienced by a member of the Society with an agent in Hungary. As none of the members of the sub-committee could give any information about the gentleman in question, the secretary was instructed to make what enquiries he could on_ behalf of the member through the Society’s Hungarian lawyers, and to report. The third case was one of alleged plagiarism of one of the members’ plays by a play by another dramatist. The member concerned put before the sub-com- mittee a full statement of the resemblances between the two plays, and a report on the position was read to the sub-committee. The sub-committee decided to refer the matter to the solicitors of the Society, and to request them to report their views on the case to the next meeting of the Committee of Management, with a recommendation that the Committee of Management should take the matter in hand, if the solicitors’.opinion was favourable to the member’s claim. The consideration of the dramatic pamphlet was adjourned to the next meeting. 162 ComvosErs’ SuB-COMMITTEE THE Composers’ Sub-Committee met at the committee room of the Society of Authors, 13, Queen Anne’s Gate, on Saturday, Feb- ruary 8, at 11 o'clock. After the reading of the minutes of the previous meeting the agenda were considered. The first matter before the sub-committee was Messrs. Curwen’s agreement. A letter which had been received from the firm, in answer to certain comments submitted to them by the sub-committee, was considered. The sub-com- mittee came to the conclusion that Messrs. Curwen’s desire to have entire control of the performing rights and mechanical instrument rights could not be approved, and instructed the secretary to write to Messrs. Curwen accordingly, pointing out the reason for the sub-committee’s conclusions. They further instructed the secretary to point out that as the agreement had already been published in The Author as approved by the sub-committee, it would be necessary to insert in The Author a statement of the sub-committee’s inability to accept the agreement in its new and altered form. The next question related to an agreement from another publishing house which had been offered to one of the members of the Society, and it was decided to publish a criticism of the document in a future issue of The Author. The secretary then read a circular letter which had been approved by the Committee of Management, and which it was decided to send round to composers—both those who were, and those who were not members of the Society. Suggestions were made with a view to enabling the secretary to obtain for the circular the widest possible circulation. It is hoped to send to at least 500 composers, in order, if possible, to obtain a strong com- bination of composers to act in unison for the benefit of the profession. The secretary reported the result of an action taken by the Committee of Management for a composer, against a. music-publishing firm. The result had been entirely satis- factory, and the secretary mentioned that he had received a letter of thanks from the composer concerned. ‘A letter from the Society's solicitor dealing with certain difficult points arising under section 19 of the Copyright Act was read, and the secretary explained that the Committee of Management would be willing to consider taking action in a case when one was pre- THE AUTHOR. sented, in order to obtain the opinion of the Courts on the points raised. Another agreement from a publishing house dealing with American rights was read, and it was agreed to ask a representative of the firm to call and discuss the questions arising out of it with the sub-committee. —— + Cases. Durine the past month twenty-two cases have passed through the secretary’s hands. It is as well to mention from time to time that these cases are matters in which the secretary actually intervenes between the author and the publisher, editor, or manager, and not those cases on which the secretary only gives advice to the member. Demands for the return of MSS. have been the most numerous. Of these the secretary has dealt with ten. In four cases the MSS. have been returned, in two cases the editors have given every assistance in their power, but have been unable to find the MSS., and no further action has been possible owing to the fact that legal evidence has been wanting. Of the four remaining cases two have only recently come to the office, and in the other two no answer has as yet been received. There have been six demands for money. Of these three have been successful and cheques have been paid. The other three are ina satis- factory state. In two of the cases there has been a slight dispute as to the amount, but cheques have been promised as soon as the figures have been settled, and in the last case, although a cheque has not been received, a date has been fixed for payment. In three cases out of four demands for accounts, the accounts have been rendered. The fourth is still in the course of settlement, the publisher having promised the returns within the next week. One dispute on an agreement has been settled, and one complicated question of moneys due on accounts is in the course of favourable negotiations. There are very few cases left over from former months. ‘There is no matter which has not either been placed in the hands of the solicitors or concerning which replies have not been received from the opposite party and a settlement promised. —— THE AUTHOR. 163 Elections. Barnes-Lawrence, Ash- ley ; Blake, Ernest Blunt, Reginald . _~ Bradshaw, Percy V. Brooks, H. Jamyn : Brown, R. Cuthbert . Crawford, Albert Ed- ward Bredin L Finck, Hermann : Foxwell, A. K., M.A. Lond. Greenaway, Mrs. O. C.-. y7 Greene, Harry Plun- kett ; : ‘ Harding, Ernest Charlton Harington, Miss Ethel . Hinton, Arthur Jones, E. Hasler Korbay, Francis . Lawrence, Margery Menzies, Mrs. Stuart of Wood Hall O’Mara, H. M. S. : Quirke, Helen M. L. (Ellen Svala) 7 Rothenstein, Albert . Round, Mina (Maurice Reynold). Sargent, Miss Maud E. . Schlenssner, Miss Ellie Simpson, Mrs. Katha- rine. Vernon, George . ‘ Silton Rectory, Zeals, Wilts. 12, Carlyle Man- sions, Chelsea, S.W. 87, Dacres Road, Forest Hill, S.E. Savage Club, Adelphi Terrace, W.C. 14, Devonport Street, Hyde Park, W. 71, Carlisle Road, Eastbourne. 207, Adelaide Road, N.W. 19a, Wellesley Road, Harrow - on - the - Hill, Middlesex. 42, West Cromwell Road, Earl’s Court, S.W. 48, Iverna Gardens, W. 1, Hartington Road, Chorlton-cum- Hardy, Manches- ter: 14, St. John’s Wood Road, N.W. Portalegre, Portugal. 47, Devonshire Street, W. Eversleigh, Wol- verhampton. Crickett Court, Il- minster. Swanage, Dorset. 17, Yarrell Mansions, Queen’s Club Gardens, W. Savile Club, 107, Piccadilly, W. 11, rue d’Artois, Paris (8 emi). Chasefield, Grove Road, Havant, Hants. 44, Rosslyn Hill, Hampstead, N.W. Piazza S. Barto- lomeo degli Ar- meni 8-2, Genoa, Italy. Vickers, John H., B.A. Offley Grove, New- port, Shropshire. Weston, Miss Lydia ~. 28, Gwydyr Man- sions, Hove, Sus- sex. a BOOKS PUBLISHED BY MEMBERS. 4 While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the oftice 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. AGRICULTURE. RursaL DENMARK AND ITs Lessons. By H. River Haaearp. New Edition. 8 x 54. 335 pp. (The Silver Library.) Longmans. 33s. 6d. Ture Utiiry Poutrry Crus YEAR Book AnD REGISTER. Edited by A. A. Strrone. 72x 5. 114 pp. 68z., Lincoln’s Inn Fields. ART. Tue BritisH ScHoout. An Anecdotal Guide to the Britisk Painters and Painting in the National Gallery. By E. V. Lucas. 63 x 4}. 264 pp. Methuen. 2s. 6d. n. Tue Yrar’s Art, 1913. Compiled by A. C. R. CartEr. 74 x 43. 598 pp. Hutchinson. BIOGRAPHY. A Littie Sister. By Maurice Lanprievx. Translated from the Third French Edition by Leonora L. YORKE Surrn. 7: x 5. xvii +303 pp. Kegan Paul. 5s. n. DEVOTIONAL. Tue Way oF Victory. By JEAN Roperts. 2s., 1s., 6d. Tur Emancipation or Woman. By JEAN ROBERTS. Mowbray. ls. DRAMA AND ELOCUTION. Peur Gyxt. By Henrik Issen. A New Translation by R. Exuis Roperts. 7} x 54. xxix + 254 pp. Martin Secker. 5s. n. Passers-By. A Play in Four Acts. By C. Happon CHamBers. 6} x 5. 139 pp. Duckworth. 2s. Five Onu-Act Prays: The Dear Departed, Fancy Free, The Master of the House, Phipps, The Fifth Command- ment. By S. Houcuron, author of Hindle Wakes. 7; x 42. 111 pp. Sidgwick & Jackson. 1s. 6d. n. EDUCATIONAL. Wuere Epvcation Fars. By Preston Were. With an Introduction by the Rigur Hon. Lorp SHEFFIELD 74 x 5. 114 pp. Ralph, Holland. 1s. n. FICTION. Tur Ware Case. By Gerorce Pisypett. Methuen & Co. 6s. Our Own Country. By Lovurse Sracpoote Kunny. Dublin: James Duffy, Ltd. 2s. Nevertuetess. By Isapen Smrrx, author of Mated, The Minister's Guest, etc. Alston Rivers. 6s. 164 Joux CHRISTOPHER. JOURNEY’S Enp. By Roman Rottanp. Translated by GILBRET CANNAN. 7Z Xx 5. 540 pp. Heinemann. 6s. Tue BeLoveD ENemy. By E. Marta ALBANESI. 73 x 5. 323 pp. Methuen. 6s. Swirr Nick or THE YorK Roap. By GEORGE EpGAR. 73 x 5. 412 pp. Mills & Boon. 6s. Skipper Anne. A Tale of Napoleon’s Secret Service. By Maran Bower. 74 x 5. 316pp. Hodder & Stough- ton. 6s. East or THE SHapows. By Mrs. Husurt Barcvay. 73 x 5. 304 pp. Hodder & Stoughton. 6s. PaRENTAGE. By Guapys MENDL. 72 x 5. 308 pp. Chapman & Hall. 6s, CHILD oF THE Storm. By H. Riper HaGGARD. 72 Xx 5. 348 pp. Cassell. 6s. An Arram or Sats. By J. C. Snairu. 74 x 5 351 pp. Methuen. 6s. Concert Prrcu. By Frank Dansy. 7} X 43. 380 pp. Hutchinson. 6s. Tue Lirtir Grey SHor. By P. J. BREBNER. 74 x 5. 312 pp. Hodder & Stoughton. 6s. Tue Peart Stringer. By Praay WEBLING. 7j X 5. 313 pp. Methuen. 6s. THe Lapy oF THE Canartes. By Sr. Jonn Lucas: 7k x 5. 346 pp. Blackwood. 6s. New WINE AND OLp Borries. By ConsTANCE SMEDLEY. 74 x 43. 307 pp. Fisher Unwin. 6s. A Master or Deception. By RicHarpD MaRsH. 336 pp. Cassell. 6s. Tur Hovsr oF THE OTHER WORLD. 7% Xx 5. By VioLtet TWEE- DALE. 7% x 5. 320 pp. John Long. 6s. dipary’s Career. By Parry Truscott. 7} x 5 305 pp. Werner Laurie. 6s. Her Srcrer Lire. By Rosurr Macuray. 7} X 5 312 pp. F.V. White. 6s. Puyiiipa Fouts Mz. By Mary L. PENDERED. 73 X 5. 286 pp. Mills and Boon. 63. No Otner Way. By Louis Tracy. 7} X 9. 318 pp. Ward Lock. 6s. Tun LANE THAT HAD NO TuRNING. By GILBERT PARKER. 260 pp. (Sevenpenny Library.) 6} x 44. Hodder & Stoughton. Tu ExpLorrs or BRIGADIER GERARD. By A. Conan Doyie. (Cheap Reprint.) 6} x 44. 334 pp. Smith Elder. 1s. n. Vurtep Women. By MarMapUKE PICKTHALL, 7} X 5. 320 pp. Nash. 6s. Wo,. By Mavrice Drake. 7} X 5. 316 pp. Methuen. 6s. Hetexa Brerr’s Carzer. By Desmond CoKE. 7] X 9. 320 pp. Chapman & Hall. 6s. Her Convict Huspanp. By Marte Connor LEIGHTON. 73 x 5. 320 pp. Ward Lock. 6s. HISTORY. France. By Cecrs Huaptam. 8} X 5k. 408 pp. (The Making of the Nations.) Black. 7s. 6d. n. MILITARY. BrermsH Batrues: Crucy. By Hrare BELLoc. 64 x 44. 113 pp. Swift. 1s. n. MUSIC. A Coxcisp History or Music. For the Use of Students. By the Rey. H. G. Bonavia Hunt, Mus.D., F.R.S.E. New and Cheaper Edition. 63} x 4. 184 pp. Bell. 28. n. THE AUTHOR. NATURAL HISTORY. A History or British Mammats. By Geratp E. H. BarRett- HAMILTON. Part XIII. 10. x. Oe pp. 313—360. Gurney & Jackson. 2s. 6d. n. POETRY. Porms. By JosEpHINE V. Rows. Lynwood. 2s. 6d. n. POLITICAL. Tur Lorps or THE Devit’s Panavise, By G. SIDNEY PATERNOSTER. 7% x 5. 327pp. Stanley Paul. 5s.n. 7% x 5. 224 pp. REPRINTS. Tur Dynasts. By Tuomas Harpy. Parts I. and II. xvi + 404 pp. Part IV. 423 pp. (Wessex Edition.) 9 x 53. Macmillan. 7s. 6d. n. each. SCIENCE. Voucanozs. Their Structure and Significance. By T. G. Bonney, Sc.D., LL.D. Third Edition. 379 pp. _6s. n. Tus INTERPRETATION OF Rapium. By F. Soppy, F.R.8. Third Edition. Revised and Enlarged. 284 pp. 6s.n. Herepity. By J. A. THomson. Second Edition. 667 pp. 9s. n. (The Progressive Science Series. 8} x 53. Murray. THEOLOGY. Tur Lieut or Inpra. By Haroup Beasiy. A New and Revised Edition of ‘Other Sheep.” 74 x 43. 224 pp. Hodder and Stoughton. Is. n. TOPOGRAPHY. Gattant Lirree Waxes. Sketches of its People, Places, and Customs. By JEANNETTE Marks. 7} X 0- 189 pp. Constable. 5s. n. ——_+— > o—_—__ LITERARY, DRAMATIC, AND MUSICAL NOTES. —+—< + — Messrs. Macmillan & Co. announce the pub- lication in April of the first two volumes of the “‘ Bombay Edition of the Works of Rudyard Kipling,” containing all the author’s writings, verse and prose, newly arranged and cor- rected by himself. The edition, which will be limited to 1,050 copies, will occupy twenty- three volumes, and the first of every set will be autographed by Mr. Kipling. Two volumes will appear every two months until the edition is complete. The price will be one guinea net per volume, and the work will only be sold as a whole. The same firm are the publishers of Mr. Maurice Hewlett’s ‘‘ Helen Redeemed and Other Poems,” a volume of verse mainly concerned with classical subjects; the prin- cipal poem occupies half the book, which concludes with fourteen sonnets and some fragments. 00 ab th E 100 Ye HE OE > a : We ors Seog re ¢ *- Ser pe i Sang int sa Sa poe Gath oe ~ ee THE AUTHOR. Messrs. Macmillan have also recently pro- duced ‘ Portraits and Speculations,” a col- lection of essays by Mr. Arthur Ransome on literary and artistic topics; “ Highways and Byways in Somerset,” Mr. Edward Hutton’s contribution to the Highways and Byways Series ; and “‘ The Reef,’ Mrs. Edith Wharton’s new novel, the scenes of which are chiefly laid in France. Mr. Arnold Bennett’s new novel, ‘“‘ The Regent,” is published by Messrs. Methuen & Co. “The Faith of All. Sensible People,” by Mr. David Alec Wilson, is appearing this spring through the same firm, at the price of 2s. 6d. net. Miss Ellen Key’s latest work is a survey of the feminist question in its entirety, and is published by Messrs. G. P. Putnam’s Sons under the title of “‘ The Woman Movement,” with an introduction from the pen of Mr. Havelock Ellis. The author includes in her book a statement of what she considers to be the new phase upon which the feminist move- ment is entering, in which the claim to exert the rights and functions of man is less impor- tant than the claim of woman’s rights as the mother and educator of the coming generation. A second edition of Professor Charlton Bastian’s ‘‘The Origin of Life,’ with an important appendix and two new plates, is published by Messrs. Watts & Co. at 3s. 6d. A French translation of the same work, by Professor L. Guimet, is appearing through M. Lamertin, of Brussels. Mr. Herbert Jenkins, Ltd., is about to pro- duce an anonymous book entitled ‘* National Revival, a Restatement of Tory Principles,” with a preface by Lord Willoughby de Broke. It is claimed for this that it re-affirms the vital principles of Conservatism, and appeals eloquently to the Conservative elements in the nation to rally round a new ideal of patriotism, a new conception of national policy; that it vindicates the Conservative conception of the Constitution, and develops a Conservative doctrine of social reform, which provides a real alternative to the panaceas of Radical-Socialism; and that it gives to patriotic Englishmen of every class a new confidence, a new inspiration, and a new hope. Mr. A. Abram has brought out, through Messrs. George Routledge and Sons in England and Messrs. KE. P. Dutton & Co. in the United States, a book on “‘ English Life and Manners in the Later Middle Ages,” with 77 illustra- tions from contemporary prints reproduced from MSS. at the British Museum, &c. In an 165 appendix of over 50 pages a detailed list of authorities is furnished. The price of the English edition is 6s. Father Sebastian Boden has written the preface to “A Little-Sister,”’ translated by Miss Leonora L. Yorke-Smith from the French of Mgr. Maurice Landrieux, Vicar-General of Rheims. Messrs. Kegan, Paul, Trench, Tritbner & Co. are the publishers. Messrs. Hutchinson & Co. publish on the 4th inst Mr. Philip W. Sergeant’s “ Little Jennings and Fighting Dick Talbot: a Life of the Duke and Duchess of Tyrconnel.”’ This is an attempt to do justice, late in the day, to James II.’s great Irish Viceroy and his wife, who have suffered heavily in the past from the “‘ Whiggishness”’ (as the late Mr. Andrew Lang expressed it once) of the muse of English history. The work is in two volumes and is illustrated with 17 portraits. The same publishers have added to their Colonial Library Mr. F.. Bancroft’s “ The Veldt Dwellers,’ which appeared in 6s. form last October and has gone through six editions. They are now bringing out a sequel to this Anglo-Boer War story, under the title of “Thane Brandon.” Mr. Bancroft has dis- posed of the American rights of both “ The Veldt Dwellers’? and ‘‘ Thane Brandon” to Messrs. Small, Maynard & Co. Mrs. Mary Gaunt brought out last month, through Mr. T. Werner Laurie, her new novel, ‘“‘ Every Man’s Desire,” a story of life in West Africa, a part of the world with which she is well acquainted. She has started for an expedition through unknown China, after a visit to her brother-in-law, Dr. Morrison, in Peking. A second edition has appeared of Mr. C. E. Gouldsbury’s ‘‘ Life in the Indian Police,” of which the publishers are Messrs. Chapman & Hall. The same firm last month, published Miss Violet A. Simpson’s new novel, “ The Beacon Watcher.”’ Mr. James Baker, F.R.G.S., has published, through the Bodley Head, “Austria: Her People and their Homelands.’’ The book is illustrated with forty-eight pictures in colour, and is issued at 21s. net. Messrs. Longmans announce that they have in preparation a limited issue of a book by Mr. J. G. Millais, the son of the artist and a well-known naturalist, on ‘“ British Diving Ducks.” It will be published in two quarto volumes, and is intended to afford a complete history of all the species of diving ducks that are indigenous in or visitors to the British 166 Isles. The illustrations will be on an un- usually elaborate scale. Messrs. Ralph, Holland & Co., have issued a book entitled ‘‘ Where Education Fails,” by Mr. Preston Weir. Additional interest is lent to the work by the fact that the introduction is contributed by Lord Sheffield, better known among educationists as the Hon. Lyulph Stanley. Mr. G. Sidney Paternoster has published, through Messrs. Stanley Paul & Co. at the price of 5s. net, “ The Lords of the Devil’s Paradise. The grim story of rubber collec- tion in the Putumayo.” The author has been for twenty-two years connected with Truth. He has collected the stories of the witnesses and collated the evidence. In this book he tells the story in its entirety. “ Rita’s ’ new novel, “‘ A Grey Life,” is a romance of Bath in the seventies and eighties— a period not hitherto touched on by authors writing of the famous City of Waters. A brilliant Irish adventurer is the central figure of the tale. The publishers are Messrs. Stanley Paul. The same firm has just produced Mr. Rafael Sabatini’s ‘‘ The Strolling Saint,’ the imaginary memoirs of Augustine, Lord of Mondolfo, at the time of the Italian Renaissance. Miss Annesley Kenealy’s “The Poodle Woman,” is the first of a Votes-for-Women series of 6s. novels from the same house. ““'The Poodle Woman ”’ is a love-story, as well as an attempt to answer the question, What do women want ? Messrs. Stanley Paul are also the publishers of four novels—Mr. Hamilton Drummond’s «¢ Sir Galahad of the Army”; Miss Theodora Wilson Wilson’s ‘A Modern Ahab”; Miss May Wynne’s “The Destiny of Claude ” ; and Mr. Charles McEvoy’s “‘ Brass Faces ””— and of Mrs. Edith Cuthell’s ‘A Vagabond Courtier.’’ In the last-named biography, Mrs. Cuthell returnsto the period of her‘* Wilhelmina, Margravine of Baireuth.” In it she tells, from his letters and memoirs, the story of Baron von Péllnitz, courtier of Frederic I. of Prussia, Frederic William, Frederic the Great, the Princess Palatine, the Duchesse d’Orléans, and several other European royalties. Messrs. Mills & Boon have published a new novel by Miss Mary L. Pendered. It is called ‘‘ Phyllida Flouts Me,” and is a country comedy, laid in Northamptonshire. The hero is a farmer, and the villain turns out to be a woman! Phyllida is the heroine, who reads THE AUTHOR. poetry, while her father worships roses, and her mother runs the farm. She “* flouts ”’ her true lover and takes up with an engaging — artist who proves exceedingly disappointing, But all ends as well as library readers expect. Messrs. Mills & Boon are also the publishers _ of Mr. George Edgar’s ‘‘ Swift Nick of the York Road,” a story of the romantic type, dealing with life on the highway, its hero being ~ Swift Nick Nevison, who really made the journey to York for which Dick Turpin got the credit. Mr. Richard Marsh’s new novel, “* A Master of Deception,” is issued by Messrs. Cassell & Co. Mrs. E. W. Savi’s “The Daughter-in-Law ” (Messrs. Hurst & Blackett) has its scene laid in India, a country with which the author displays a thorough acquaintance. Mrs. Savi has also had a complete story, of which the title is ‘‘ The Saving of a Scandal,”’ accepted by the editors of The Red Magazine. : Messrs. Holden & Hardingham, who brought out Miss Edith Kenyon’s Welsh novel, “ The Wooing of Mifanwy,” will follow this in May with another from the same pen, entitled, ‘*The Winning of Gwenora.” Miss Beatrice Kelston is the author of © ‘Seekers Every One,” the publishers being — Messrs. John Long, Ltd. The story deals with — a girl driven by disappointed love to go upon the stage. Miss Peggy Webling last month had a novel, “The Pearl Stringer,’ published by Messrs Methuen. Mr. Max Rittenberg has three books appear ing this year. A first novel, called “Th Mind-Reader,”’ will be brought out in April - by Messrs. Appleton both in London and in_ New York. A second book, a story of public school life with the title of ‘‘ The Cockatoo,” — is to be published in May by Messrs. Sidgwick & Jackson. Another novel, the title of which — is not definitely settled, is scheduled for September by Messrs. Methuen in London, and Messrs. Appleton in New York. : Mr. S. B. Banerjea, author of ‘‘ Tales of Bengal,” ‘‘ Indian Detective Stories,” ete., 1s writing a romance dealing with modern” crime, the scene of which is laid partly in England and partly in Sweden. The hero falls in love with a girl, who firmly refuses to marry him, as she is ‘“‘ wedded to a sacred cause,” which she will not disclose. A riv appears on the scene, and the two decide upon a novel plan of settling their difference. They fall, however, in the clutches of th “‘ wickedest man on earth,’? who has resolved to commit the most revolting crime that THE AUTHOR. human being can think of. The two rivals resolve to thwart his scheme. What they do, under what circumstances they discover their lady love, and what becomes of the “ sacred eause ’’ are, so far, the secret of the author. Mr. Banerjea is also translating an Oriental tale, which, in his opinion, almost resembles the *“‘ Arabian Nights ” in its breadth of con- ception and flight of imagination. It is small in bulk, but makes very entertaining reading for both young and old. : Early in March Messrs. Ouseley will publish Mr. Harry Tighe’s new novel, “‘ A Watcher of Life.” The book opens with a sketch of life in a modern French country house. From there it takes the reader to Paris, London, Surrey, and the South Austrian Tyrol, de- picting houses and scenes well known to the author. We learn from the ‘‘ Poetry Bookshop,” of 35, Devonshire Street, Theobalds Road, that owing to the exceptional demand for “ Geor- gian Poetry, 1911—12” (3s. 6d. net), pub- lished in December last, there has been much difficulty in the prompt execution of orders, and many of those who were anxious to obtain copies of the first edition have been unavoid- ably disappointed. The second edition is exhausted. A third edition is ready, and all orders can now be promptly executed. Last month, at Glasgow, Mr. William Miles gave the fourth of his recitals from the poetical works of Mr. Mackenzie Bell. Like its pre- decessors, the recital was well attended and successful. Mr. Clifford King has had the satisfaction, rare for a writer of verse, of seeing his **Poems’’ (Messrs. Kegan Paul, Trench, Triibner & Co.) run into a fourth edition. Mr. E. Hamilton Moore’s ‘“‘ An Idyll and Other Poems,” published by Messrs. Melrose, is a collection very varied, both in subject and in manner of treatment. The principal feature is a series of octosyllabic verses in sonnet form. Mr. H. Osmond Anderton’s ‘‘ The Song of Alfred” (Messrs. Constable) is an epic dedi- cated ‘To All the Folk of All the Britains,” and tells in ballad measure the story of the first true King of England. Miss Josephine Rowe subdivides her “Poems”? (Messrs. Lynwood & Co.) under the heads of Irish Lays and Lyrics, Poems of Human Nature, London Lays, Poems of Passion, Poems for Children, and Poems of Nature. One or two have already appeared serially. Miss Gertrude Robins’s collection of plays, ‘Makeshifts and Realities,’ has been pub- 167 lished in a fourth and revised edition by Mr. Werner Laurie at 1s. net. ‘* A Woman of Imagination” is a four-act play, written by Lloyd St. Clair and privately printéd. It deals with the influence of a young woman upon her surroundings—which include a middle-aged, money-making husband. In “ Living Music’ Mr. Herbert Antcliffe endeavours to indicate the main currents of modern music (in its more serious aspects), while disclaiming any intention of providing a complete guide to the tendencies and in- fluences now at work. In small compass the author covers a great deal of ground, and the volume is a worthy addition to the Joseph Williams Series of handbooks on music. We note that in The Churchman for January Mr. Antcliffe had an article on ‘ Congrega- tional Singing,’ and in the February West- minster Review one on Franz Liszt. Miss Josephine Riley’s ‘‘ Notes of Lessons on Pattern Drafting’ (Sir Isaac Pitman & Sons) is a volume with numerous plates, addressed to the Schools of the Dominions, and dealing with the teaching of needlework. Generally speaking, the book includes lessons in pattern-drafting and cutting-out, graduated for all classes. The author aims at presenting a recognised system which, correlated with art, can be earried from class to class; based on the latest requirements of the Board of Education. Last month was published. by Messrs. Methuen, ‘‘ Health through Diet,’”’ by Kenneth G. Weis, L.A.C.P. Lond, M.B.CS5. Eng., with the advice and assistance of Alexander Haig, M.A., M.D. The sub-title of the book shows that it is ‘‘a practical guide to the uric-acid-free diet, founded on eighteen years of personal experience.” Mr. E. J. Solano edits ‘‘ The Imperial Army Series of Training Manuals,’ written by officers of the regular Army, and published by Mr. John Murray, at 1s. each. Of these manuals, four have been issued, on Physical Training (senior and junior courses), Drill and Field Training, and Signalling; and others are announced on Musketry, Field Engineering, Camp Training, and First Aid. Those who have read Mr. Jeffery Farnol’s “The Broad Highway ” will welcome an illus- trated edition at the price of 10s. 6d. The illustrations are by G. E. Brock, and the book will make a sound present. Yet another monthly review is on the market at the moderate price of 1s. net. The English Review was the first. Now the British Review follows; does it intend to outstrip its rival ? 168 In the prospectus it is stated, “ The outlook will be imperial ; whilst all sides will be given impartial hearing, combined with fearless candour in proclaiming facts. Literature and criticism will be treated from the newest stand- points.” This latter statement is reassuring, for the present treatment of literature and criticism needs some revision. Mr. Eveleigh Nash published last month a volume by Clare Jerroldon “ The Married Life of Queen Victoria,” in which both the Queen and her Consort are shown “according to contemporary information and impressions, rather than in the purely and impossibly idealistic way of the various lives written upon them.” Professor Geddes has written, ‘‘ The Masque of lLearning’’—a medieval and modern pageant of education throughout the ages. which is to be produced in the Great Hall of the University of London on the evenings of March 11, 12, 18, 14 and 15, under the general direction and stage managership of Mrs. Percy Dearmer. Tickets may be obtained of Messrs. Chappell & Co., and of the Masque Secretary, Crosby Hall, Chelsea. We regret that, owing to an oversight, we omitted to mention a book published last summer by Mr. Allen Fea, through Mr. Eveleigh Nash. It was entitled ‘‘ Old World Places,” and treated principally of the Mid- lands and the Fen Country. There were fifty illustrations to the work. DramarTIc. On January 24, at the Abbey Theatre Dublin, Mr. Sidney Paternoster’s play, “‘ The Dean of St. Patrick’s,’’ was produced for the first time, the Abbey No. 2 Company making a very good show in it. The aspect of Jonathan Swift which is presented in Mr. Paternoster’s work is the romantic Dean, the lover of Stella and Vanessa; and the story is made to end with the bringing of the news of Stella’s death to the broken-down wreck that once was so imposing a figure. The playwright has been very ambitious in his attempt to put Swift upon the stage, but he met with more than a small measure of success, whether or not his play is destined to be seen in London one day. In Mr. Jerome K. Jerome’s ‘“‘ Esther Cast- ways,” at the Prince of Wales’s Theatre, Miss Marie Tempest made a notable hit, and if the author cannot be said to have used a very novel theme, he certainly has worked out his plot in a manner calculated to show off his THE AUTHOR. leading lady to excellent advantage, and provided visitors to the Prince of Wales’s, with a good evening’s entertainment. a Mr. Edward Knoblauch, in collaboration with Mr. Wilfred Coleby, and with the assist- — ance of Mr. Cyril Maude in the title rile, has — tickled London with ‘‘ The Headmaster,” and — the only grievance which one can bring ~ against all concerned in the production is that the spectator at the Playhouse cannot make _ up his mind whether he is witnessing a farce or an idyll. But, whichever it is, it is vastly attractive, and has already added another to Mr. Knoblauch’s successes as a collaborator. Mr. Stanley Houghton’s “‘ Trust the People” _ was produced at the Garrick Theatre on ~ February 6, and within a few days we heard ~ that the Chancellor of the Exchequer had been — to see it, while the Speaker and the Colonial — Secretary had written to the author to con- — gratulate him on the success of the electioneer- _ ing scenes in the play. The leading part, the man of the people, who has risen to be Cabinet — Minister, was played by Mr. Arthur Bourchier. — Mr. H. V. Esmond produced his three-act — comedy, ‘‘ Eliza Comes to Stay,” at the — Criterion Theatre, on February 12, the Eliza — being Miss Eva Moore (Mrs. Esmond), and the — author playing hero. A capital start was ~ made, and, to judge by the first week’s houses, — a prosperous career seems in store for the play. — Mr. William Archer’s version of Ibsen’s — great historical drama, known in this country — as ‘‘ The Pretenders,’ met with a genuine — artistic triumph at the Haymarket on February 13. At the Comedy Theatre on February 15, ~ ““Lady Noggs, Peeress,’’ an adaptation by Miss Cicely Hamilton, from Mr. Edgar Jepson’s © novel of that name, was presented for the first time to a sympathetic audience. : Mr. Basil Gill has recently accepted a play, — which Mr. Tighe has written in collaboration - with Mr. Cecil Rose, and hopes to produce it — at an early date. a A new comedy entitled ‘‘ Her side of the House,”’ by Mr. Letchmere Worrall and Miss — Atté Hall, has been put into rehearsal at the © Aldwych, and will be produced on March 4. The Theatre in Eyre gave two performances on January 31 at Crosby Hall, More's” Garden, Chelsea Embankment, the selected pieces being “‘ The Veil of Happiness,’’ trans- — lated from the French of M. Georges Clemenceau (ex-Premier of France), ane ‘*Home from the Ball ’’—according to th Times report, “‘a quite charming little fane by Edith Lyttelton.” THE AUTHOR. PARIS NOTES. 2 ee ry E que demande la Cité,” is a little : ) 2 volume containing twenty causeries, by M. Raymond Poincaré. The .vesf President of the Republic informs the young sen men of to-day what their country expects of od them, and explains to them the working of ‘sev French social life. It is a book to be read “1 9% by Frenchmen and foreigners alike, for in it . a4 the author explains clearly much that should _4 « be known concerning the State, the Constitu- ‘act tion, the President of the Republic, the Minis- vt ters, the Chamber of Deputies, the Senate, ed the Budget, Taxes and Military Service. e4 No one is better qualified for giving this ‘sola information than M. Raymond Poincaré. ~ 6H He was elected Deputé at the age of twenty- “ove. seven, Minister of Education when thirty-two, ed) then Minister of Finances, Senator, Rappor- / 9) teur Général du Budget. He has been a Member 4 i, of the French Academy for some years, and ee was elected President of the Conseil des #iailf Ministres in 1912, and President of the French 99%) Republic in 1913. T ‘The book of the month, which everyone ef 4) is now reading is “La Mort,” by Maurice $58M Maeterlinck. It came out some little time # 02) ago as a serial, and now that it is in volume ma) form it promises to be as much read as “The Treasure of the Humble.” ‘Ta Maison brile,’? by Paul Margueritte, is another of the clever novels by this author, the theme of which is the question of divorce. In “ Les Fabrecé ” we had an excellent example of solidarity, and saw all the members of the family sacrificing their own interests for th> general good. In “La Maison brile,’’ the husband is unhappily married, but, for the sake of his two children, he will not repudiate his wife. Finally, in order to marry again, he decides to ask for a divorce, but his wife will not consent to this, until she finds it is to her interest. The story is an interesting one and is cleverly handled. “Les Sables mouvants,’’ by Collette Yver, is another novel by the author of “‘ Princesses de Science.” Most of this writer’s books are written with some special purpose. In this one a curious psychological study is given to us, but the book is too crowded. ‘There is matter enough for two or three stories con- tained in one. “Le Duc Rollon,” by Léon de Tinseau, is a story which opens in the year 2000 and the scene is laid in Washington. The book is a curious one and not at all in the usual style of this author. 169 “ Pernette en Escapade” is a distinctly adventurous story by Charles Foley. Per- nette, as the title indicates, is one of the emancipated. She goes as far as she can in her adventure, and the situation becomes dramatic. The story is told in a_ bright, amusing way. La Fontaine has been very much in vogue this winter. M. Faguet has been lecturing on him, and M. Louis Roche gives a most interesting ‘volume entitled “‘ La Vie de Jean de La Fontaine.’”’ We have a full account of him as a child, and as a man, and, after reading this book, much that had seemed almost incomprehensible in his life is explained. “Au Chevet de la Turquie,’ by Stephane Lauzanne, is an account of a recent journey to Constantinople. The author had forty days’ experience of the struggles of a dying Empire. ‘De la Plata a la Cordillére des Andes ”’ is the title of Jules Huret’s second volume on the Argentine. No better guide than M. Huret exists for the exploration of foreign countries. In the books he has written on America and Germany we are accustomed to strict impartiality and accurate information. He is a conscientious writer and a keen observer, and, while preparing his books he does not neglect the one essential thing for the subject he has undertaken, namely, to study it himself before writing on it, and this study, for M. Huret, usually means long months of exile in the country about which he intends to write. As a result of this thoroughness, the books he gives us are trustworthy documents, which will remain as landmarks in the history of nations, supplying information as_ to the physical, political, and human aspects of the countries described. “ [’Kpitre au fils de loup,” by Bahiou ‘lah, the founder of Bahaism, has been translated from the Persian into French by M. Hippolyte Dreyfus. “Le Fils de Loup,”’ was the name given to the High Priest of Ispahan, on account of his cruelty. Under the form of an open letter, Bahiou’llih explains to him the object of his mission, and reminds him of the chief events of his troubled life. It was the last work written by this prophet of a religion which claims to embrace all religions (as the keynote to Bahaism is universal fraternity). In 1892, Bahiou’llah died at St. Jean d’Acre. There is a fairly large group now in Paris of disciples of this prophet, and the members of the group are of all nationalities. “‘ Saynetes et Farces ”’ is the title of a little volume by M. Maurice Bouchor, which will be of great service for amateur theatricals. 170 “ Alfred Tennyson,” by M. Frédéric Choisy, is a remarkable study of the works and per- sonality of the English Poet Laureate. The author's object is to give the French reader a clearer idea than he has hitherto had of a poet who is comparatively little known in France. Among the more interesting articles in the Reviews lately are the following ones in the Revue hebdomadaire, “‘ Les Effets d’une Per- sécution sur la Vie d’une Eglise,” by Georges Goyau; “Un Lorrain (M. Raymond Poin- caré),’’ by M. Louis Madelin, and in the Figaro an excellent article by André Beaunier on “ Pere et Fils,” the translation of “ Father and Son,” by Edmund Gosse. We learn with great pleasure that Brazil has now decided to join the Berne Convention. The late M. Edouard Sauvel was largely instrumental in bringing this about. He was seconded by M. de Lalande, French Minister in Rio, and thanks are due to the Senator Guanabara for presenting the proposition to the Brazilian Congress and getting the Bill through within a year. A curious legal case has just been tried in Italy. Sardou’s play, ‘“* Fédora,” was given in Paris in 1882, but was not published in France until 1908. In 1883 Sardou authorised M. Bersezio to put on the stage an Italian translation of ‘“ Fédora.” The drama was printed and published in Italian in 1892 by Messrs. Treves. In 1889 Bersezio retroceded his rights to Sardou, and after Sardou’s death, his heirs transferred the Italian rights in “Fédora”’ to M. Riceardi for a period of twenty-five years, dating from January 1, 1910. In August, 1911, M. Lombardi put on Bersezio’s translation in Rome, at the Adriano Theatre. M. Riccardi claimed an indemnity. The case was tried, and the verdict was in favour of M. Riccardi. M. Lombardi claimed that ‘‘ Fédora’’ was in the domaine public, and that, by virtue of other special laws, he had a right to use this translation of Bersezio’s. The case was brought before a higher court. By virtue of the law of 1882, the Court maintained that Bersezio, having fulfilled all the formalities necessary, and then having retroceded his rights to Sardou, and M. Riccardi, having arranged with the heirs of Sardou, he alone had the right to use the translation in question. M. Lom- bardi has, therefore, lost his case. Maurice Donnay’s play, in four acts, ‘* Les Eclaireuses,’’ has been, and still is, a great success at the Comédie Marigny. At the Vaudeville, Sacha Guitry’s play, THE AUTHOR. > ‘La Prise de Berg-op-Zomm,’ bill. ‘“‘La Femme Seule,” is being given at the Gymnase, and at the Variétés, “‘ L’Habit vert,” a comedy in four acts, by M.M. Robert de Flers and Gaston A de Caillavet. is still on the > Autys HALLARD. “Ce que demande la Cité.” “La Mort.” (Fasquelle.) “La Maison brile.” (Plon.) “ Les Sables mouvants.” (Calmann-Lévy.) “Le Duc Rollon.” (Calmann-Levy.) “Pernette en Escapade.”’ (Tallandier.) “La Vie de Jean de La Fontaine.” (Perrin.) ** Au Chevet de la Turquie.” (Fayard.) “ De la Plata 4 la Cordillére des Andes.” “ L’Epitre au fils du loup.” (Hachette.) (Fasquelle.) (H. Champion.) THE COLONIAL BOOK TRADE. i? is very flattering to The Author to know that its renown has gone round the world and back again. Towards the end of last year certain articles were published in its columns dealing with Colonial copyright. One of these was re-published in the enterprising periodical known as the Publishers’ Weekly in the United States. This got into the hands of the editor of a periodical called The Bookfellow, published in Sydney, Australia, and the editor has devoted some two pages to traversing the statements made in the article that originally appeared in The Author. He begins by denying the following statement that ‘‘ English works—in comparison with American—do not get a fair circulation on the Colonial markets.” In answer to that he states as follows :— “* Speaking for Australia and New Zealand, this is untrue ; every bookseller will agree with us that this is untrue ; statistics will prove it to be untrue. Look at the contrast between Australian imports from Great Britain—value in 1911 £618,043 ; and from America—value 1911 £53,668. ‘Works’ means general literature; and nearly all general literature that we sell is published in Great Britain. Tf what is meant (but not said) is fiction, the statement is still untrue; English novels in comparison with American do get a fair circulation on the Australian market. They get the lion’s share of the circulation; there is no doubt whatever about that.” We are very glad to print this statement, but still wonderful stories are told of the energy and push of the American book agent. The editor then turns from general literature to novels, thinking apparently that the Society of Authors and The Author represent writers of fiction only, and he gives some facts about the Australian book trade that are worth reprinting :— THE AUTHOR. “ A bookseller usually has to leave the first purchase of books to his London agent—simply because most books cannot be shown round at the Australian distance on or before publication. The bookseller himself remains an active controlling foree; he orders a likely seller in advance of publication, or if he gets insufficient stock of what looks a likely seller, he cables at once for a fresh supply. All the time he is on the look-out for steady sellers with the hope of a long run. Unluckily most English novels are not sellers—to our sorrow. They are worth about the number of copies the London agent sends ; and then ‘ it isn’t worth re-ordering.’ That isn’t the fault of the bookseller ; it’s the fault of the books.” He continues with a statement headed “‘ DIFFERENCE IN ‘ CoLoNIAL’ PUBLISHERS.” ‘Tt is quite correct to say that some London publishers are worth, for ‘ Colonial’ sale, a lot more to an author than are others. Some publishers simply drop their novels on the market ; if they sell, welland good ; if they don’t sell, the publisher makes his profit on the average. Others circulate a few review copies. Others really push every book with the aid of local agents; and these, we may modestly say, supplement agents’ visits to the trade— which, because of the vast extent of territory to cover, can only be made annually or semi-annually—by advertising to the trade in The Bookfellow. It stands to reason that these pushing publishers in relation to our trade are the best for authors who have an eye to ‘ Colonial royalties.’ The publisher who keeps his goods before trade and public all the time pushes many a languid or reluctant bookseller to purchase. Booksellers aren't infallible, and sometimes they turn down a book which, when it is pushed by the publisher, turns up trumps. So that, on this head, there is some truth in our author's complaint. But it is the business of his publisher, not of booksellers, to see that his book gets the fullest Australasian publicity. And if his publisher doesn’t do that, and he values his ‘ Colonial ’ royalties, the cure for his complaint is not to abuse the bookseller, but to change his publisher.” This latter paragraph certainly contains some valuable information for the benefit of the members of the Society. It now remains to discover, if possible, those publishers to whom the editor of The Bookfellow makes reference. But the statement on which all these articles have been written is still true, that the Colonial sales in proportion to the English sales are not as large as they should be. Colonials are better buyers of books because there are fewer and in some cases no lending libraries. The returns on the accounts should therefore show a better proportionate result. Why don’t they ? ——_—___-_+-—¢— DRAMATISATION OF NOVELS AND PUBLICATION OF PLAYS. + Important AMERICAN DECISIONS. HE Report of the Register of Copyrights in the United States for the vear 1911—1912 contains two important eases, which more particularly concern the 17i interests of British dramatic authors and novelists owing to the change in the law effected by the Copyright Act, 1911. Under the Act the public performance of a play is no longer equivalent to publication, and_ the novelist is given the exclusive right of dramatis- ing his novel. These changes in the law are very material to the American cases reported below, which were decided before the new Copyright Act came into operation. The question in the first case is one which may arise under the English law, namely, whether the manufacturer of films, for produc- tion by cinematograph of scenes taken from a novel, has infringed the copyright of the novelist, who has the exclusive right of dramatising his work. The second case calls attention to the fact that British authors resident in England are entitled to protection in respect of unpublished works by the common law in the United States ; while by the English Copyright Act the common law rights are abolished, and the statute gives no protection to American authors resident in the United States in respect of their unpublished works. The abrogation of the common law rights has a serious effect, since the public performance of a play no longer amounts to publication according to English law; and the so-called “ copyright performance ”’ of a play in England will not confer the statutory right which attaches to a published work. The American dramatist must print and publish his play in order to acquire statutory copyright in England, but the English dramatist is entitled to protection in the United States without publication. Karem Co. v. Harper Bros. This was an appeal by the Kalem Co. against an order restraining an infringement of the copyright in the novel “ Ben Hur” by the late Gen. Lew Wallace. The appellant com- pany were manufacturers of films, which were used in cinematograph reproductions, and they employed someone to read the novel and to write a description of certain scenes, which might be reproduced in cinematograph exhibi- tions. They took photographs of these scenes and manufactured films, which they advertised under the title ‘‘ Ben Hur.’’ They then sold the films, and public representations were given of these scenes in cinematograph exhibitions. It was contended that, as authors have the statutory right of dramatising their novels. the representation of the scenes, which was founded upon a dramatisation of the story, was an infringement of the author’s copyright. 172 On the other hand, it was urged on behalf of the appellant company that an attempt was being made to extend copyright to ideas, as distinguished from the words in which those ideas were clothed, and further that they had not infringed the copyright, because they did not exhibit the pictures, but merely made the films and sold them. The Court held that the novel was dramatised by what the appellants had done, for drama may be achieved by action as well as by speech. Action could tell a story, display all the most vivid relations between men, and depict every kind of human emotion, without the aid of a word. A novel might be drama- tised by pantomine, and it made no difference whether the effect was produced by living figures, or mechanical means, or reflection from a glass. The essence of the matter was not the mechanism employed, but that the spectators saw the incidents of the story or the story lived. Further, the appellants had invoked by advertisement the use of their films for dramatic reproduction of the story, and that was the purpose for which the films were made. If they did not contribute to the infringement it would be impossible to do so except by taking part in the final act. The appellants had infringed the copyright in the novel and the appeal was dismissed. FERRIS v. FROHMAN. In this appeal Mr. Ferris claimed the statutory copyright in the play entitled “ The Fatal Card,” by Mr. Haddon Chambers and Mr. B. C. Stephenson, who were British sub- jects resident in London at the time of its composition in 1894, The play was performed in London on September 6, 1894, and had not been copyrightea by the authors in the United States. Mr. Frohman acquired American rights under an agreement, and the play had been represented by him in the United States. Mr. George McFarlane made an adaptation of the play and assigned his rights to Mr. Ferris, who copyrighted it in August, 1900, and repre- sented it in the United States. The adapted play contained the essential features of the original play, though it differed in various details. On behalf of Mr. Frohman it was contended that, as the performance of the play in England was not publication, the authors had not lost their common law rights; and that it was not necessary to comply with the statutory provisions for the protection of the copyright. THE AUTHOR. Butit was argued that the English authors being domiciled in England were not entitled to common law rights in the United States, and that Mr. Ferris having copyrighted his adapta- tion of the play in America was the owner of the statutory copyright. The Court held that the authors of the “Fatal Card’? had a common law right of property and were entitled to protection against its unauthorised use in the United States. The common law right was not lost by public performance of the play, which was_ not equivalent to publication. The play had not been printed and published, and the statute did not deprive the authors of their common law right. The adaptation of the play was a piratical composition, and Mr. Ferris could not secure the fruits of piracy by copyrighting it under the statute. The judgment of the Supreme Court of Illinois, which had decided against the claim of Mr. Ferris, was affirmed. Haroitp Harpy. —_—_—__—_.——e____ RIGHTS IN UNPUBLISHED MANUSCRIPT. ++ CANADIAN Law SvIT. (Published by permission of the editor of the “* Publisher's Weekly,” U.S.A. LAWSUIT of considerable interest to both publishers and authors has just been decided by the High Court of Justice of Ontario. In effect, the case is a sequel to an earlier case which was fully re- ported in the Publishers’ Weekly of October 28, 1911. Briefly, an author, Dr. W. D. LeSueur, of Ottawa, was invited to prepare a life of William Lyon Mackenzie for the “ Makers of Canada” series, published by Morang & Co. Through the courtesy of the Mackenzie family, he was allowed access to a collection of papers and documents left by Mackenzie and, with the assistance of this material, compiled his biography. When his manuscript was sub- mitted, however, it was found that he had taken such a prejudiced view of the subject that it was deemed inadvisable to publish his work in the series, and another life was pre- pared in its place. Doubtless influenced by the Mackenzie family, Morang & Co. refused to return the manuscript to Dr. LeSueur. The latter sent back the money which had been paid him in the first instance and brought suit against the THE AUTHOR. ‘ide publishers for the recovery of his property. 4 The case was carried from court to court, and 22. was finally decided in favour of the plaintiff -~by the Supreme Court of Canada in October, “61911. The Court directed that Morang & Co. of should forthwith hand over the manuscript to 6 the author. 4 Following the return of the manuscript Mr. 5 £G. G. S. Lindsey, grandson of Mackenzie and 2m custodian of his papers, took steps to prevent ~ ej its publication by Dr. LeSueur. He brought ‘i suit against him to compel him to deliver up ii all extracts from and copies of any manu- “to, scripts, books, papers, writings, and docu- ‘gg; ments of every kind, obtained from the ‘sal Mackenzie collection, and to restrain him from i4gq publishing them or causing them to be pub- sei lished. This case has just been heard, and ) judgment in favour of the plaintiff delivered on idsl January 9. a ‘Tt seems to me clear,” said Mr. Justice @ Britton in rendering his decision, ‘* that the lq plaintiff (Lindsey) and the late Charles Lindsey q) (plaintiff's father) supposed that the defen- <6 dant (LeSueur) intended to write of William I Lyon Mackenzie as one of the men in Canadian sid history who can fairly be called, speaking "45 colloquially, as one of the ° Makers of Canada.’ 7% The conduct of the defendant and what he 2 said warranted the plaintiff and Charles uJ Lindsey in so thinking. I must find as a fact 4 that the defendant gave the plaintiff and 3 Charles Lindsey to understand that the views * and feclings of the defendant towards Mac- ed kenzie were friendly, and that his attitude in | presenting Mackenzie to the public was a fair °f@ one, that he had no bias against Mackenzie, ‘es and that-he had no feeling or opinion which »# would prevent him, as a writer, from truly 2#/@ presenting the facts and circumstances of 1 Mackenzie’s life and character. The defen- 4b dant, in my opinion, intended that the plaintiff bes and Charles Lindsey should believe as they vb. did in reference to defendant’s feeling and 46 attitude. - “At the time of defendant’s arrangement with the plaintiff, the defendant did hold strong views against Mackenzie. At that time the defendant intended to write the life of Mackenzie on other than conventional lines. ‘He intended to write of Mackenzie, not as one of the ‘ Makers of Canada,’ but as a ‘ puller- down,’ as was stated during the trial. “J am of the opinion, upon the evidence, that the defendant made use of the Mackenzie collection of books and papers other than was in accord with the understanding between him and the plaintiff and Charles Lindsey. 173 The use was made contrary to the wish, and contrary to what was known to be the wish, of the plaintiff's father. It is inconceivable upon the facts that either Charles Lindsey or the plaintiff would have permitted access to the Mackenzie papers had either known or supposed that such manuscript as the defen- dant produced would have resulted. It is plain to me that the defendant knew that he could not have obtained access to the collec- tion had he revealed his true feelings or declared his real intention. : ‘“No question of copyright is involved. It is a question of getting access to the house of another and using the property therein for personal purposes, different to what was con- sented to by the owner.” W. A.C. —_—_——_—_+—_>—_o—__—__ THE SORROWS OF A FREE-LANCE. —+—<—+— HIS subject has been tackled before, but every day competition gets keener, and the “‘ sorrows” greater; a few hints may help ‘‘ would-be ” writers. The free-lance offers something for sale, the supply of which far exceeds the demand ; no editor requires any free-lance, every free-lance requires some editor, what is more, requires many editors if he is to make a living with his pen. Strikingly uncommon, clever people compel attention—there is always room on the top—but these mostly are annexed by editors, becoming members of the staff of well-known papers, or their work is commissioned. They sueceed ; but they cease to be typical free- lances. Now, each person should ask himself, if he really has something to say, and if he is prepared to face obstacles and rebuffs, endless anxiety, and disappointments in order to say it. If he thinks he can make an easy living by free-lancing, he is much mistaken; it is quite possible for a free-lance to have contri- buted to over thirty publications, included among thenumber being Is. and 6d. magazines, and yet not make a net income of £40 a year. If anyone wishes, let him try and see for him- self whether the game is. worth the candle. The most important thing of all is for him to find out what the character of the paper is, and what the views of the editor are, also what regular contributors he has already working for him, and what subjects he has already dealt with. All this “scouting,” is very difficult, and constitutes the “via erucis ”” of * 174 whoever tramps Grub Street with something to sell. Advertisements increase daily, the staff does a good deal of the letterpress, agencies supply endless illustrations, topical subjects take up much space, so that it becomes hard for even a willing editor to squeeze in the work of a new free-lance, unless by doing so he believes he is enhancing the worth of the magazine he edits. It is a question of the survival of the fittest amongst the too numerous publications, the editor must make his paper pay, and is forced to snuff out all mediocrities from its pages. There are only three ways of reaching the powers that be :— 1st. Sending manuscripts by post. 2nd. Interviewing the editors. 3rd. Writing a_ preliminary suggestions. The first is the worst system. It is as easy to get MSS. sent at random, accepted for publication, as it is for a blindfolded man to hit a target ; only a crack shot succeeds. The second is arduous labour; for the editors have no time to spare, detest being interviewed, do not require contributions, and resent being cross-questioned as to what they do want. They look upon the person carrying a pile of manuscripts as.one generally looks at a hawker, sometimes with pity, generally with irritation. The third is, to my mind, the less thorny path ; if no answer is received, one can take it for granted that contributions are not required, or that what one offers is unsuitable; if any subject appeals to the editor, he is almost sure to ask for the article to be submitted to him ; it also has the advantage of placing twenty or thirty subjects before his notice. This could not be done ina brief interview ; and if method number (1) were adopted, it would entail a fearful postage expense to the author in manuscript and a fearful loss of time to the editor. If once a subject is asked for, a careful study of the style of the publication should be made by reading a few back numbers. An idea must be formed as to what class of people it eaters for; every paper caters for a different public. The same subject would have to be dealt with entirely differently, if meant for a ls. magazine, or a 3d. rag. But—and here the “‘ sorrows ”’ come in, if the article does get accepted, the author must wait and see when it gets published and how and when he gets paid for it; he will often have to send in his account or solicit payment repeatedly. When he receives a cheque in any other profession, letter with THE AUTHOR. his troubles would be at an end ; not so with th free-lance. At the back of the cheque he wil find: ‘All British rights,’ ‘* Copyright,’ ** Artist’s rights,’”’ “‘ All author’s rights,” “* Al rights,’ ‘‘ Serial rights,” and many mor assertions of “rights”? for which he has no bargained for, and which he only vaguel understands. If he signs the cheque he ma land himself into no end of trouble in th future ; if he does not sign, or alters the wordin of the cheque, he cannot get payment ; asserts himself, or in any way ruffles the editors, he never will be allowed to contribut to their papers again, so that he is hemmed in on every side. As matters now stand, the author is always at a disadvantage. Of course. a good agent could overcome all these difficul- ties, but where are “‘ good ”’ agents to be found ?. More often by going to them one only gets more sorrows. Be not deceived—financially free-lancing is a poor game against uneven odds; morally—well—to me at least, it has been very well worth while. A FREE-LANCE. ee MAGAZINE CONTENTS. — + Bookman. Charles Reade. By Lewis Melville. George Saintsbury. By Thomas Seccombe. A French Study of Chaucer. By W. H. Hudson. Bookman Gallery. Mr. Maurice Baring. By Robert Birkmyre. ENGLISH. Phoneties and Poetry. By Lascelles Abercrombie. Copyright and the Case of Coleridge Taylor. By Dr.8. Squire Sprigze. Under the Collar. FoRTNIGHTLY. Greek Drama: The Dance. By G. Warrett Cornish. The Aims and Dutiés of a National Theatre. NATIONAL. A Great Artist and his Little Richmond, K.C.B. The Early Years of Madame Royale. Critics. By Sir Wm. _ By Austin Dobson. - SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT,] e Front Page £4 0 0 Other Pages <6 O38 Halt of a Page ... «= 110-9 Quarter of a Page « O16 6 Highth of a Page ins ae ane ae Le 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 J. F. Be.mMont & Co., 29, Paternoster Square, London, B.C. ae THE AUTHOR. HOW TO USE THE SOCIETY. —— & VERY member has a right toask for and to receive HK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel's opinion without any cost to the member. Moreover. where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 9. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on bebalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9, The subscription to the Society is £1 1s. per annum, op £10 10s. for life membership. ————_—_+—_+___—_ WARNINGS TO THE PRODUCERS OF BOOKS. oo ERE are a few standing rules to be observed in an agreement, There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper vrice can be 175 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. : Il. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for * office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in 7he Author, 1¥. 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. Allother 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. Weare 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. —_——_—__+—__+—___—_ EVER sign an agreement without submitting it to the ce ges ~ N Secretary of the Society of Authors or some com- 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 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, dramatic contract for plays 176 (0.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts, Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. : (c.) Sale of performing right or of a licence to perform on the basis of royalties (2.c., fixed nightly fees). I'his method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5, Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable, ‘They should never be included in Hnglish 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. —— CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. —_— oe * RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. —-—~>——_______ WARNINGS TO MUSICAL COMPOSERS. —_——— + ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ee ee ge 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. ———_—+-9 + THE READING BRANCH. mga EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. ~~ e REMITTANCES. The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only. THE AUTHOR. COLLECTION BUREAU. ———+ up : i a Society undertakes to collect accounts and moneys T due to authors, composers and dramatists. : 1. Under contracts for the publication of their .2d70% works. © 2, Under contracts for the performance of their works a, Dae and amateur fees. . ae 3. Under the Compulsory Licence Clauses of the Copy- , right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments ;— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the mie office, the expenses are more than covered, the Committee ie 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. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ———_——__+ > CHANGE OF ADDRESS. —— > Ox and after March 1, 1913, the Society’s Offices will be at No. 1, Central Buildings, Tothill Street, Westminster, S.W. GENERAL NOTES. —— + CHANGE OF ADDRESS. Ow1nc to the great increase in the Society’s work, it has been necessary to remove into larger offices. On and after March 1, the Society—and its recent established Collection Bureau—will occupy rooms at No. I, Central Buildings, Tothill Street, Westminster, 5.W GENERAL MEETING. Tyr Annual General Meeting of the Society —notice of which, with the Annual Report for 1912, will be sent to all members and associates during the current month—will be held on Thursday, April 3, at 4.30, at the rooms of the Society of Arts, 18, John Street, Adelphi, W.C. Avuruors, DRAMATISTS, AND CHARITIES. Ir is a common experience of authors to receive requests for the contribution of gratui- 177 tous literary work, to be published in some annual or other production on behalf of charities. While we have nothing to urge against the charities for which these appeals are made, we do wish to suggest to authors that there are more direct and more advan- tageous ways of supporting a charity than by acceding to these requests. If the author is really interested in, and anxious to help the charity, it is far better that he should make a donation to its funds than that he should give gratuitous literary work to be published in an annual very often run by one man under no effective control. In the former ease, the author is reasonably sure of the charity getting the benefit of his benevolence, but in the latter he has no such guarantee. There are always expenses attaching to these projects, with the result not infrequently that very little is left for the cause for which the project was started. Moreover, it is not a good thing for the public to get accustomed to the fact that authors are in the habit of contributing literary work for nothing. Associated with this question of gratuitous contributions from authors to literary annuals is the question of the terms given by dramatic authors to amateur societies for the per- formances of their works. Dramatists are con- stantly being asked to consent toa reduction of fees on the ground that the performance is to be given for the benefit of some charity. Here, also, our advice to the dramatist is to refuse the request, but to send a donation direct to the charity. By adopting this course he will be sure of the charity getting the full contribution, and will have the satisfaction of knowing that he is not lowering the standard rate for his work. $$ ——__—_ THE JUMP OF THE CAT. —-——— > a letter which, at the request of Mr. John Long, Manager of Messrs. John Long, Ltd., was published in The Author for Feb- ruary, 1913, the following statement occurs :-— “Phere is no bigger gamble in the commercial world than publishing as, after all, it is really a toss of the coin which way the cat will jump.” It seems, however, that we need not toss the coin, because it is quite clear from the beginning which way the cat will jump. The quadruped, however agile, can only jump one way, while the other ways are fenced off. LD 17% The following proposal from Messrs. John Long, Ltd., was placed before a member of the Society, whose leave we have for its reproduction :— [copy.] 12, 13 & 14 Norris STREET, Joux Lone, Limirep, HAYMARKET, Publishers. Lonpon. 15th May, 1912. DEAR ,—I have received my reader’s report on this and, on the whole, it may be considered favourable. The MS., however, would have to be revised in parts where you are too profuse. This could be dealt with later on. You have not yet that hold on the public as would induce me to advise my firm to undertake the entire risk in publishing the book; therefore, we could only entertain publication conditional to your contributing towards the expenses. Authors now-a-days must have a sufficient public to warrant a publisher running the whole risk in producing and publishing his work. With regard to the amount you should contribute towards th expenses. We should mention that, if you can give u a really good book and will at the same time sink £500, we feel sure we can ensure a permanent demand for all you write. It would be a good and sound invest- ment and one which we feel sure you would not regret. With respect to this £500. The integral portion of it would be spent in advertising, and a handsome royalty would be paid to you on all sales. If you think well of the suggestion, we shall be pleased to lay before you the whole scheme. We feel certain you can write, and there is no reason why you should not gain a footing, but at the same time you must be prepared for a fair outlay in order to secure a sound literary foundation. Very truly yours, (Signed) Joun Lone. On receipt of this proposal, the author, for whom Messrs. John Long had already pub- lished one book, enquired for further details, to which request the following letter is a reply. An alternative scheme was also submitted, but the one which follows was especially advocated :— [cory.] 12, 13 & 14 Norris StREET, JoHN Lone, LIMITED, HaAyYMARKET, Publishers. Lonpon. 30th May, 1912. DEAR ,—I have your letter of the 24th inst. and now set forth the alternative terms upon which my firm is prepared to publish the above : (1) That you pay to us the sum of £500 (£250 when you sign the agreement and £250 when the work is in type) in consideration of which we should produce the book in the best style, publish at the outset at the nominal price of 6s. per copy, advertise in the leading London, Provincial and possible Irish newspapers to a sum not less than £400 (full details of the expenditure of which would in due course be submitted to you) and pay to you every six months the following royalties :— (a) 1s. 6d. per copy on all sales of the English 6s. edition. (6) 3d. per copy on all sales of the special cheap colonial edition. (c) 74 per cent. of the nominal published price on all sales of any other cheap edition or editions. THE AUTHOR. (d) 75 per cent of the net profits derived from any sale of the American copyright. (e) 75 per cent. of the net profits derived from any sale of the foreign rights. : (f) 75 per cent. of the net profits derived from any sale of the serial rights. In the event of your accepting these terms, it must be understood that we have the first refusal of the next srx new novels you MAy write suitable for publication in 6s. volume form. Should we accept one or all of them, it or they would be published at our entire expense, we paying to you royalties as over :— (a) 20 per cent. of the nominal published price on all : copies sold of the English 6s. edition. (b) 3d. per copy on all sales of the special cheap colonial edition. (c) 10 per cent. of the nominal published price on all sales of any other cheap edition or editions. (d) 50 per cent. of the net profits derived from any sale of the American copyright. (e) 50 per cent. of the net profits dervied from any sale of the foreign rights. (f) 50 per cent. of the net profits derived from any sale of the serial rights . .. Very truly yours, (Signed) Joun Lona. Now, what do the terms of this proposal amount to ? Suppose 1,500 copies of the book to be printed at the outset, and 1,000 copies to sell. The publisher will then obtain :— zs Profit on cost of production (put at £100). : : ge 8 1,000 copies at 1s. 9d. (1s. 6d. per copy going to the author). 87 10 £117 10 In addition to this solid pecuniary gain, the firm obtains the enormous advantage pro- vided by the author’s expenditure of £400 in advertising. Such advertising would be sure to bring to the publisher’s firm a reputation among new writers unfamiliar with the con- ditions which produced it. It is true that the publisher denies that he gets from the trade as much as 3s. 3d. a copy, but it may be taken for granted that this figure is correct and represents a fair average price all through. The result, then, on the sale of the first 1,000 copies, is to give to the publisher a profit of £117 10s. without in- volving him in any risk, and to the author, who receives ls. 6d. a copy, a loss of £425. The cat is jumping the publisher’s way. Take the matter a little further. 3,000 copies, or, say, 3,300, to cover odd copies, are printed and 3,000 sold. It is possible, then, that the cost of produe- tion may over-run the £100 in the publisher’s hands by £20. That is, that it may cost £120 to produce an edition of 3,000. THE AUTHOR. SS. On 3,000 copies at 1s. 9d. (the author still taking 1s. 6d.) will produce for the publisher Less £20 balance cost of pro- duction : : : 262 10 20 (0 £242 10 It may be as well to add that £120 leaves a 6: good margin for the cost of such an edition. i The result to the publisher is a total profit i of £242 10s., and an enormous advertisement “o) for his firm. The author, on the other hand, will have i made :— Cost of production and advertise- £ ment - : ‘ ‘ 5 3,000 copies at 1s. 6d. . . 2 Loss : 3 i Therefore, the comparative result will be :— g Profit to publisher . : , 242-10 Loss to the author . ; ~ 275-0 The obstinate cat still jumps the publisher’s Sway. It is really unnecessary to + tration further, for it is evident that the carry the illus- publisher, as he is getting for every copy a clear profit of 1s. 9d. (less only the excess cost of production beyond £100), whereas the author, after paying £500 in the first instance, | is getting 1s. 6d., the publisher, meanwhile, , deriving, in addition, both with the public and + with certain kinds of journals, all the benefit © to his firm of wide advertisement paid by the @ author. The author, having diagnosed the jumping proclivities of the cat, refused this proposal, but after some months, the following letter the publishers — [copy.] 12, 13 & 14 Norris STREET, HayMARKET, LoNnDON. 9th December, 1912. DEAR .—The sales of were not sufficiently encouraging to warrant our undertaking the entire expenses of placing this work effectively on the market : therefore, before handing it to our reader for his approval, we shall be glad to know whether you are prepared to contribute towards the expenses, and in that event what amount? I fear your last book, publshed by us, suffered through the smallness of your contribution, necessitating our moving cautiously with the advertising : moreover, the appearance of another work of yours about the same time militated against its success. In the event, therefore, of our approving the above, and you are prepared Joun Lone, LimiveD, Publishers. in respect of another work was received from - 179 to put up money, it would go forth under the _ best auspices. Awaiting your reply. Very truly yours, (Signed) Joun Lone. The author, by this time, a good judge of cat athletics, refused to put up any money, when Messrs John Long & Co. wrote the follo wing letter — [copy.] 12, 13 & 14 Norris STREET, HAYMARKET, Lonpon. 18th December, 1912. DEAR ,—I have your letter of the 16th inst., and regret to find you have not sufficient faith in your own work to be willing to contribute towards the expenses of publication : consequently, I have no alternative than to return the above to you which I do herewith, registered. T shall be glad if you will acknowledge the receipt of the MS. The output of fiction nowadays is such that unless an author is prepared to contribute handsomely towards production, publication, advertising, etc., he stands but a poor chance of gaining the public ear. Any new author who can write good sterling stuff of the popular sort, and is prepared to sink say £500 in his first and second books, would be assured of a permanent public for practically all time. I think the days have gone when merit is recognised without the aid of capital. Personally, were I an author and felt I could produce work of the popular order, and could put up a few hundred pounds, I should not hesitate for a moment to place my work with an up-to-date publisher and entrust to him the publication of all I might write, thereby ensuring that he would naturally take an interest in me. Very truly yours, (Signed) Joun Lone. We have published these letters as a warning to our members. We beg them to read all the advice given in the letter from Messrs. John Long, Ltd., of December 18, 1912, carefully, and act with equal care in a directly opposite sense. We strongly advise them not to put up a few hundred pounds,” in the belief that booming the publisher and themselves will have any solid result. We urge them on no account to entrust to the publisher the pub- lication of all that they may write. JoHn Lone, LimitEep, Publishers. ~—>—+ THE LETTERS OF AN ORDINARY AUTHOR. Collected and edited by Joun HasLetre. Mains CorTraGE, SANTOLLER, Bucks. To H. Venables, Esq. My Dear Harry,—lI see in your letter, which has just come to me, the replica of your- self—short but cheery. You tell me that you 180 feel very fit. I never doubted it, and never shall. You are one of those happy people born fit, and when you come to die—the sense of infinity makes me reckless—you will be fit for it. I have not the same luck, but, thank heaven, I am not of those who feel a grudge against the possessor of “‘ rude health.” I can understand the point of view, but it is not mine. But why, oh why! does your letter tail off with that ghastly phrase, simply reeking of commerce? You ask, ‘‘ How is business ? ” Do you not find that the dentist, the architect, even the art photographer, resents any refer- ence to business. Customers must be clients, and we are all artists nowadays. I forgive you, but the point rankles. Our craft, in its vocal form, before it found its profits curtailed by the demands of the paper manufacturer and the printer, is the oldest on earth. It antedated music, I believe, with the possible exception of the sinfonia domestica; in point of time it had (as our American cousins would say) painting ‘“‘ beat to a frazzle.’”” Beware then of the irritable artistic temperament, which demands a sense of reverence in other people. I should much like an explanation of the idea fixed in the mind of the average person— that author of the party system, and the cult of the conventionally unconventional, and other absurd things. The beginner venturing on the realms of music must have gold galore poured into the palms of teachers, conserva- toires and instrument makers; he must devote years to the study of his art, and hours per diem to the practice thereof. The painter must move from the class where he is taught to make straight lines, through the dreary paths that wind about the immobile antique, to the wider freedom of the life-class, before he can paint—and then sometimes he cannot paint ! But the writer is supposed to spring full-armed into being, his only tools a pen and some paper, with the possible addition of a dictionary. With these, without practice, in the course of a month, he is expected to produce master- works, books written in ‘clear, nervous English,”’ if the phrase means anything ; books which combine an ingenious and original plot with clever characterisation. Worse, he is supposed to sell these books, at the first offer, to a publisher whose first idea is to make money, and who has seen only too often the fervid dreams of young authors crystallise in disappointing sales, and a residue of unsaleable ** remainders.” The death of a first-born man-child may bring acute sorrow to the hearts of some; the achieve. THE AUTHOR. return of a first novel deals a shrewd blow to the unfortunate literary aspirant, but worse— more dreadful than any blow, is the remark of the candid friend. It has many variants, but the form is fixed. “YT think authorship is a very precarious career.” There you have it straight in the face. Like — the sufferer from toothache, the author need ~ never look for sympathy from his friends. When the public acclaims you, when your books sell by the oft-repeated edition, then you may be taken seriously. Never before. There is your dear old uncle, who says blandly, “Pleasant hobby—very. Keeps you’ occu- pied, you know!” Don’t we all dream of killing that uncle. and burying him in uncon- secrated ground. Precarious career, but useful as a hobby. Good heavens! Is the young doctor a man with a fixed and settled income? Can the dentist calculate his percentage of teeth? Are not music lessons retailed by very competent performers at fifteen shillings a term? Yet no one scoffs because you announce that you intend to enter these professions. On the contrary, you elevate your family by your resolve, you bring a breath of culture into a very ordinary household. As a lover of failures, I have adopted a medico, who has had, so far, no other patient. When speaking to him the other day, I asked him if his people ever grumbled at his delay in succeeding. He laughed, and said that they, of course, knew it took time to make a start, and he was prepared to hold out for three years at least. But we, poor authors, must build Rome in a day, or be scoffed at for incompetent workmen. The Hebrews were driven to make bricks without straw, but no one contended that their bricks were the equal of those which contained straw. This miracle we are expected to No wonder that we sometimes yearn for the taskmasters of Egypt, while we strive to please candid friends, sceptical publishers, and that weird body, the public. But you were asking about my work, and I have only developed grumbles. Let me see. Within the past month I have finished a novel. I think the idea is good; I am certain the plot is not original, but the treatment is, I hope, fresh. This manuscript cost me tenpence in - postage, which includes the necessary stamps for return if unsuitable. I have begun to keep accounts, my dear Harry, and for postage L ~ have allowed ten shillings! Why is this, you _ ask ? Well, I think it always better to discount misfortune. If the tenpences in ten shillings THE AUTHOR. succeed in wafting the manuscript to_book- form, I shall count them well spent. If they do not succeed, the half-sovereign shall serve for a gilded tombstone beneath which the battered relic may lie in peace. Since the departure of the Well-Beloved, I have written three short stories. Two went well from the beginning, but the third almost taught me to swear. These confounded maga- zine editors must be fanatical lovers of the “fair sex.” They demand with extraordinary unanimity that a woman should figure in every tale. Now, despite the sententious Frenchman, a woman does not. So you can imagine my despair when it becomes necessary to pitchfork a female into a place where she does not fit. But you spoke of work, and that, in the idea of one’s friends, does not mean output but successes. Apparently you do not work on the stories which fail to sell. Learn, then, that I have done one piece of work—i.e., sold a story—in two months. The editor of The Wherry must have felt expansive of mood. He offered me one pound per thousand words, which meant three pounds for the tale. And this for “‘ World Rights ” ! One good idea gone, and the noble sum of three pounds in hand ; the possible germ of a full-length novel bartered for sixty pieces of silver. But there was worse to come ! May pariah dogs sit on the grave of the editor of The Wherry! He wants me to alter the ending. He says my heroine is not womanly enough. I must make her womanly by cutting out all the art and all the originality of the story. He did not say so, but I do. I must make her fit in with the ridiculous pre- conceived ideas of a million fatuous people. For three pounds I must not only barter my idea, but also my artistic conscience. And I have done it. You, who know how much bacon and eggs are encompassed by sixty shillings, will understand and forgive me. Some day, when I am famous, the editor of The Wherry will send an emissary to beg me for a short story, and I shall kick that man off my doorstep. Meanwhile, I am muzzled. Write soon again, to enquire gently after my art. Good luck to you. Your friend, R. WYVERN. II. Mans CoTraGE, SANTOLLER, BUCKS. To Messrs. Spillikens and Feuilleton. Literary Agents. Dear Strs,—I have received your letter of yesterday’s date, informing me that the editor 181 of The Daily Craze has returned my serial story, as unsuited to the columns of his paper. Also, I note what you consider the weak points in the story. My difficulty is this: these points are the best bits of work in the tale, the most artistic, the most human. Iam afraid I cannot undertake to rewrite the story, as you suggest. It is a very difficult business to fit new cloth into old garments. You complain that the heroine does not occupy the limelight all the time. I agree with you, but I don’t see why she should. Then there is the question of a curtain for the first instalment. I never feel comfortable when composing such phrases as “A wild cry rang out” or “*Curse you, my children!’ he hissed,”’ but, having done it, I cannot see what more in gore and disaster the editors wish from me. : I must, I suppose, agree with you, that my writing lacks “* ginger.” I don’t affect judicial ignorance, but confess that I am not attracted by ginger. Itis avery nice thing in its own place, no doubt, but hardly claims a place in literature. Of course, I quite understand that you are doing your best to advise me, with a view to increasing the saleability of my work. I have to thank you for many a useful hint. But there are some things I cannot do, and writing ultra-sensa- tionalism while my tongue is out of my cheek is one of those things. Let a story have a plot by all means, but don’t let the plot engulf and destroy the story. I wish I could get some editors to believe that the best policy. Please try my serial with the Morning View, which seems to publish a better class of stuff, and I will try to do another serial on the lines you suggest. Herewith I am sending you three short stories. Two are all right ; the third is—well, it is possible. I hope you will be able to screw a little more out of the editor of The Wherry next time. If one gets into the pound-per-thousand-word groove, it is very difficult to get out of it. The firm have plenty of cash at the back of them, and trade, I think, on the poverty of the beginner, who is afraid to refuse any offer for fear of having the manuscript returned. I suppose you have not heard yet about my novel? I know they must be pretty busy, but you might give them a look up, and see how the roots are getting on. ; I have an idea for a series of short stories. The hero is not a polished rogue, and he is not a private detective, so, perhaps, you may 182 think it a forlorn hope. But I intend to go on, and will let you have the M.S. in due course. Thanking you for your letter, I remain, Yours truly, R. WYVERN. oe THE “ SHORT STORY” WRITER. os AM anxious, and have been for some time, to say a few words in defence of that much maligned member of the literary fraternity, the “short story ’’ writer. I speak particularly of the hardworking journalist or magazine fiction writer, who has to augment his (or her) income, or possibly make it entirely, by what a certain section of people condemn either as “‘ piffle ”’ or, occasion- ally, as ‘‘ pernicious ”’ literature, but yet what the majority of the general public clamours for. I mean those who read the weekly periodicals. I finally made up my mind to write this article owing to a debate which I attended quite recently. The subject under discussion was “‘ Is Art for Art’s Sake a Worthy End for Human Endeavour?” The two gentlemen who carried on the argument were both intellectual men of much fluency and learning, and for some time the conversation was carried on a plane far above the heads of most of us. They attacked the question from what was termed the philosophical side. A third speaker, however, took a different tone, and brought the subject down to materialism and personalities; he tended to show that Art, by which in the ordinary sense I think we generally understand to mean music, literature, painting, sculpture, etc., could not, in the common interest of humanity. be carried on for it’s (Art’s) own sake. He said that before joining in the discussion he had obtained the opinion of many artists, writers, ete., and that the idea of following Art for Art’s sake had struck them as merely funny ! How could they exist? they asked. Were they not obliged, if they would live as worthy citizens, to keep themselves, their wives, and families, in comfort, and ‘“‘ owe no man any- thing.” Were they not compelled, if they wished to achieve this last, to cater for the general public, and give it what it asked, even though at times it went against their general inclinations ? Not one of these men had a private source of income—they were, therefore, dependent on their pen, or brush, to provide them with the necessaries of life. THE AUTHOR. The first two openers of the debate were frankly shocked at what they evidently thought a desecration of the muses, and the speaker who had descended to materialism (he is a “short story’ writer and spoke feelingly) got slated soundly. Now why ? I am aware that this is a much harried and grievous question amongst many, and that a great diversity of opinion exists. By a large number of deep readers and thinkers the magazines, penny papers, half- penny papers, and such like, are often con- demned as “pernicious” literature and regarded with contempt. I would defend these periodicals with all the ardour of which I am capable. Are they pernicious? Is their influence bad? Do they tend to cheapen Art? I don’t think so. I maintain that at no time and in no age has there been such a careful watch kept on the Press generally, on magazines, books, weekly and daily papers, in defence of their maintenance of a healthy and beneficial tone, and a condemnation of all that is unhealthy, immoral or bad, as there is now. All honour to those editors who run these papers, and who have themselves, in many instances, commenced their careers by free-lancing. The writers of these brief stories, or sketches, are often just beginning their career. They dream of great things! They hope for great things! But dreaming and hoping will not bring them glory, or fame, or pay for the necessaries of life. Many a young ambitious man would gladly prefer to set aside for ever the lighter vein, and the smaller things he is doing, and give himself up to his ideals, but he knows that those ideals may never reach fulfilment, and that it is his duty, as a citizen, very often as a father and husband, to do that. which comes easily to his hand, that brings grist to the mill. Let us suppose that we abolished the weekly ‘“‘ha’penny ”? which the drayman, the trades- man’s boy, and such like find of immense interest, and in which they follow up the stirring achievements of the professional foot- ballers, or cricketer, or detective, that they find between its pages. Supposing we did away for ever with the penny weeklies, the larger portion of which circulate in the middle classes, and a great many in the domestic servant circle. Should we tend to elevate the minds of the readers, and would they go for a higher form of literature because the lighter kind was beyond reach? No! I believe that the majority of them wouldn’t read at all. THE AUTHOR. Can we imagine the laundryman reading Thackeray, or the cook Shakespeare ? I give one instance which serves to show that the domestic class, at any rate, loves its “weekly,” and how useless it is to try to tear them from her. A maid of mine, who was with me for nearly two years, and who was intelligent and fond of reading, had the offer of the use of my library, a large one, com- prising all kinds of fiction. I also suggested a few books, not at all above her head, which I thought she would enjoy. During the two years that she was in my service, she borrowed one, and yet she spent money each week on literature of the penny order, and had a good deal of time during the evenings which she devoted to it. I think we must cater for minds on the lower plane as well as those on a higher. And if the lower and middle classes do enjoy, and do demand literature of the penny paper order, let us let them have it healthy, bright, clean, and amusing, with a good influence and motive pervading it. Such stories, I don’t care in what periodical they are issued, or how cheaply these periodicals are sold. must tend, to some small extent, to brighten those whose lives are often of the prosaic order, and both reader and writer will be the better, and not the worse, for having read and written them. After all, the greatest writers made small beginnings, and climbed the dizzy heights of suecess slowly and often laboriously. I would suggest a greater tolerance from those who claim to be judges of Art and Literature, and that they make themselves acquainted, by careful reading and observation, of those things which they too often condemn unheard and unobserved. Maup DOovuBELL. —ep-—<4e@ WRITERS’ AND ARTISTS YEAR BOOK.* —— G is a pleasure once more to give the warmest of welcomes to “‘ The Writers’ and Artists’ Year Book.” The volume for 1913 differs in no way from that for 1912. except in having been carefully brought up to date, and it ought not to be necessary to say anything about its contents, as the very great value of the work and its very small price, should secure its being in the hands of every writer and artist. In it may be easily dis- * & The Writers’ and Artists’ Year Book, 1913.” and Charles Black, London, 1s. nett. Adam 18% covered where work of any kind can be placed; and it is not an exaggeration to assert that if work is saleable, ‘‘ The Writers’ and Artists’ Year Book” will show where a purchaser is to be found. Eg A CHRISTMAS GARLAND.” a YOME DAY, when I grow rich enough, I Ss am going to have an original carica- ture of Max Beerbohm’s. In the meantime I know of a shop where I can buy reproductions fairly cheaply ; and also I have ‘A Christmas Garland.” One may not quote from it because one would never stop quoting ; one cannot choose, because there is so little to choose between the berries woven in it. Yet if one were to sub- tract from the list of seventeen those who most easily lend themselves as victims, Henry James, Rudyard Kipling, Maurice Hewlett and George Meredith, the three I would take from the remaining thirteen for my own everlasting joy would be Mr. A. C. Benson, Galsworthy, and perhaps George Moore, and having chosen, there is nothing left to do but to quote. Of Percy in ~ Out of Harm’s Way,” Mr. A. C. B*ns*n speaks so :— ** And then, once more in his rooms, with the curtains drawn and the candles lit, he would turn to his bookshelves and choose from among them some old book that he knew and loved, maybe some quite new book by that writer whose works were most dear to him, because in them he seemed always to know so precisely what the author would say next, and because he found in their fine-spun repetitions a singular repose, a sense of security, an earnest of calm and continuity, as though he were reading over again one of those wise copy- books that he had so loved in boyhood, or were listening to the sounds made on a piano by some modest, very conscientious young girl, with a pale red pig-tail, practising her scales, very gently, hour after hour, next door.” In “Endeavour,” Galsworthy is crowned with his own “ faint salt flowers.” One lives with him tremulous-nostrilled in an atmosphere of vague scents and emotions, fleeting and poignant. ‘Tere were the immediate scents of dry toast, of China tea, of napery fresh from the *« 4 Christmas Garland. Woven by Max Beerbohm.” Tondon: William Heinemann, 6s. 184 wash, together with that vague supersubtle scent that boiled eggs give out through their unbroken shells. And as a permanent base to these there was the scent of much-polished Chippendale and of beeswaxed. parquet and of Persian rugs. To-day, moreover, crowning the composition, was the delicate pungency of the holly that topped the Queen Anne mirror and the Mantegna prints. “. .. Just at that moment, heralded by a slight fragrance of old lace and of that peculiar, almost unseizable odour that uncut turquoises have, Mrs. Berridge appeared. ‘““* What is the matter, Adrian ?’ she asked quickly. She glanced sideways into the Queen Anne mirror, her hand fluttering, like a pale moth, to her hair, which she always wore braided in a fashion she had derived from Pollaiuolo’s St. Ursula.” Only one more, from Mr. Belloc :— *«« This, too, I shall sing, and other songs that are yet to write. In Pagham I shall sing them again, and again in Little Dewstead. In Hornside I shall re-write them, and at the Scythe and Turtle in Liphook (if I have patience) annotate them. At Selsey they will be very damnably in the way. and I don’t at all know what I shall do with them at Selscy.” The rest is all in the book, and one of the books is with me. For the writing of it I thank Mr. Max Beerbohm very gratefully, WINIFRED JAMES. SAPPHO AND THE ISLAND OF LESBOS.* 1 HIS dainty little volumne should be in the library of every woman of letters ; if for no other reason, for the sake of the woman whom all ages have acclaimed as the queen of poetesses, about whom every woman who writes ought to know something, and of whom there is hardly anything, if any- thing, known which is not here recorded ;_ but also, we would add, for this reason that there are herein contained many things which every woman of good taste will read with so great pleasure and advantage, that she will wish the book to be not only among those which she has read, but also one of those which she has always near her. In the opening chapters Dr. Mary Patrick sketches the times, the contemporaries, and * Mary Mills Patrick, Ph.D. “Sappho and the Island of Lesbos.” With twenty-six illustrations. Methuen & Co. THE AUTHOR. the home of Sappho, and then proceeds to record everything that is at present’ known about herself and her writings, not omitting to deal with the various foolish things that have been at different periods related, without foundation, respecting the poetess and her friends. That all that is known should be so little is to be regretted; but whatsoever is known at present will be here found faithfully and pleasantly recorded, as well as, at the con- clusion of the volume, scholarly English trans- lations of all the extant fragments of Sappho— including the very important ones that have been recently discovered. These translations will make the volume valuable to those who are able to read the originals, for, as Dr. Mary Patrick rightly observes, to seize the exact meaning of Sappho is often a puzzling problem, and the translations are very well done. By no means the least interesting features of the little book are the illustrations. They repre- sent not only landscapes suggestive of the scenes amidst which Sappho lived, but also all the portrait busts that are of importance, as well as the much older portraits that exist upon coins. The few notes which follow the concluding chapter (we think that we should have liked better to have had them as foot- notes) may not appear to everyone to be of much importance ; but, in justice to Dr. Mary Patrick, it should be remarked that, for classical scholars, they immensely enhance the value of this excellent little monograph. ———— CORRESPONDENCE. ee ‘“*SraGE CopyRIGHtT.” Sir,—While thanking you for your kind and appreciative review ‘of ‘‘ Stage Copyright : At Home and Abroad,” may I ask the indul- gence of your columns for a few lines of explana- tion on the two points on which you make some reservations. With regard to the first point you remark: ‘‘ The author draws attention to the fact that assignment of copyright in a literary, dramatic, or musical work includes the rights of mechanical reproduction, and that this fact is one to be borne in mind, especially by musical composers. He should have added equally, if not more so, by dramatists, for it is almost impossible to conceive what may be the result of kinematograph production in the future.” But the chapter in which the passage in question appears in the book is one devoted entirely to mechanical reproduction by means of musical contrivances; and this sort of THE AUTHOR. mechanical reproduction is not so important to dramatists as to musical composers. In the chapter on Infringement a statement that an unconditional assignment of Copyright in a play “passes” the kinematograph rights is expressly made. As to point No. 2, you say that it is difficult to agree with the statement in the preface that ‘perhaps not so much has been done for the dramatists as for other classes of author ’’ [in point of protection against infringement and piracy]. My chief but not my only reason for this opinion was the way in which the special requirements of dramatic copyright are sub- ordinated to those of literary copyright in Section 11 of the 1911 Act, relating to summary remedies. When the Bill was introduced in 1910, I ventured to point out that all specific mention of unauthorised performance of a dramatic work had been neglected in this section. The omission was afterwards dealt with, but only by means of a clumsy and in- adequate clause inserted in Section 11 (2). One cannot but feel that the section as a whole was drawn in the interests of copies in print, and while it has full practical point in that respect, it is very far from being what it should be had the interests of plays in representation been similarly studied. I am, Yours faithfully, BERNARD WELLER. i EprrortaL CouRTESY. I. Srr,—One has no difficulty in recognising _ the weekly review whose methods (?) of doing business are described in the February Author by “The Worm That Turned.’’ It is cele- brated as one of our leading periodicals, not only in politics but in literature. We have seen what this amounts to, from a contributor’s point of view: let us examine the matter, for a moment, from the subscriber’s. I wonder whether any subscriber, paying his 6d. a week for this paper, has ever asked himself the significance of the editorial notice to which “The Worm” refers: has ever asked himself, I mean, what the notice stands for in regard not to the writer, but to the public ? Here is the notice :—‘* We beg to state that we decline to return or to enter into any correspondence as to rejected communications ; and to this rule we can make no exception. 185 Manuscripts not acknowledged within four weeks are rejected.” Could such a naive confession of sheer inertia appear, in a literary journal, in any other country but this? For its interpretation is plain. The editor candidly admits that he not merely does not want to encourage new writers with new ideas to send their work to him, but positively wishes to discourage them. Let other papers be at the trouble and expense of finding new talent, he is not going to. When they have unearthed a new man, this editor may perhaps condescend to write and ask him to contribute, not till then. In other words, his subscribers will never, never if he can help it, get the privilege of the first introduction to anything novel in literature. How do the payers of sixpences view this frank proclamation that—whatever other journal secures the fresh—theirs is safe to miss it ? I am, etc., Warp Muir. ee ed I, Dear Sir,—I have been much interested in the letter of “*‘ The Worm That Turned ” in your February issue, interested with that bitter interest which comes of fellow sufferings. I am quite sure that the experiences he enumerates could be multiplied by the score and still their total remain untold. I write for’a large number of magazines and weekly papers, and I can count on the fingers of one hand the offices from which to expect any sort of business promptitude or ordinary consideration. The year is not very old, but I have already the usual tale of complaints against editors and their like :— (1) A well-known London daily has taken verse from me for some time. I invariably enclose stamps when sending, but for some unfathomable reason the editor suddenly refuses to return my MSS. or to accept them. I write in vain. Silence is my reply, and my only conclusion is that contributors’ stamps are used for the private correspondence of the staff. (2) I received an introduction to the manager of an important Press agency; at an inter- view in London he expressed himself willing to consider my work; such was sent in, I received answer that one story was too short, but that if I lengthened it, it would prove acceptable and I might send a Christmas tale 186 as well. I gasped at the meagreness of the terms offered, but imagined it might be well to accept with a view to better results in the future. I lengthened the old tale and sent another. Both were returned after con- siderable delay with not even an apology. (3) At an interview with the editor of a popular magazine interest was expressed in my work and MS. was left. I afterwards received it back, ‘‘ declined with thanks,” and unstamped. These are but a few of the vexations in- flicted upon contributors by the carelessness and discourtesy of editors, and I have no doubt that every writer can adduce the like from bitter experience. When editorial methods are only commonly business-like, writers will have much to be thankful for. May that day speedily arrive ! Yours faithfully, ScRITTA. CoLONIAL PUBLICATIONS. Srr,—Referring to the articles on “ Colonial Publication ” it would seem that only through the business capacity of American publishers do English books obtain a fair circulation in the Dominions. To uphold our patriotism, it is suggested that Colonial publishers of energy should make direct contracts with English authors, if English publishers continue to show a supine indifference to general business interests. Some time ago I tried to arrange for the publication of a small book in Canada with a well-known publishing firm, recommended to me by a Canadian friend in a collateral line of business. My little book was not a sentimental novel or one likely to have a large or perhaps any appreciable circulation, but for special reasons I wished it to be published in Canada even if it failed. I wrote, therefore, a purely business letter describing the subject, asking the firm if they were willing to publish it, and if so on what terms. To this I received no answer. Think- ing that the letter might have gone astray, I wrote again, registering this and enclosing money for a registered reply. No answer has ever come. The firm have evidently not had the courtesy or enterprise to attend to an ordinary business matter. Anyone can see how such delay might be fatal to much hard work. THE AUTHOR. It so happens that it would not suit me to employ an American publisher. What is to be done ? There is also the question of the correction of proofs to be considered. How is this to be arranged at a great distance? How, too, if proof correction is left to the publisher, is an author to be certain that an American or Colonial compositor will not disfigure his book with American spelling? How, also, is the author to know what number of copies of his book may have been sold ? Publishers are not in business, one would imagine, for the fun of the thing, nor do they hire offices to have a pleasant place in whic to write letters or read MSS. ‘ It would seem that old mercantile methods —on the take-it-or-leave-it principle—are still at the bottom of many a publisher’s want of enterprise. Neither an American nor a German business man waits to have his mouth opened to receive a lollipop. He seeks to adapt himself to circumstances and does not despise small things, knowing that the general turnover at the year’s end is what he must keep his eye on. If a man has anything to sell, it is surely in his interest to find buyers, learn their wants, and create in them a desire for his goods, be they books or sugar. For this reason an ‘ Authors’ Publishing Association’? on purely business principles might be of decided use to English writers. I am, etc., Co-OPERATIVE PUBLISHING. S1r,—With reference to the letter on this subject in the January Author, I am entirely in accord with ‘“‘ Progress ”’ that it is time this question received serious consideration. How much longer are writers to waste the best years of their life in going from pillar to post, from publisher to publisher, in vain attempts to reach the reading public? On the other hand, how is a man of moderate means to bring out his book through a publishing house, at his own risk? In this connection, it would be well worth inquiring as to whether publica- tion could not be made less expensive for the author, in the way suggested by your corre- spondent. Yours faithfully, LEICESTER ROMAYNE. 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 06 (March 1913) Subject The topic of the resource The Author, Vol. 23 Issue 06 (March 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-03-01-The-Author-23-6 publications The Author