28 20 545 https://www.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 <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 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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TINT 00€ Aq poyerzsni{y ‘SINVIG DNIMDMOTY HSILIAE u'sg ‘qessen ‘dd zog “fo X Fg _‘setteg Aq 4xoy, eatydiioseg. “I “p9 ‘SF yqueaog “TIVLLON GV I) “O YUM “FUNOD-HOTHNASSY “H. kg ‘oamnyen Wosy 4oor1 Mojoy Ut poydesso0j0yq 9 “MON}) AMHL SV SHUMOT] GITM Z S ‘U "pg “SOT ‘dd 6% ‘#9 X 8 STH ‘NoSdWOHY, ‘VHRIAIY] GHL JO SINVIG ONIATMOTA “AMOLSIN TVEOLVN ‘u‘pg's, ‘quoq ‘ddgge ‘fe x 8g ‘NVWMAN LSINAG Ag ‘ishiay ONV NVA SV HENOVM ‘DISOW : ‘u'sg ‘Tessey “dd gez “fo x f8 ‘d'W ‘ATTTIVS “M OD kg ‘soIndoog dO ssaupoud WHY, ‘ANTIOICAWN “1opla “WWM ‘dd ege ‘co x Fz ‘wosnag ‘QO °VAQ ‘aVvoOYy SHLONOTY ‘sor. “your =“dd gog Eg X 6 ‘“SATIMONOW I40H “UY V Aq ‘qy3trmyoog & Jo SUOTZDOT[OIVY ~pue suoloyey “SHOHLAY Laogy wood V ‘usp ‘quo, (‘Aeaqry storvpAv ay oyL) “dd o6z WX L ‘sosaoq Niusay Aq ‘SUIdaLg AYOINA) HINSALHOTY ‘eg ‘“meysurprvpy pux ueppy “ddetg “¢ x 4), ‘SHIZNIT LUvaALg ‘sup AG ‘“SAMITAISNOdSaY SAAT ‘AUVUALIT ‘use ‘ospoH “dd goz “fs = #8 (sen ysypsug e[qejoN) “NOLTWVY-NVAMOY “O '§ Aq poumpy ‘NVWMOI] UMGNVXATY NHOf 40 'IVI¥y, FH], *gUvUISUO'T ravasg ‘Ad “u "pg “SE (uorssord ly pany) “MV'T : : ‘u ‘sez ‘urpuoryy ‘dd gge ‘1 X $0T “Ayetoog ey} JO} pozyULIg ‘0J0 ‘sdoquIaW jo ysrT Teuoryrppy ‘jeqydvyH Arvqguoureyddng yyra pensst “Oy 'NIATON ASNAIS wig Aq poyIpy pue wsap IANOrT fq poyiduio) 9=“IINVLLIATIG: AO ALAINOG FHL FO AMOLSTIAL ‘U “pg ‘SZI ‘oUBrT ‘dd eje + smx ¥¢X6 ‘dd ‘NVOXO AMNUAA ‘pf ‘AOY Of} Ag ‘AUOISIE] HSTEA, JO AHAOSOTING AH, “AUOLSTH a UW "PQ “SS “UOpoUTyoys, ‘dd = ggT ‘Fc XS ‘“C4UvA AAXHIWOAR ‘sup, Aq oovjolg ® UVM “AaWIVd “LM Ag ‘“yjoy -sayeq ey} Aq ploy uorjysisdng pue ‘£r04S AT ‘gouvuloy jO SOATZVIIVN “GNVIGNW]T HSIIONY JO SNUVA aadg GdOTWION ‘yore “UW “ST ‘quoq. § (‘Areaqry sdorrjheM oy) ‘dd zoe “NVWATAL AWINVLG AG ‘NN] UNIsv) gHy, ‘dd 91g ‘NOSEVM\ LLOTaaVIY “Gq ‘H Sq ‘NaGuW NI axrivsoy ‘dd {T¢ ‘H10d1VM HOA AG + ‘“AsxoH NaGooM\ any, “dd ggz ONITLIHM “Y AG “IsauIg-NHOf ‘¢ ‘on ‘dd gee THMONVZ Iavusy Aq ‘OHH FHL 4O NaUCTIHD ‘dd [ez STIGM ‘H Ag “LISIA INdYGaNOA, GH, Po “Areaqry Suusduescg suosjay “dd zee ih X {9 ‘dO ANOHINY AG ‘aIdOag OA, 40 SAIVY, ust ‘uospayy “dd ege “Fp Xx Fo ‘(UOSTAaN WOTQDeTTOD) NOSVAL “M ‘OH 'V J@q “GAIA AVY,T ‘sg “MLeYySuTprep_ pue wepyo : AXGUVY @aT\\ GNNOMH Ag oe Ds aoe oe ‘sg ‘Avamnyy ‘dd Fe -¥F EP X EL ‘ec & E) ¢xosty 7 sr a r ¢ X gL ‘NOSLVM NOow] "H WQAg ‘Isdaway, ATIsHanOTD ‘YOHLAWV AHL CFI6L ‘ANAL  242 “Life of Walter Bagehot,” written as @ precursor to a complete edition of Bagehot’s work which is to be published in the autumn of this year. Mrs. Barrington, who Is the sister-in-law of her subject, tries to present a picture of Bagehot the man, as traceable in his own and his friends’ letters and in the memortes of those still alive who were his closest inti- mates. The material used ranges from family correspondence in Bagehot’s carly boyhood to the tributes of his contemporaries on his death at the age of fifty-one (Longmans, Green & Co.). Mr. W. L. George’s ‘“‘ Woman and To- morrow,” will be published in America by the firm of Appleton. Archdeacon Hutton writes the latest addi- tion to Macmillan’s Highways and Byways Series, ‘‘ Shakespeare’s Country,” to which Mr. E. H. New furnishes the illustrations. Mr. Philip W. Sergeant’s next book will be published by Messrs. Stanley Paul & Co., the subject being the Princess Mathilde Bonaparte, the niece of the great Napoleon, and the link (it might almost be said) between him and the present day, since it is only ten ycars ago that she died. In “ The Utilisation of Solar Energy,” Mr. A.S.E. Ackermann, B.Sc., describes the expe1i- ments in this direction, costing about £30,000, with which he has been associated during the past four years, including those in the Shuman- Boys Sun Power Plant at Cairo. A method for estimating the value for power purposes of steam is a feature of the work; and there is also a full description of the Shuman high and low pressure engines. The publishers are the Society of Engineers, 17, Victoria Street, S.W., and the price of the book is 2s. 3d., post free. Mr. Max Rittenberg has a book called ‘‘ Gold and Thorns,” for the spring of 1915. It deals with the sensational adventures of a cosmo- politan “‘ gentleman of fortune.’ Ward Lock & Co. will publish in England. Mr. Selwyn Brinton has just visited Venice to report for the Studio and the Graphic at the Eleventh International Art Exhibition of Venice, which was opened on April 24th. The exhibition this year is of special interest to English art, as, besides the excellent show in the British Pavilion, a whole room in the Central Palace is dedicated to the work of Mr. Frank Brangwyn. A German translation of Mr. C. E. Goulds- bury’s latest book, ‘‘ Tiger Land,” is to be published and issued shortly by Mr. Robert a of Stuttgart, in his Memoirenbibliothek series. Mrs. Frederika Macdonald, D.Litt., is the THE AUTHOR. (JUNE, 1914. writer of the article upon Jean Jacques Rous- seau in the fifth volume of the “* Cyclopedia of Education,” published by Columbia University, New York. Mrs. Alec Tweedie’s ‘‘ Mexico as I Saw It ” is being translated for publication in Germany. ‘“‘ Pagan,” is the name of a book of verse by Mrs. Amy Skovgaard-Pedersen (A. C. Fifield, 1s. 6d. net). We have received from Messrs. William Collins & Sons copies of five books in their new Nation’s Library, published at 1s. net :—“t The Nation’s Wealth,” by Mr. L. Chiozza Money ; “The Relations of Capital and Labour,” by Mr. W. T. Layton ; ‘‘ The State and the Poor,” by Mr. Geoffrey Drage; ‘‘ The Future of Egypt,” by Mr. W. B. Worsfold; and “ The Star World,” by Mr. A. C. de la Crommelin. Mrs. Dawson Scott’s' novel, “‘ The Caddis Worm,” is being published immediately by Messrs. Hurst and Blackett. Miss Sheila Kaye-Smith’s novel, “ Three Against the World,” which Messrs. Chapman and Hall published in April, is to be produced in the United States by Messrs. Lippincott. A two-shilling edition is announced of Rita’s story of Bath, “A Grey Life,” of which the publishers are Messrs. Stanley Paul. The same firm is adding to its sixpenny Clear Type series Mr. Keble Howard’s ‘‘ The Cheerful Knave,” and Mr. Charles E. Pearce’s “ The Snake Girl.” ‘“ Megan of the Dark Isle,”’ is the title of Mrs. J. O. Arnold’s new novel (Alston Rivers). Mr. Georg? H. Jesscp’s historical novel ‘‘Desmond O’Connor ”’ has been issued by John Long, Ltd. Miss May Crommelin, who has lately returned from India, is engaged on a novel to be pub- lished in September by Messrs. Hurst and Blackett. The scene of this is mostly laid in Kashmir, and the book will describe the life in houseboats of English visitors to the country, with its comic incidents and opportunities for flirtation and courtship. Miss Crommelin’s previous book, “The Golden Bow,” is now being issued in a cheap edition by Messrs. Holden and Hardingham. Mr. James Baker’s ‘‘ By the Western Sea,” has been added to the popular edition of his novels (Chaprnan and Hall, 2s.). ‘“¢ World’s-End,” by Amelie Rives (Princess Troubetskoy), has been produced in the United States by the Frederick A. Stokes Co. Mr. F. R. M. Fursdon’s novel, ‘‘ The Story of Amanda,” deals with the rise of a girl from the slums to be wife to a leading English politician (Simpkin, Marshall & Co.).  JUNE, 1914.) H.M. the Queen has accepted a copy of ** Where Pharaoh Dreams,’ by Mrs. Irene Osgood, with a foreword by Mr. Stephen Phillips and illustrations by Mr. W. Gordon Mein. *“* How to Breathe, Speak, and Sing ”’ is the name of a book by Mr. Robert Stephenson, upholding the old Italian method of respiration and dealing with all aspects, including the therapeutic and hygienic, of voice-production (Jarrold, 2s. cloth; 1s. 6d. paper covers). DRAMATIC. At the Little Theatre on April 24th, Mr. R. Vansittart’s one-act fantasy, ‘ Dusk,’ was pro- duced for the first time. On May 3rd, ‘“‘ The Patience of the Sea,” a new play by Mr. Norreys Connell, was produced by the Pioneer Pleyers at the Ambassador’s Theatre. On May ‘th, Mr. H. V. Esmond returned to the London stage at the Vaudeville Theatre, appearing in his own play ‘“‘ The Dangerous Age” (originally ‘“‘ The Dear Fool”), with which he has been touring Canada and the United States. On May 5th Mr. Israel Zangwill’s play “ The Melting Pot ’ was played for the hundredth time at the Comedy Theatre. On May 28rd, after its 120th performance, it was replaced by Mr. Zangwill’s new play “ Plaster Saints.” In “ The Holy City,” played at some special matinees at the Comedy Theatre in the first half of May and subsequently at the Haymarket, Mr. Sydney Valentine filled the part of Judas. Mr. Roy Horniman is the adapter from the German of “ The Blue Mouse,” presented at the Criterion Theatre on May 12th. Mr. John Galsworthy’s ‘‘ Justice ’’ was seen at the Coronet Theatre during the week com- mencing May 18th. Mr. Jerome K. Jerome’s comedy “ The Great Gamble” was produced at the Hay- market Theatre on May 21st. The French rights of Mr. W. Somerset Maugham’s play “The Land of Promise ~ have been secured by Mme. Bady for produc- tion in Paris next autumn. ee At a special matinee of West End Produc- tions, Ltd., at the London Pavilion on May 6, one of the plays was Mrs. E. P. Medley’s ‘Sold! At Store Prices.” MUSICAL. Mrs. Agnes Mary Astle’s song “ Morning tide ” was sung by Miss Gertrude Macaulay at Basingstoke on Sunday, April 26. The same composer has recently published — Nell’s Doll”. “The Doctor”; and “Light of ? THE AUTHOR. 243 pies One ad Morning ”’—the words of all ree songs being by Mrs. A. M. All Stai and Bell, 1s. 6d. net). Pee Sg a gg PARIS NOTES. — + : E MONARQUE ” is the title of Pierre § 4 Miulle’s new book, and all friends of Barnavaux will be delighted to make the acquaintance of Juste Claude Bonnafoux a native of a little provincial town of Southern France. Born with the imagination and the optimism of a true Meridional, Bonnafoux ought certainly to have known Tartarin. His fellow-townsmen surnamed him ‘ The Mon- arch” for the simple reason that, possessing nothing of his own, he had no eares and no responsibilities such as men have who must earn their living. He was kept, more or less, by the community, as he was considered an ornament to society. He visited one family during the shooting season, another during the vintage ; he was invited to all the marriages and baptisms. He had always plenty of time, and was always in a cheerful frame of mind. There- fore, as he said himself, he lived like a king, accepting everything from the world at large and giving himself in return. The stories of his various exploits are entertaining and, like Barnavaux, the ‘‘ Monarch ” is a philosopher, so that we learn many homely truths from his sayings and doings. ‘“*Mes Origines, Memoires et Recits ” (Tra- duction du Proveneal), by Frédéric Mistral. This is a translation of the poet’s Moun Espelido. An edition is also published with the original text and the translation together. Among the new books are the following :— “ La Dormeuse éveillée ” is the title of Helene Vacaresco’s latest volume of poems. “A travers Shakespeare,” by Jean Riche- pin. This volume contains the lectures recently given at the University of Les Annales. _ ‘La Vie et la Mort de Paul Derouléde,” by Jérome et Jean Tharaud. “Le Commerce et l’Industrie de la Plume re,” by Edmond Lefevre, should be read by all interested in the subject of birds and feathers for millinery purposes. It con- tains 300 illustrations, and M. Lefevre is the President of the Committee of Ornithologie économique. He gives us a chapter on the different causes of destruction of the birds and another one on the situation of the feather trade in the various countries. _ ‘‘Napoléon et sa Famille,” by Frédéric Masson, is the eleventh volume of this work. pour paru  244 The twelfth and last volume of the series is announced for publication next season. “Les Cathédrales de France,’ by Auguste Rodin, is the title of a volume by the famous sculptor. Some time ago _ Maurice Barrés published his book entitled ‘* La Grande Pitié des Eolises de France,’’ and now Rodin writes, as an artist and a thinker, on the cathedrals. The volume contains about a hundred illus- trations. oe “Les Pays d’Albanie et leur Histoire,’ by Frédéric Gibert. The author is a specialist in Oriental subjects. He gives a detailed account of the actual condition of the Albanian countries. “* Histoire de la Musique européenne ” (1850 —1914), by Camille Mauclair, will be greatly appreciated by music lovers. About a quarter of the book is given up to the works of Wagner. The author then studies the music of the various European nations. “Les Universités Allemandes au XX° Siécle,”’ par Dr. René Cruchet, is an account of a visit to twenty German universities by a Professor of the Bordeaux University. Dr. Cruchet gives us various anecdotes and a résumé of his conversations with the German Professors. He also shows up the various differences between the French and German university. In the Revue hebdomadaire, M. Laudet is now publishing a series of articles by prominent persons on the subject of France as it was in their youth and at present. The first of these articles is by General Lebon, who was formerly Commander of the first corps darmée. The General goes back to his recollections of 1866. He is now in his seventieth year, and after twenty-six admirable pages devoted to his experiences and observations, his advice to the present generation is: ‘‘Soyez gais, mes Jeunes camarades, d’une saine et vigoureuse gaieté qui vous donne le ressort d’un Gallifet.”” Another of these fine articles is by Charles Richet of the Institute. He tells us of the “* Physiology of former days and of to-day.” He points out that physiological chemistry has made great progress during the last thirty-five years. He tells us of the experiments of Pasteur (1857—1880). M. Richet says, in conclusion, that the “ future of humanity is in science only, and that the miseries of humanity can only be attenuated by means of the discovery of scientific truths.”” He declares that disease is our enemy, and that, in order to fight it, it must be known and then treated by science, In an eloquent appeal, he asks that the scientists who are devoting their lives to this end shall not be allowed to die of starva- THE AUTHOR. [JUNE, 1914. tion themselves. He declares that the dearth of physiologists is largely due to the fact that the State does so little for scientists. ‘“‘ Ignor- ance with regard to science was the great error of former times; it is the great error too, of modern times,’”’ concludes M. Charles Richet. One of the most interesting articles of the series is certainly the one written by Madame Mary Duclaux. She tells us of the literary Paris of 1885. She left the ‘‘ poetic and pre-Raphaelite England of her early life,’ and went to Paris. Among the people she first met were Mlle. Louise Read, at whose house she met Barbey d’Aurévilly and Mme. Ackermann. Two or three years later she married James Darmes- teter, and at the house of his brother, Arséne Darmesteter, she met Sully Prudhomme, Gaston Paris, and Mme. Dieulafoy and the Renans. (Arséne Darmesteter, the celebrated. philologist, had also married an Englishwoman. Her Salon pictures have won for her a place in the recent book on ‘Celebrated Woman Painters.”) After James Darmesteter’s death his widow married M. Duclaux, who was then. at the head of the Pasteur Institute. Paris is. now the second home of Madame Duclaux, and, in her clever article, she tells us her impressions. of the Paris of former days and of to-day. Her advice to the present generation, in conclusion, is that they should not only follow General Lebon’s advice and be “ gay,” but that they should be “sincere and true.” Madame Duclaux finds that the great danger of modern times is the hurry to see the immediate result of everything. She wonders whether a group of young workers could be found now such as the group which devoted itself to the founding of the Pasteur Institute. She wonders, too, whether the words renoncement, désintéresse- ment and recueillement are as well understood: now as in the nineteenth century ? M. Gavault has been appointed Director of the Odeon Theatre. He is himself a well-- known dramatic author, whose plays have had. great success. At the Bouffes-Parisiens M. Arthur Meyer’s play, ‘“‘ Ce qu’il faut taire,”’ is- now on the bill. M. Meyer, as Director of the- Gaulois, is a well-known Parisian, and the first night of his play was a society event. Autys HA.uarp. “Le Monarque’’ (Calmann Levy). “Mes Origines, Memoires et Récits ” (Plon). “La Dormeuse éveillée ” (Plon). “ A travers Shakespeare ” (Fayard), ‘““ Napoléon et sa Famille ’? (Ollendorff). “Les Cathédrales de France” (Colin). “Les Pays d’Albanie et leur Histoire” (Rosier). ” ‘‘ Histoire de la Musique européenne ” (Fischbacher). “Les Universités Allemandes au X Xe Sitcle” (Colin)...  =e a ® JUNE, 1914.] AUSTRALIAN BOOK RIGHTS. —— + {Reprinted fromthe * Bulletin of the U.S.A. Authors’ League.’’) Wuo SHouLD Have THEM—THE AMERICAN OR THE BrITISH PUBLISHER ? MEMBER of the Authors’ League who has had several of his books published in London, some sold through his American publisher, who supplied “ sheets ” (unbound copies), and some through a separate contract with English publishers, in attempting to sell an English edition of a recent work, encountered considerable difficulty in disposing of his British rights unless the London firm was permitted to handle the Australian rights also. The author was informed by his agent, more- over, that there appeared to be a greater and greater disposition on the part of English pub- lishers to insist upon Australian rights, and it might be difficult, in the future, to dispose of the English rights alone. In view of this fact, the League has investi- : c 3 sie gated the Australian situation in the endeavour to obtain for authors information which might enable them to decide advantageously as to the disposition of any Australian editions. To this end, inquiries have been made of a number of New York publishers and literary agents, the results of which we quote in abridged form. The following description, supplied by a well- known New York publisher, of actual sales con- ditions in Australia, will enable one to under- stand the reason for many of the opinions after- wards cited. This firm says, in part :-— “Many American publishers have placed the sale of their books in the hands of an importing firm in Sydney, which has agencies in Melbourne, Hobart, Launceston, Adelaide, Brisbane, and in several places in New Zealand. To this firm we send, as early as possible, advance copies of the books likely to find a market in Australia, and. also review copies for a number of papers. We then receive by cable orders for such books as our agents find the Australian trade will take. These agents concern them- selves with nothing but the wholesale importation of books and the sale of them to booksellers. As they have no retail trade whatever, their interests and those of the book- sellers are identical, and there exist, we believe, very friendly relations between them and the booksellers. “« Opposed to such agents as ours and to the bulk of the book trade in Australia is a large importing house in Melbourne which also conducts a retail business. This house, we are informed, endeavours to secure the exclusive rights in Australia to books from English and American publishers. Maintaining, as the house in question does, a large retail establishment of its own (perhaps more than one), it has aroused the antagonism of the Australian book- sellers, the more so because the prices it charges booksellers are much in excess of those charged for similar books by firms engaged in importing in wholesale business only. Booksellers in Australia have a further grievance in that THE AUTHOR. 245 the house in question will not supply popular books i quantities desired by the teil, Wihsaiver hey an that they can sell their stock at retail themselves they either cut down the orders from the booksellers or do not fill them at all. “The attitude of booksellers toward this house was demonstrated to us in the case of a book for which we received an offer from the Melbourne house after we had shipped a large quantity to our agents. Two of the principal booksellers in Sydney, hearing that the Melbourne house might get a consignment of the book, notified our agents that if this were true their orders were to be cut from 250 copies each to 50 copies each. We have in the past urged our agents to try to arrange some basis by which the Melbourne house could sell at retail, but this has been foundimpossible. And whether the antagonism is justified or not, the attitude of booksellers in reducing orders from 500 to 100 copies shows that the condition is not one about which to theorize. “‘ Since we have had to choose between the jobber who also conducts retail business and the wholesale agent, we have decided in favour of the wholesale agent, partly influenced by the facts we had gathered, and partly by actual figures. In the case of a novel which sold in America less than 15,000 copies, our total orders for Australia were 2,000 copies, whereas the offer made by the jobbing and retailing firm was only 1,500.” So much for the details of market conditions. The American publishers who have answered the request of the League for their opinions on the matter are, as might have been expected, unanimous in declaring that the American authors are best served by disposing of their Australian rights to or through their American publisher, rather than to the English house publishing in London. One of the largest publishing firms answers as follows :— “In one case where we had sold an edition of only 500 copies to England, our Australian sales exceeded 3,000 ; and in another case where the English publisher took only 250 copies, our Australian sales were 2,000. Two facts should be borne in mind when deciding the disposition of Australian rights: First, the Australians prefer the books of American manufacture. We always send cloth bound books exactly like those that are sold in America, Of course, we have to make very low prices, and, therefore, cannot pay more than half royalty. But the returns to authors on this basis, are, we are certain, much greater than they would be if the Australian sales were controlled by the English publishers. Second: we are informed that in many cases the English publisher sends what he calls his ‘Colonial edition,’ which is a cheap edition much inferior to the edition prepared for England. If, as must be the case, the royalty is computed on the low selling price of the Colonial edition, it 1s doubtful if the returns per book are as great as they are on the American edition. There is no doubt in our minds that the authors’ interests are best served by having the Australian rights remain with the American publisher.” A New York publishing house which has also an English office writes :-— “For a number of years we sold Australian rights through our English house, or through English agents. In recent years we have reversed this policy and have sold the Australian market directly from this country. We find that in doing so we are able to place more editions of  246 to secure the continuing interest in each of the nee Se By the English method one edition is taken and there the matter usually ends. In the case of certain very popular authors this original edition would be larger than the edition taken from America; but this in only a very few cases indeed, and even in these instances when handled from America succeeding editions would more than make up the difference.” ; “The Australian public,” he adds, “seems to like the type of books which appeal to Americans rather than the type which appeal to the English.” Another prominent publisher, while desiring Australian rights for his own publications, thinks that individual cases may differ and leaves the general question in some doubt. He says :— “The American publisher, who has occasion to arrange with an English publisher for the British edition of a book, may often find it desirable to retain in his own hands the arrangements for Australasia. Firms like my own, whose imprint reads ‘ New York and London,’ and which carry on their publishing business on both sides of the Atlantic, make a practice of retaining in their own hands the control of the selling arrangements for Australasia. I should take the ground, therefore, that there was no such thing as ‘a proper ownership of Australian rights,’ but that the matter was one to be determined wholly by the origin of the book (that is to say whether England or America), and very largely by the status of the connections and the publishing machinery of the house controlling the book.” The following communication, however, from an equally important firm, is bolder and more definite in its reasons, corroborating a previous opinion :— ‘“We oftentimes secure from Australia alone an order just as large, if not larger, than we get from England, even when they have all foreign rights. As a general rule, we think the English publisher wishes the Australian market simply to use as a dumping ground. In case he is not able to dispose in England of books at the regular price, he sends them over there (Australia), and brings them out as a cheap edition. My feeling is that he does very little, if anything, to promote the sale in Australia.” Two New York literary agents, both of whom have had wide experience in placing foreign rights of American authors, take opposing positions in regard to the disposal of Australian rights. One of them says :— “Tt is my belief that a popular author gets more out of his Australian rights when they are sold by the American publisher than when they are sold by the English publisher. In the cases of several popular authors the American pub- lisher has got more out of the Australian rights than the English publisher was willing to offer for the English rights plus the Australian rights. Australia in its outlook on life and in the kind of books which attract it is much nearer to America than it is to England.” _The other literary agent makes the following distinction :— # “(a) Given an American novel of the type that is li to obtain manufacture and publication in Se oo. separate contract with an English publisher, I believe it is to the advantage of the author to put the Australian volume rights into the hands of the English publisher. (6) If the novel is of the type not likely to be sufficiently THE AUTHOR. (JUNE, 1914 acceptable in England to attain the publication under a separate contract, I advise giving all rights of volume pub- lication in the English language, including Australia, to the American publisher. Taking two average standard con. tracts, one with an English publisher, the other with an American publisher, it is my experience that the author receives from the English publisher a larger sum per copy than from the American publisher. I need scarcely say that where American publishers have a fully equipped English house (and not a mere agency), and conform to the Australian royalty scales customary with the best English publishers, my advice to American novelists is—as a rule— to let such American publishers have all volume rights in the English language, including Australia. But (as you know), American publishers thus equipped are few.” One of the agents quoted above states :— “Many English houses will not take a book on which they don’t have the Australian rights, so that if you have sold the Australian rights to an American publisher you may find it difficult to place the book in England at all.” This opinion confirms that of the English agent first cited. But there is still another reason for favouring the American publisher. Every American author who has had books published and printed in England has bewailed their inferior appearance, as compared with his American edition. In typography, paper and binding most English editions are far behind the usual American made books. Not only does this displease the author’s esthetic sensibilities, but it probably seriously affects the sale of his book. A case could be mentioned in illustration of one book whose English sale fell far behind the American, indubitably for that reason alone. Says one of the above quoted New York pub- lishers :— “‘ We are certain that the appearance and manufacture of the American book is of more advantage, especially in the Australian market, where it is much preferred to the English book.” The concensus of opinion of those interested (on this side of the water at least) is, therefore, that the American publisher can do better for the author, in Australia, than the English. But, meanwhile, the League is iz communics- tion with London firms and agents, and hopes, later, to present the British side of the question, as well as supply direct information from Australia itself. Se FRANCIS, DAY, AND HUNTER v. FELD- MAN & CO. 8 fe eee action was tried on May 21 and 22, and involved two issues: (1), whethet the plaintiffs’ song called ‘‘ You made me love you (I didn’t want to do it),” written i ' asain ities JUNE, 1914.] by Joe McCarthy and James V. Monaco, both American citizens, was “ first published ” in the British dominions within the meaning of the Copyright Act, 1911, so as to entitle it to copyright thereunder; and (2) whether the words of the defendants’ song, called ** You didn’t want to do it—But you did,” infringed the copyright in the words of the plaintiffs’ song. No complaint was made with regard to the music of the defendants’ song. : Section 1 (1) of the Copyright Act, 1911, provides that copyright shall subsist in every original literary, dramatic, musical and artistic work if, in the ease of a published work, the work was first published within His Majesty’s dominions to which the Act extends. Section 1 (3) provides that publication in relation to any work means the issue of copies of the work to the public ; and section 35 (3) provides that a work shall be deemed to be first published within the parts of His Majesty’s dominions to which the Act extends, notwithstanding that it has been published simultaneously in some other place, unless the publication in such parts of His Majesty’s dominions is colourable only and is not intended to satisfy the reason- able requirements of the public, and a work shall be deemed to be published simultaneously in two places if the time between the publica- tion in one such place and the publication in the other place does not exceed fourteen days. The plaintiffs’ song was published in New York and Toronto on May 5, 1918. On April 24, the Broadway Music Corporation, who pub- lished the song in New York, transmitted twelve copies to the plaintiffs and requested them to copyright the song in England on May 5. On that day the plaintiffs caused one copy of the song to be sent to the British Museum, four copies to be sent to the agent for the other libraries, and one copy to be filed as a record. The remaining six copies were placed in the plaintiffs’ retail premises in a box labelled ‘‘ New works issued this day.” They remained in the box from ten to fourteen days, other music being placed on the top each day as published. The six copies were then r moved to the stock room. It was proved that on the average from eighty to one hundred customers would come into the plaintiffs retail premises each day. It was also proved that American songs. were Oe ei oe until they had been performed 1n this co y- The sischite ae John Abbott, stated that it was their intention to have copies of the song in question available to meet any demand as and when it might arise. There was, how- ever, no demand for the song until August, and THE AUTHOR. 947 no sale could be traced before August 12. In July, the plaintiffs heard that the song was going to be performed in England, and on July 18, they ordered by cable ten further copies from America. On July 26, they ordered ten more. These twenty copies came to hand on August 12. On August 18, they cabled for 100 copies, which came to hand on August 25. The song was first sung in England on July 25 by Miss Florence Smithson at the Chiswick Empire. On August 4 it was sung by Miss Grace la Rue at the Palace. The demand began about August 12, and on August 20, they published an English reprint of 750 copies. They had always been in a position to supply any demand which was made, Beyond placing the six copies of the song in the box in their retail premises, the plaintiffs never advertised the song either in the Press or in their catalogue or otherwise until’ Sep- tember. On these facts the defendants contended that the song had not been issued to the pwhlie in England within fourteen days from May 5, and, alternatively, if it was so issued that the publica- tion was colourable and was not intended to satisfy the reasonable requirements of the public. Mr. Justice Neville, however, held that there was an issue of copies to the public and that, as there was a bona fide intention on the part of the plaintiffs to satisfy any demand for the song, as and when it might arise, the publica- tion was not merely colourable and the con- dition required by the Statute had been satis- fied. On the question of infringement, the defen- dants contended that their song was what was known as a reply song to the plaintiffs’ song, and as such was a legitimate publication. Evidence was given on behalf of the plaintiffs to the effect that there was great similarity between the words of the two songs in rhythm, idea and language, and that the sale of the defendants’ song was calculated to prejudice the sale of the plaintiffs’ song. Mr. Justice Neville said that the question was not free from difficulty. A song might well be what was called a reply song, and yet be an infringe- ment of the song to which it was a reply. The court must be guided by the general impression created on the mind by the one song and the other. In this case he thought the defendants’ song was but a colourable imitation of the plaintiffs’ song, and he granted an injunction and inquiry as to damages. el  HOW TO USE THE SOCIETY. — 4 VERY member has a right toask for and to receive : advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The ‘Secretary of the Society is a solicitor; but if there is any -special reason the Secretary will refer the case to the ‘Solicitors of the Society. Further, the Committee, if they «deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel 8 opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright -and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send ‘the document to the Society for examination. 4, Remember always that in belonging to the Society ~you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of ‘members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as -confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements, Fuller particu- ‘lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary - of the Society. 7. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The ‘Secretary will undertake it on behalf of members, 8. Some agents endeayour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own ‘deductions and act accordingly. 9. The subscription to the Society is £1 4s. per annum, or £10 10s. for life membership. ——>— + WARNINGS TO THE PRODUCERS OF BOOKS. oe ERE are a few standing rules to be observed in an | [ agreement. There are four methods of dealing with literary property :— I, Selling it Outright, This is sometimes satisfactory, 7f a proper price can be THE AUTHOR. [JUNE, 1914. obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for ‘‘ office expenses,”’ unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. “By Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It isnow possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in The Author. I¥. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— C1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. a WARNINGS TO DRAMATIC AUTHORS. ee EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating ‘for the production of a play with any one except an established manager, 3. There are three forms of dramatic contract for plays in three or more acts :— (2.) Sale outright of the performing right. This is unsatisfactory, An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, : 5 i  JUNE, 1914.] (.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system, Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable, ‘Lhey should never be included in English agreements without the author obtaining a su. bstantial consideration. 9.Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —> -— REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —— CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 22, 6d. per act. THE AUTHOR. 249) DRAMATIC AUTHORS AND AGENTS. Ee De authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author's fees. from it, As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is: required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess: to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ee ae WARNINGS TO MUSICAL COMPOSERS. Segoe : ITTLE can be added to the warnings given for the- ey assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. a STAMPING MUSIC. Sage ee The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, _—_____+—<»—e —__—_ THE READING BRANCH. —+— EMBERS will greatly assist the Society in this N branch of its work by informing young writers. of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, > + EMITTANCES. f the Society begs to give notice a ee Ses are Scuyowiodued by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered. letter only,  COLLECTION BUREAU. ee ecg HE Society undertakes to collect accounts and money due to authors, composers and dramatists. : 1. Under contracts for the publication of their works. : : 2. Under contracts for the performance of thei and amateur fees. é . 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. : For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. r works AGENTS. Holland . ‘ ‘ A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany Mrs. Poason. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ee = GENERAL NOTES. ae es PUBLISHERS’ AGREEMENTS AND THE AGENCY CLAUSE. Our attention has been drawn once again to the agency clause inserted by agents in publishers’ agreements. The clause runs as follows :— ** All accounts due and all moneys payable under this agreement shall be rendered and paid to of and it is hereby agreed that his receipt shall be a fulland sufficient discharge therefor and that shall have authority to treat for and on behalf of the said author in all matters under this agreement.” The publishers’ agreement, with a covering letter from the agent making several comments on the document as far as it concerned the publishers’ proposed terms, was submitted through the author to the Socicty for criticism, but the agent’s letter written to the author made no comment whatever upon the clause which referred to his own position and which he had inserted. We have on former occasions and at full length dealt with this matter. If an agent, when commenting on the publishers’ agree- ment, sets fairly before the author the diffi- culties that may arise under the clause which he inserts for his own benefit, states that it is irrevocable, that it may handicap the author THE AUTHOR. [JUNE, 1914. seriously, ete., ete., and if the author, having the full statement before him, says ‘* You are my agent, I am quite willing to trust you as regards this clause,” then no blame whatever can attach to the agent; though something might be said on the question of the author’s folly. But when an agent as in the present case says nothing the matter assumes quite another aspect. Supposing, for instance, a solicitor when drawing up a contract for a client inserted a clause which, of great benefit to him- self, might be seriously detrimental to his client, and omitted to point out the facts ; if the matter was then referred to the Incorporated Law Society, the result would most probably be that the solicitor would hive his name struck off the rolls. But agents who dealin a similar manner with their clients are full of anger when com- ments are made upon their methods of doing business. Solicitors are responsible to the council of their profession, but agents have no such responsibility. It has been said that all authors are not angels, and that unless the agent protect himself he runs a chance of being swindled; but the agent seems to forget that the author runs exactly thesame chance. It would be interesting to know the proportion of corrupt agents to the total number of agents, as com- pared with the proportion of corrupt authors to the total number of those who follow authorship as a profession. It is doubtful if this sum were worked out whether the agent’s care for himself could be wholly justified. AGENTS AND ACCOUNTS. WHILE we are discussing the question of agents, there is another matter to which the members’ attention should be called. Agents —literary, dramatic, and others—are very fond of receiving accounts and passing them on to authors without any comment. They take no trouble to compare them with the former accounts, to compare them carefully with the agreement and to see that the proper percentage is given throughout. They simply ask the author, who is helpless in the matter, whether he is satisfied with them. Many agents, however, have got a worse habit still. They make out an account of their own, presumably from the original accounts, deduct their agent’s fees, and send it on with a cheque to the author, who has no possibility of viewing - the original documents. We are glad to see, that this is not always the case, One or two of the best-known agents: make a point of always sending on the originals for consideration. Even then it is the agent’s |  JUNE, 1914.] duty to state clearly that he has compared the accounts with the former accounts and with the agreement. The matter would not be of such importance if, in the clause which we have quoted, the agent’s receipt was not a valid discharge. The insertion of these words into the clause cannot be supported by the same arguments that warrants the agent to collect the monies. They are merely an added burden to the author. Prorit SHARING ON THE SALES OF SHEETS IN ture U.S.A. WE re-publish in another part of The Author an article which deals with a clause inserted in Publishers’ Agreements giving the author half profits on sales to America. The matter is of growing and serious importance, be- cause such a clause, although the author is receiving a royalty on other sales, is being inserted more frequently in author's agree- ments, and its interpretation, when the accounts come in, is nearly alweys—there are honourable exceptions—to the detriment of the author. Every form of profit sharing in literary as well as dramatic agreements is unsatisfactory. If the accounts are rendered with the most honourable intentions, distrust and suspicion is bound to spring up, often because the author cannot understand the intricate details. Profit sharing on American sales is a subject which might very usefully be discussed between the committee and the Publishers’ Association, if the latter would care to discuss it. There are two reasons why, from the pub- lishers’ point of view, the power to sell on half profits to America benefits them. It enables them to cut down prices to an absurdly low figure. This is detrimental to the author, who practically gets no profits, but is not a serious matter for the publisher, because in any case, he takes care to get his cost of production eovered. The cost of production including, as is shown by the article, the cost of composition. The second point is that, however equitable the arrangement may appear, it is impossible, as shown in the article, that it should be an equitable arrangement if the book continues to sell briskly in England. Bot h these points are detrimental to the author's financial interests. We hope, therefore, that all authors who receive a royalty on the English sales, failing to obtain U.S.A. copyright, will oppose the clause of profit sharing on the American sales, THE AUTHOR. 251 and will insist upon receiving a royalty of so much per copy, which will force the publisher to keep up a reasonable price for the sale as he has to pay the author a reasonable price also, A Boox aspout AUTHORS. __WE are quoting the following from Mr. Hope Moncrieff’s ‘‘ Book about Authors ”’ :— *“The Authors’ Society has recently started a pension fund of its own which appears to be usually applied for the benefit of novelists, the only class of authors that does make any money to speak of. And in two cases it is paid to gentlemen also enjoying Civil List pensions. This looks as if the Authors’ Society contained few really necessitous members. But one has known only too many authors, and of note and of usefulness, who could not afford even the guinea subscription to this association.” We think Mr. Moncrieff is a little unfair to the Authors’ Society. The Authors’ Society is paying at the present time five pensions. Three of the pensioners are novelists ; two are not. The proportion of three to two is not an excessive proportion considering the member- ship of the Society. Mr. Moncrieff states, however, about novelists ‘‘ the only class of authors that does make any money to speak of.” With all Mr. Moncrieff’s large knowledge of authorship, he has failed to understand that many educational writers have a much larger circulation and a much surer and continued income than novelists, and that the suecesstul dramatist again is often far ahead of the successful novelist. The remark also is not quite fair because after all it is not the class that benefits by the pension but the individual. There is a further point to which attention might be drawn. It would appear that Mr. Moncrieff has written the paragraph without a correct knowledge of the Pension Fund scheme. It is absolutely essential that the author secking a pension should have been a member for a certain number of years. We regret to say we know more than one case in which an author has resigned from the Society, not always on account of poverty, and coming on bad days, has desired to rejoin the Society with a view to getting a pension. There is also a limit of age in the Society’s Pension Fund scheme. There is also the fact that the Pension Fund scheme was started with a view not to cut in any way into the work of the Royal Literary Fund. Like Mr. Moncrieff, we have known too many authors who have fallen on evil days. has only been tempore by the Royal Literary F In many cases their position ary, and being relieved und, they have regained  252 their work and stemmed the tide of misfortune. The Socicty, although it cannot assist directly in these cases from its Pension Fund, can assist indirectly and is constantly doing so, by giving advice and referring members to the Royal Literary Fund, and by calling the notice of the more fortunate members of the profession to an urgent case. Again, amongst those authors who are not only known to Mr. Moncrieff, but also to_us, many were not entitled by age to relief. Finally, the Pension Fund of the Society is an exceedingly small fund, and when the income is exhausted by the payment of present pen- sions, however pressing may be the needs of those who claim, it is impossible for the Society to assist until the income at the disposal of the trustees is sufficiently increased. We think the Society may well be proud of its Pension Fund, small as it is. The first pension granted was to Mrs. Riddell. The fund was started by the Society, ten prominent members heading the list with donations of £100 each—and for members of the Society only. It has never appealed to the public by way of advertisements, charity concerts and other methods, but has gone steadily from year to year, supported by members of the Society both rich and poor, until its funds are over £5,000 in value. The amount invested per annum usually runs to between £200 and £300. It has not been a one-man fund, born of the generosity of this or that millionaire, although no doubt the trustees would be willing to receive outside gifts. It is because the funds are really part of the life of the Society, and its membership that the Society has reason to be proud of it. Tue Art or LEAyING Orff. _ A very interesting little paragraph appeared in the May number of the Chicago Dial, which we take the liberty of copying :— “* The Art of Leaving Off, in writing, in story-telling, in specch-making, in preaching, in calling, and in much else, is an art that many never learn, perhaps chiefly because it is so simple—to stop when you get through. Scott more than atones for the long-winded preliminaries to his novels by the masterly abruptness with which he closes them, A compliment worth winning from one’s readers is the involuntary exclamation at the end of the book, Is that all! Those who have read much aloud will recall many a masterpiece of fiction that has elicited from breathless hearers that unmistakeable testimony to the attention- compelling quality of the narrative. In her useful treatise on “The Art of Story-Telling,’ Miss Julia Darrow Cowles pertinently remarks : ‘ Story-tellers sometimes remind one THE AUTHOR. (JUNE, 1914. of a man holding the handles of an electric battery. The current is so strong that he cannot let go. The story-teller must know when and how to “‘let go.”’ Letus suppose that, in telling Hans Christian Andersen’s story of ‘‘ The Nightin- gale,” the story-teller—after the delightful denouement of the supposedly dead Emperor’s greeting to his attendants, where he “‘ to their astonishment said ‘ Good morning !’ ”” —were to add an explanation of the effect of the nightin- gale’s song in restoring the Emperor to health! It would be like offering a glass of ** plain soda’ from which all the effervescence had departed.’ .. .” But is it true that authors generally know when to stop ? In the old days of long serials, many authors being bound by the serial market to make the beginning of the story interesting dragged on interminably towards the end. Is not the second volume of Thackeray’s “ Virginians” a fair example of not knowing when to stop? Copyricut Casrs, 1918. WE have received from the Publishers” Association the ‘‘ Copyright Cases for 1913,” edited by Mr. E. J. MacGillivray. This. collection is produced for private circulation at the expense of the Publishers’ Association, and the Society cannot be too grateful to that Association for allowing the Society every year to have a copy. It is an invaluable production. In the summary, Mr. MacGillivray touches on the question of titles, which he rightly says has jumped into supreme importance by reason of the fact that the producers of films are claiming the right to appropriate the title of any novel or drama. is one that may effect seriously all authors, and it is hoped that the efforts of the Society will be successful in organising a satisfactory defence. INTERNATIONAL CONGRESS OF AUTHORS AND JOURNALISTS. WE have received some papers with regard to the Congress of Authors and Journalists to- be held at the Panama-Pacific International! Exposition which will take place at San Francisco in 1915. The papers give some idea of the arrange- ments that are going to be made for all those who, specially invited, are able to accept the invitation. Fuller particulars may be obtained from: Miss Ina Coolbrith, 1067, Broadway, New York, or from Mr. Hermann Scheffauer, Bank Point,. Jackson’s Lane, Highgate, N. The matter vip  JUNE, 1914.] ‘MODIFICATION OF THE BERNE-BERLIN COPYRIGHT CONVENTION OF 1908. —o— + (Reprinted from the U.S.A. “ Publishers’ Weekly.’’) TWFNHE following additional protocol to the Convention of 1908 adopted by the countries of the International Copy- right Union, March 20, 1914, is of especial importance in the United States because it _ doubtless originated in and reflects the dis- satisfaction with the manufacturing and other restrictions of our own copyright code felt by those countries which grant full copyright. Under it, Great Britain can impose counter- restriction on books of American authorship without violating its full relations of reciprocity with the other countries of the Union. ADDITIONAL ProrocoL TO THE REVISED BERNE CONVENTION OF NOVEMBER 13, 1908. The countries, members of the International Union for the protection of literary and artistic works, desiring to authorise an optional limita- tion of the extent of the Convention of Novem- ber 13, 1908, have, by mutual agreement, -adopted the following Protocol : 1. When a country not belonging to the Union does not protect in a sufficient manner the works of authors who belong to a country -of the Union, the provisions of the Convention -of November 13, 1908, cannot prejudice, in any way, the right which appertains to the con- tracting countries to restrict the protection of works of which the authors are, at the moment -of the first publication of these works, subjects -or citizens of the said country ‘not being a member of the Union, and are not actually domiciled in one of the countries of the Union. 2. The right accorded to the contracting States by the present Protocol, equally apper- tains to each of their trans-marine possessions. 3. No restrictions established in virtue of No. 1 above, may prejudice the rights which an author has acquired upon a work published in -one of the countries of the Union prior to the putting into force of these restrictions. 4. The States which, in virtue of the present protocol, limit the protection of the rights of authors, will notify the Government of the Swiss Confederation by a written declaration ‘indicating the countries against which the protection is restricted, and also the restrictions to which the rights of authors from these -eountries are submitted. The Government of the Swiss Confederation communicates at once the fact to all the other states of the Union. THE AUTHOR. 2538 5. The present Protocol to be ratified, and the ratifications to be deposited in Berne within a maximum delay of twelve months from its date. It enters into foree one month after the expiration of this delay, and has the same power and duration as the Convention to which it relates. In witness whereof the Plenipotentiaries of the countries, members of the Union, have signed the present Protocol, of which a certified copy is to be transmitted to each of the govern- ments of the Union. _ Made in Berne, the 20th day of March, 1914, in only one copy deposited in the archives of the Swiss Confederation. (The signatures of the representatives of the countries of the Union follow) :— Liberia, Luxembourg, Monaco, Norway, The Nether- lands, Portugal, Spain, Switzerland, France, Tun’‘s, Great Britain, Germany, Haiti, Belgium, Italy, Denmark, Japan. ——__—— @ > +~<4 6 ROYALTY AGREEMENTS AND HALF PROFITS ON SHEETS TO AMERICA. Pe Se EEE HERE is a clause often embodied in agree- ments issued by the best houses in London in which the author—failing to obtain the American copyright—is entitled to half of the profits on the sale of sheets to America. If this clause is inserted in the usual half-profit agreement, there is little to be said against it. The only points at issue, then, are: (1) Is a profit-sharing agreement desir- able? (2) In what proportion should profits be divided between author and publisher ? But if the clause is inserted in an agreement where the author is to obtain a royalty on the publication of the English edition, there are two very strong points of objection. The first point rests on the fact that a clause drafted on these lines is a distinct pitfall to the author. Itis 4 pitfall for the following reasons: (1) because to the ordinary person the difficul- ties with which the clause 1s pregnant are altogether invisible ; (2) because the amount the author receives is always calculated—see the books of the Society on the point—on the basis that the full cost of composition is charged against the English edition. If this were not the ease, the author ought to receive a higher royalty on British sales. 254 Let us explain what we mean more fully. Take the ordinary 6s. book :— £8 ¢, Cost of composition of 3,000 copies . : : 35 60, 0:0 Cost of printing of 3,000 copies . ; : - 16 0, 0 Cost of paper of 3,000 copies 58 0 0 Total - 104° 0 0 Of the 3,000 copies the publisher sends 2,000 to America and receives for the same (say) Ls. a copy—£100. The cost of composition was compulsory for the completion of the English edition, the author’s royalty, as stated, being based on this understanding; but the pub- lisher takes two-thirds of this cost towards the American edition as well as two-thirds of the cost for the print and the paper, leaving to be divided between himself and the author— £ sg By sale of 2,000 copies to America : ; . 100 QO 0 Two-thirds cost of produc- tion : 69 6 8 {30 138 4 As the cost of composition has no right to be charged against the American edition, but only the cost of print and paper, the difference would work out as follows :— £3. d. By sale of 2,000 copies to America : : - 100. 0: 0 Two-thirds cost of print and paper : 49 6 8 £50 18 4 Instead, therefore, of the author receiving £25 6s. 8d., by the publisher’s method of cal- culation of half profits, the author receives £15 6s. 8d. and the publisher £85 6s. 8d. It is almost as reasonable an arrangement as the ordinary half-profit agreement, whose clauses and workings have so often been exposed in The Author. To show how this method may be worked out in the interests of untrustworthy publishers unfairly to the author, say the publisher in the first instance only publishes 1,000 copies. The cost of composition would still be £80; print- ing, £10; paper, £20. He sells 500 copies to Amcerice,, end on the same principle the follow- ing sum is worked out :— fos ad. Half cost of production _ $0 0-0 By sale of 500 copies to America at ls. per copy . 25 0 0 £5 0 0 THE AUTHOR. [JUNE, 1914. This would leave a deficit against the author’s. account of £2 10s., as the sale to America has failed to cover the cost of production. As soon as the edition is sold and the amount is worked out against the author he prints 10,000 copies for the English edition, but never takes into account the proportion of the cost of production of the 500 sent to America to the 10,000 printed in England. Again, supposing you take the first instance and 20,000. were subsequently sold, the cost of the 2,000 sold to America is still taken in proportion to the cost of the 3,000 of the first edition printed, and not in proportion to the whole cost. It will be seen, therefore, that, quite apart from the contract being unfair, and a pitfall to the unwary (as on the face of the agreement the difficulty is invisible), even if it is worked out by a publisher with an honest idea of doing nothing dishonourable, the result of its working, its natural evolution, becomes a fraud on the author, as it is impossible to calculate this sale to America on the basis of future sales. It must always be calculated upon the sales that have already been made. The position is ridiculous. It is to be hoped that the Pub- lishers’ Association will dissociate themselves from this form of agreement. The second objection arises from the fact that this sale to an American house is mere agency work. If conducted through the medium of an author’s agent, the latter would be highly pleased with the payment of 10 per cent. on the net result. Not so the publisher, although he is constantly erying out against the agent and his charges. It is a well-known fact —instances have often been quoted—that the publisher, although he expresses strong dis- approval of the intervention of the agent who charges a modest 10 per cent., makes—when he endeavours to undertake any of the agent’s duties—a general charge of 50 per cent. Further arguments against allowing a pub- lisher to undertake an agent’s work need not be repeated here. ——_____o—>_+_____—_- THE FAMILY HERALD PRESS. THVHE attention of the committee has been LT called to a letter issued from the ‘Family Herald Press ” to one of the members of the Society of Authors. The letter runs as follows :— “Dear Srr,—On the understanding that you are the author and sole owner of the above-named story, the Editor is prepared to pay you for the entire rights of i  ‘JUNE, 1914.] ~publication and re-publication (Home, Colonial and International) the sum of ten shillings, the Editor to shave the right of making any alteration he nmy deem advisable in title, names of characters, and text. “Should the Editor’s offer be acceptable to you, we shall be obliged by an early intimation of the fact, so that a remittance may be sent at the end of the month. ‘“* WintraMs, STEVENS, Lrp.” The article for which the magnificent sum of 10s. was offered was an article of 2,000 -words in length; therefore, the price being ‘paid was at the rate of 5s. per 1,000 words. Now from the point of view of the worst author, 5s. per thousand words must be considered an ‘impossible price even when the purchaser desires only the first serial use for a special paper ; but to offer to pay 5s. per 1,000 words for rights intended (as the form of receipt subse- quently sent showed) to cover the copyright ‘which now includes dramatic rights, transla- tion rights, and cinematograph rights is, from the author’s point of view, wholly absurd. No doubt the argument on the other side would be that there are many papers that pay as low as 5s. per 1,000 words. There is no doubt that some papers do fall as low, but two ‘wrongs will never make a right. and it is rather a shock to find an old and well-estab- lished paper like the Family Herald pays such prices. It is not often that so low a figure is paid, even for the first serial use, and it is quite the exception that the copyright is purchased for so low a figure. It would be further urged no doubt that the letter was a printed form, that as amatter of fact the work proposed to be purchased was not such as could be used either in book form, or for dramatisation, and. that, therefore, the author, although the contract embraced rights of so extensive a character, lost nothing. There is really nothing in this second argument, the point being that it is for the author to decide whether or not he ares to yield these rights, even though they are not likely to bring him in anything. There is one good point in the letter quoted. The author receives it before the article is published and puts quite clearly before him what the urchaser desires for the pittance that has een offered. This is a thousand times better than the case of those magazines which give an indefinite acceptance or no acceptance at all, then publish the story or article, and, when it has been published, claim, by an endorsement on the back of the cheque, all the copyright and prevent the author from obtaining his money until the cheque 1s signed without alteration. ———_—_—__—_4+—-_+___—_—_ THE AUTHOR. 255 TRANSLATIONS. See Tue RecENT ACTION OF THE ‘‘ SocrkTE Drs Gens DE LETTRES.”’ VERY author whose works are capable of translation should take notice, and immediate notice, of the recent action of the ‘‘ Société des Gens de Lettres” respecting translations. If any one will remark that to say this is hardly necessary, seeing that all the proceedings of the great French society, the Queen of authors’ societies, are always of con- summate importance, it shall be immediately admitted that this is essentially true; but, at the seme time, it is to be feared that there are among authors, or at any rate among English authors, very many who have not realised that the “ Société des Gens de Lettres ” is not only the oldest, and by far the most powerful of all authors’ societies, but also on every occasion the first to seize the meaning of new situations and developments, and the quickest to per- ceive how they can be turned to the advantage of its members; in effect, in all cases the leading society of all societies of the same kind. Before proceeding farther, it may be well to mention, in case any reader should not be acquainted with the methods of the “‘ Société des Gens de Lettres,” that the society is not only a society for protecting the rights of its — members, but represents also a single and. most powerful agency. Its members confide their works to its care, publish through its inter- mediation, and find all their business interests most attentively watched by its officials ; whilst it at the same time enjoys a prestige so indisputable that any publisher or editor who gets his name into the black books of the society, if this expression may be used, finds his affairs in a very awkward predicament. — Some little time since the society turned its particular attention to the subject of trans- lations, and appointed a special commission to inquire into the whole question of trans- lations and royalties on and payments for translations. The ‘‘ Rapport sur la Tra- duction ” rendered to the general meeting of the society on Sunday, March 29 last, 1s published in the official organ of the society (Chronique de la Société des Gens de Lettres, Mai, 1914, Paris, Cité Rougemont, No. 10), and is well deserving of attentive perusal. A sum- mary only of it follows here ; ever, of importance 1s omitted ; nothing, how- and it will be 256 seen at once that an entirely new light has been thrown upon the whole problem of translations and of authors’ benefits to be derived from translations. Authors’ rights in translations are fixed and protected by the Berne Convention, revised and regulated by the Congress of Berlin. The exercise of these rights, on the other hand, is often qualified by arrangements and engagements with some third party, publishers becoming frequently, under various stipula- tions, co-proprietors of the rights, and having interests indissoluble from those of the authors. (Here, in France, the position of the ** Société des Gens de Lettres,’ as agent for its members, naturally comes into consideration.) Translations can be regardedin three different aspects. 1. The translation of a work in book form again in book form. 2. The translation in serial form (feuilleton) in a periodical, either of a work that has originally appeared in book form; or of one that has appeared as a serial (feuwilleton) not published in book form; or of tales, novels, articles, or poems, which have appeared in a periodical, but have not appeared in a book. 3. The reproduction of a translation, of class either 1 or 2, in a serial form. (In this case there are three different stages of publication ; the original work, its translation as first pub- lished, a reproduction of this translation in some other manner.) In reality there is another possibility, not mentioned in the society’s report. A work appears by some well-known author ; for it is only in the case of works by popular authors that the complication here considered takes place. The work is very soon published, in book form, in a translation ; first of all almost always either in French or German, and then, from this translation another translation is made. That, evidently, ought never to hap- pen. The best of translations is never any better than it should be—and often a great deal worse than it should be; but a trans- lation of a translation is an abomination for which no excuse can be pleaded. Still the things exist. At the present moment there is lying before us a Roumanian translation of Sienkiewicz’ well-known Polish novel ‘ Quo Vadis,” with the statement shamelessly printed on its title page “* Translated from the French.” Such frank admissions are indeed rare, but that in many cases what are offered as trans- lations are merely translations of translations is certain. The aberrations from the original THE AUTHOR. [JUNE, 1914. are, in many instances, such as to leave no- possibility of a doubt of a German inter} mediary. Neither can there be any possibility of a doubt that these lucubrations represent the happy hunting ground of the literary pirates of many tongues. There is probably no kind of literary production in which the producer of contraband wares is more. active. To return, however, to the French report. Up to the present authors and publishers have paid attention to translations of the first class only, either completely ignoring the second and the third, or, at the best, taking the second only into consideration quite by accident. ‘In fact, generally, and excepting only in the case of some agreements with England or with the United States, we are accustomed hitherto to sell our works purely and simply for a single payment made once for all either by translator or publisher, who afterwards makes of these works what use he pleases. ** Meanwhile the formidable development of the international Press tends to render more and more profitable to the foreign purchaser the exploitation of the complete right which he has obtained. Having become absolute proprietor (of the translating right) the foreigner is able to sell and to re-sell his translation, to publish it and to re-publish it in various forms, in volumes of various prices, in illustrated editions, in parts, to offer it for serial publica- tion, to publish it in twenty different periodi- cals, and everywhere to gather profits with both hands, whilst neither the author nor his co-proprietor has any suspicion of the con- tinuously increasing profits resulting from his having agreed to accept a single payment for his rights.” It appears, however, that some authors have been a bit more prudent, and whilst ceding rights of French translation, have reserved the rights of French serial production. Respecting which the report observes, ‘‘ We see no reasom why we should not treat our fellow-authors as: they treat us.” For the future the ‘“ Société des Gens de Lettres ” intends to support, with a firm expectation of making this mode of action triumphant, the following equitable general theory: the French author who treats with a foreign translator (publisher, editor of a journal, or individual translator) will sell for a fived sum the right to translate a work in one form strictly defined, and will explicitly reserve all the other rights, and in particular those which in any way represent reproductions of the translation. P|  ——_—_—_ >< ‘sroyyne YSTSuy 100 SNoMas oy} SAVY OF qysno b jo coquunu ® dn suodo Ayo1008 “oloR oY} ssefoyoAON : ‘ssay APOuTISsIP st sqysit uorpepsuesy si Jo onjea efoya. eq} spoutde [faa os sUBOT OU hq outry owes oy} 7” Burg “toyyne ysToug, oy? pue ‘qvodde ue opis os oymb oyvut you op SZOod ysysugy MOTOUWLOS -gSensury Joyjo Aue Jo uoryelsuesy jo ssBut gjoyar ot} sps00x9 A[qviopisuoa ‘sopensurvy snows UL ‘qouotg poyepsuety JO ssBvUL OfOUA\ ay} ye} jeodde Ayqeqoad prnoar Ff sorysTyeys ureyqo 0} aiqissod orem 1 JT *Se}@IS peru) ayy pue purpsug ul Ayuepndod apqetopisuoo eB QUIT] OWS OTT} JB Sey I YSpMpM “uoUTUO,) Of} JoAo [Te poydoooe Ap1aHvo St JeYy 19}VVUL Are19}T] jo ssvur snouttous ue sonpoad Apqeyndstpul soop aourig ‘OsTy ‘[VULsMo oy} Jo soloBolfop 943 AAUOD 0} SB OS oFEISULI] OF aqissodurt j1our osenSury ou st otoy} yonoyy $ AQM g jo Wos v ur ‘poye[suetz Apisvo oL0U oq UBS asenSuel oN ‘Youoty se poye[suBsy WoO OS ST opeNsuUe] OU Ayquoredde yey}—sty} 9q AqUrey -190 [JIM doyoey JURWodtuT Joyjzouy ‘sto NV jo Ayoroog YsTppug, oy} ULYy avpnotqaed sty} Ur sIoyyNeE Jo ssauysyos o{} JO ure,dutod 0} UOsBo.l zaysnf{ sey yey Aqetoos ou sdeyaiod st o10y} pur —sar}o00s dy} 0} SuLoype Aq osnvo WoUTUTOD ayy ur wolf 0} sxoyyne Auvur Jo souRyON[or ayy Aq pousyvoa ATPBS o1B SoTJOLDOS TeTTWIS ToyJO [[V ‘SWUOTPRsTURsSA0 AY} UL SodUtoyyrp wor wedy ,,'Sed}Jo'T._ ep Suey) Sop 93910 ,, ay} Jo asoyy WLM poreduos oq 07 o1B sioaod asoya stoyyne jo Ayoroos Aue ppoM ot} UI orayMou st otoyy, ‘opqeqotd you ‘Aqiddequn ‘St S]MSOL IVPTWIS OY] suryyAue yoodxo plnoo Aoyy yyy, *saveafwoa your doy} Jo opdurexe dq} MOTO 0} T[oss Op Os[e Pom soy Ne ysysugq yey} Wloss pynom yt pue + yuoprAs oq TIM UoTR[sUeT] SUISLIVpNSo1 Aq sToq woul S} Jo SouIcoUT oY} 0} Surppe Jo ABA B pataaoasIp SBy ,, SMI] op Susy) Sap 939100 ,, 9Y} FUL, : : "yous VfOS UMO STY 1OF sosvoid oy Ava, Auv ur poonpoadoas uonRsuety ayy eaet] 07 JS oynjosqe oy} Sururezod pur jeumol ayj Jo sstdood U9} Os[e SUTATIDII LOYINR YOuat oy} “OUO[B FYSIL [Bios oy} OF sowery oo, Avd 0} ‘yUAHe TOY, YSnory} AzoIO0S oy} YIM JUotudaITe uv 0} aUIOD sBY, ‘SoUBAT QOS LOT sTyst [(@ suumboe ‘toyyne oyy woody Apooatp WSU voHRsuRTy oy} aseyoind 0} posn yor jeumol ys, Y “sppumol unisiwog ‘aut JO UOTPVAIPISt yorpa suorsen youory oy} Jo Lge MOHLAWY AHL fig pind atv sp sullap aus ay} ‘ones ayy UqTAL syuoursoi8e Troy} JO ONT ul ‘auo]D sumnjor Mayy Ud unaddn 04 sytom yuo JO SUOTIRISUBIY aoy Avd oangny OY} LOF [IM Aoosopy pue sang -siaqyod “4S Jo speuanol Surpeo] oy} Jo ANOJ VISsnyy up ‘Aroyoesstyes Apysry woe Ayureyiood oAey s}fnsot oY} JO OSTB IULOS ‘uolssnosip topum [[4s st Auewioy pue Apeyy Areuued [izergy ut auop oq [ITs FEU AL “erUeUINOY, PUB Avesunyy -VLIjsny ‘puepsuyy Ut Suryeo1y st Ajowos oy} pue ‘vissmy pue arqndayy ourquasy ayy ‘fesnyog ‘S°q"IS poy ey} “puellory “epeury ‘uMIsp_, 1OJ poqurodde useq SAeY syuosy “suoTyR[suedy Suipsesat sue sod Mou s}t SuIST[vot SpleMa.oy sdoqys queytoduit usyey Apeorpe sey Ayowwos oy} FU SALOYS qatodo.t ou, _uorssnastp opun souloo yoy YLoa Yoo Apoyeredas Iopisuoo oF quose sg AyoIoos oY} 1OF Axessooou JL oyeur [IM wor -BysuBi} otf} JO SOS JU.LOIHP yo suorjonpoidor jo pur uole[sue.ty Areurtad oy} Jo suoysonb xojduioo ayy, “Sopa 027] ureyiao B YORAM UT IDI 94} OF POP}SeL JUUTOALO’ Ue ayeul 0} SNOOHeUBAPR ILOU ST Ff FEY} OS £ 802.9] WYSE -fidoo quasaffip oxey YOM $924zUnod quasaffip ut uoyods oq Avut Yor ‘aspnsuv)] dup @ JoJ JUsUIDIISe UB UL POATOAUT 8} Josuep VW ‘ayeqg opUTop B 07 Poytysot quouleo1se ostooid v skeaye oq 0} SN ‘yuoutdopoAop [BULIOU S}T MOT[OJ OF puv yyoad Jo oatjonpord oq 0% St 72 jt,, WoIe[suRt] B Suroodsot JUouoaIse OY,T, —: uolnes yuezoduer ue suTejyuod os] ydeasered SULMOTIOF OUD _cSdOYyNe JO SPYSIL oy} Jo osuas @ 03 Sutsoypid snoymyeis Aq pyoud oyar Qsoy} powoAuoo you savy AoYZ ING ¢ Ay1odoad Sxe1d9}1[ JO DOUIISTXO IY} Pooto9P SILTFUNOD AueBul ut ‘pooput ‘savy syuoueped Jo spy “SUE -JUBM JOU aIB SaTYMOIFICE “SeATOSAMOA VATIWIpP: you op,, ‘ydodat oy} senutzuoD (JI, *SUIZI}IO» -00 Ito} YA yeotz 02 9[GR IoWoq ‘soutdo: Ayowos ay} ‘Suteq owdoy oy} F UowMTouIT you ‘uorjsonb UL SaLiyUNCD oY} JO SUSZIPO sosvo [IB UT oq [[LM SyUOse osoy,T, “SeLTPUNOD JUOTOFIP UE UMO Ss} Jo syuese yurodde 03 sosodoad Ajo100S ayy ‘owturssoid syt Jno Adtvo 0} Jopio ul "SOQ UID S}I JO JWOD poytpodoow o{} Se Surjoe aq [[IA. 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 <em>The Author</em>, 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://www.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 <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 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. JOHN Hassaun, R.I. J. G. Miunais. Inn Fields, W.C. Solicitors. OFFICES. Mus. Doc. SIDNEY JONES. ARTHUR SOMERVELL, WILLIAM WALLACE. EE. M. H. SPIELMANN, Sir JAMES YOXALL, M.P. ARTHUR RACKHAM. M. H. SPIELMANN. Secretary—G, HERBERT THRING, Solicitor in England to La Société des Gens de Lettres, Legal Representative in America—ARTHUR C. TRAIN, 27, William Street, New Yorx, U.S.A. ’ TorHILL STREET, WESTMINSTER, S.W. A be ADVERTISEMENTS. lil AUTHORS contemplating the production of their own work should communicate with “TAUNTON who will be pleased to submit ESTIMATES AND SPECIMEN PAGES Antiquarian & Topographical Works a Speciality. TYPEWRITING. The Museum Transcript Agency, 47, GREAT RUSSELL STREET, W.C. (Opposite the British Museum). Tur Museum Transcript AcENcy (Frances Rodwell, B.A. Lond., Hons.) undertakes every ne 7 ly ai tt ‘ 2 branch of ‘Typewriting, Shorthand, Translation, Museum and other Research, Press-correcting and Proof-reading. Mr. Alexander Teixeira de Mattos, the trans- lator of Maurice Maeterlinck, Henri Fabre and Louis Couperus, writes : “T have to thank you for much besides the ‘‘excellent accuracy and neatness of the type- ““ writing which you have done for me of late years. “Your assistance in the matter of research has “been invaluable to me; but I owe even more to “the scholarship and the fine literary sense which, “time after time, have enabled you and prompted “you to point out to me the casual and often ‘disastrous slips that are bound to occur in the “manuscript of one occupied with such a mul- ‘‘tiplicity of work as myself. Your conscientious “ method must cost you a great deal of time ; but I “ feel sure that it will end by bringing you all the “ work that you can want.” Hours, 9.30 to 6. Telephone: Regent 5233. TYPEWRITING. GOOD WORK AT MODERATE PRICES. SPECIAL REDUC ea ‘MISS A. BECKS, : corrected. 50, Rupert St., Shaftesbury Avenue, London, Dramatic, Legal, Medical, Scientific, Commercial, etc. TIONS MADE FOR LARGE QUANTITIES. Indistinct writing carefully deciphered. W. (Piccadilly Circus). PUBLICATIONS OF THE SOCIETY. 4. The Annual Report for 1912. Price Is. net. 2. The Author. Published ten months in the year (August and September omitted), devoted especially to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued to all Members gratis. Price to non-members, 6d., or 53. 6d. per annum, post free. Back numbers from 1892, at 10s. 6d. net, per vol. 3. Addenda to “ Methods of Publishing. By G. HERBERT THRING. 2s. 4, Literature and the Pension List. By W. Morris CoLLEs, Barrister-at-Law. Price 3s, net. (AU prices net. Apply to the Secretary, T, Central Buildings, 5. Forms of Agreement issued by the Publishers’ Association ; with Comments. By G. HERBERT THRING, and Illustrative Examples by Sir WALTER Besant. 2nd Edition. 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Secluded garden, Motor house.—Apply “P.8.,” Matthew’s Advertising Service, Staple Inn Buildings, 7 nya SSESSION High Holborn, London, W.C. IMMEDIATE POSSESSION. | NO AGENTS. CHARMING COMPACT FOR SALE BEAUTIFULLY FURNISHED AS IT STANDS. TYPEWRITING. MSS. copied with accuracy and precision by Typist of 14 years’ experience. 10d. per 1,000 words (Carbons 2d.) ALBERT E. CLAYDON, toncr oak Park, sc. Part of House TO BE LET, FURNISHED. Hot Water supply and Electric Light throughout. NEAR STATION. MISS GC. M. EVANS, NANTYDERRY, MONMOUTHSHIRE. TYPEWRITING, SHORTHAND, TRANSLATIONS, etc. Authors’ MSS., Plays and Speeches a speciality. ACCURACY, PROMPT ATTENTION, AND GOOD WORK—ALWAYS. THE PARLIAMENTARY & GENERAL BUREAU, LTD., recniu’stS’ Westminster So Telegrams: ‘‘ BUSITYPE, LONDON.” 48/49, Queen Anne’s Chambers, Telephone: 4478 VICTORIA, The Manageress, Miss F. R. SILVER, will be pleased to call at any address in London on receipt of postcard. Poetry. NEW CANADIAN POEMS, By W. 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 <em>The Author</em>, 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://www.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 <em>The Commonwealth of Australia: Copyright</em> (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&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=23&amp;sort_field=added">Supplement to <em>The Author</em>, 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://www.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 <em>Australian Copyright Act, 1912: Statutory Rules</em> (1914) Description An account of the resource A full summary of the statutory rules relating to copyright in Australia, including forms to be used to register for copyright. Type 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&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=24&amp;sort_field=added">Supplement to <em>The Author</em>, Vol. 24</a> Australia copyright international publications The Author https://www.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 <em>The Indian Copyright Bill, 1914&nbsp;</em>(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 <em>The Author</em>, 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