With following slow their motions wise and stealthy, Grew boundless large, reached upward to yon sown Broad field, the sky, with red ripe star-fruits wealthy, Plucked and consumed them still At my fair will! "Twixt Kaf and Kaf, those hills that wall the world, And by that glare the veil of things was riven; "That was the hour of evil fates descending; Tigris a vein that throbbed with ceaseless motion; And I was earth, air, fire and boundless ocean! Folly from that black day Held me in sway. "From Ur the town I marched with vainness blinded And founded empires in the teeming plain; Lured to revolt ten cities fickle-minded, And dared the gods that could not save their slain. I was their god. I was the lord of all, Each step a new town or a plundered palace. I drowned a land with break of water wall; Repeopled it, when kindness grew from malice. He falls who climbs. “Of Babylon I made the stateliest city The earth has yet upon its surface known. Nation I fenced from nation without pity That all might wend toward Babylon alone. Tribe might not trade with tribe, nor north with south, But all must barter at my market centre; Nor eastman speak with westman mouth to mouth Thus grew each tongue and art "But, spite of crimes, spite of my wealth and glory, Of me what know ye, men of a puny age? I am a rumor, an uncertain story, A vanished smoke, a scarce-remembered page! My sons effaced. "Yes, my own sons, for whom I bear these curses, All newly builded by succeeding kings: What of the rage of desert-dwelling savage? Some man must hear, "Must hear how they betrayed me, yes, and ponder For on my mind weighs a thick cloud of doubt, COPY Richard Rogers Bowker. BORN in Salem, Mass., 1848. THE NATURE AND ORIGIN OF COPYRIGHT. [Copyright: its Law and its Literature. 1886.] OPYRIGHT (from the Latin copia, plenty) means, in general, the right to copy, to make plenty. In its specific application it means the right to multiply copies of those products of the human brain known as literature and art. There is another legal sense of the word "copyright" much emphasized by several English justices. Through the low Latin use of the word copia, our word "copy" has a secondary and reversed meaning, as the pattern to be copied or made plenty, in which sense the schoolboy copies from the "copy" set in his copy-book, and the modern printer calls for the author's "copy." Copyright, accordingly, may also mean the right in copy made (whether the original work or a duplication of it), as well as the right to make copies, which by no means goes with the work or any duplicate of it. Said Lord St. Leonards: "When we are talking of the right of an author we must distinguish between the mere right to his manuscript, and to any copy which he may choose to make of it, as his property, just like any other personal chattel, and the right to multiply copies to the exclusion of every other person. Nothing can be more distinct than these two things. The common law does give a man who has composed a work a right to it as composition, just as he has a right to any other part of his personal property; but the question of the right of excluding all the world from copying, and of himself claiming the exclusive right of forever copying his own composition after he has published it to the world, is a totally different thing." Baron Parks, in the same case, pointed out expressly these two different legal senses of the word copyright, the right in copy, a right of possession, always fully protected by the common law, and the right to copy, a right of multiplication, which alone has been the subject of special statutory protection. There is nothing which may more properly be called property than the creation of the individual brain. For property means a man's very own, and there is nothing more his own than the thought, created, made out of no material thing (unless the nerve-food which the brain consumes in the act of thinking be so counted), which uses material things only for its record or manifestation. The best proof of own-ership is that, if this individual man or woman had not thought this individual thought, realized in writing or in music or in marble, it would not exist. Or if the individual, thinking it, had put it aside without such record, it would not, in any practical sense, exist. We cannot know what "might have beens" of untold value have been lost to the world where thinkers, such as inventors, have had no inducement or opportunity to so materialize their thoughts. It is sometimes said, as a bar to this idea of property, that no thought is new-that every thinker is dependent upon the gifts of nature and the thoughts of other thinkers before him, as every tiller of the soil is dependent upon the land as given by nature and improved by the men who have toiled and tilled before him, a view of which Henry C. Carey has been the chief exponent in this country. But there is no real analogy-aside from the question whether the denial of individual property in land would not be setting back the hands of progress. If Farmer Jones does not raise potatoes from a piece of land Farmer Smith can; but Shakespeare cannot write "Paradise Lost" nor Milton "Much Ado," though before both Dante dreamed and Boccaccio told his tales. It was because of Milton and Shakespeare writing, not because of Dante and Boccaccio who had written, that these immortal works are treasures of the English tongue. It was the very self of each, in propria persona, that gave these form and worth, though they used words that had come down from generations as the common heritage of Englishspeaking men. Property in a stream of water, as has been pointed out, is not in the atoms of the water, but in the flow of the stream. Property right in unpublished works has never been effectively questioned -a fact which in itself confirms the view that intellectual property is a natural inherent right. The author has "supreme control" over an unpublished work, and his manuscript cannot be utilized by creditors as assets without his consent. "If he lends a copy to another," says Baron Parks, "his right is not gone; if he sends it to another under an implied undertaking that he is not to part with it or publish it he has a right to enforce that undertaking." The receiver of a letter, to whom the paper containing the writing has undoubtedly been given, has no right to publish or otherwise use the letter without the writer's consent. The theory that by permitting copies to be made an author dedicates his writing to the public, as an owner of land dedicates a road to the public by permitting public use of it for twentyone years, overlooks the fact that in so doing the author only conveys to each holder of his book the right to individual use, and not the right to multiply copies, as though the landowner should not give but sell permission to individuals to pass over his road, without any permission to them to sell tickets for the same privilege to other people. The owner of a right does not forfeit a right by selling a privilege. It is at the moment of publication that the undisputed possessory right passes over into the much-disputed right to multiply copies, and that the vexed question of the true theory of copyright property arises. The broad view of literary property holds that the one kind of copyright is involved in the other. The right to have is the right to use. An author cannot use—that is, get beneficial results from his work, without offering copies for sale. He would be otherwise like the owner of a loaf of bread who was told that the bread was his until he wanted to eat it. That sale would seem to contain "an implied undertaking" that the buyer has liberty to use his copy but not to multiply it. Peculiarly in this kind of property the right of ownership consists in the right to prevent use of one's property by others without the owner's consent. The right of exclusion seems to be indeed a part of ownership. In the case of land the owner is entitled to prevent trespass to the extent of a shot-gun, and in the same way the law recognizes the right to use violence, even to the extreme, in preventing others from possession of one's own property of any kind. The owner of a literary property has, however, no physical means of defence or redress; the very act of publication by which he gets a market for his productions opens him to the danger of wider multiplication and publication without his consent. There is, therefore, no kind of property which is so dependent on the help of the law for the protection of the real owner. The inherent right of authors is a right at what is called common law— that is, natural or customary law. So far as concerns the undisputed rights before publication, the copyright laws are auxiliary merely to common law. Rights exist before remedies; remedies are merely invented to enforce rights. "The seeking for the law of the right of property in the law of procedure relating to the remedies," says Copinger, "is a mistake similar to supposing that the mark on the ear of an animal is the cause, instead of the consequence, of property therein." After the invention of printing it became evident that new methods of procedure must be devised to enforce common-law rights. Copyright became therefore the subject of statute law, by the passage of laws imposing penalties for a theft which, without such laws, could not be punished. These laws, covering naturally enough only the country of the author, and specifying a time during which the penalties could be enforced, and providing means of registration by which authors could register their property rights, as the title to a house is registered when it is sold, had an unexpected result. The statute of Anne, which is the foundation of present English copyright law, intended to protect authors' rights by providing penalties against their violation, had the effect of limiting those rights. It was doubtless the intention of those who framed the statute of Anne to establish, for the benefit of authors, specific means of redress. Overlooking, apparently, the fact that law and equity; as their principles were then established, enabled authors to use the same means of redress, so far as they held good, which persons suffering wrongs as to other property had, the law was so drawn that in 1774 the English House of Lords (against, however, the weight of one half of English judicial opinion) decided that, instead of giving additional sanction to a formerly existing right, the statute of Anne had substituted a new and lesser right to the exclusion of what the majority of English judges held to have been an old and greater right. Literary and like property to this extent lost the character of copyright, and became the subject of copy-privilege, depending on legal enactment for the security of the private owner. American courts, wont to follow English precedent, have rather taken for granted this view of the law of literary property, and our Constitution, in authorizing Congress to secure "for limited terms to authors and inventors the exclusive right to their respective writings and discoveries," was evidently drawn from the same point of view, though it does not in itself deny or withdraw the natural rights of the author at common law. Ella Dietz Clymer. BORN in New York, N. Y. SONG. [The Triumph of Love. 1878.-The Triumph of Time. 1884.] TOUCH me not, unless thy soul Look not with favor on my face, Within thy sight; express Only the truth, though it should be O never speak of love to me, Thou wouldst that love reveal: |