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 by the restrictions imposed on it by the government itself, that it has disregarded his special fitness and preparation for the work and has preferred retired army officers to civilians as war correspondents, that it has ignored his many services to the country, and that it has contented itself with enumerating the various occasions when war correspondents have been taken to task for giving information to the enemy, although exonerated from the charge of wilfully so doing.

The war correspondent not only indignantly denies the justice of the criticisms of his work, but he points with pride to his achievements,67 to his subordination of himself to his news-

He will be a mere transmitter by strictly defined channels of carefully revised intelligence liable to be altered, falsified , cancelled , or detained at the discretion of the official set in authority over him. . . . The new order of things has taken war correspondence out of the category of the fine arts.”—"War Correspondence as a Fine Art," Memories and Studies of War and Peace, p. 216.

67 An excellent account is given of the “brilliantly descriptive message from Metz” narrating the surrender of Marshal Bazaine," a message that was copied from the Daily News into nearly every other paper in England,” in F . M . Thomas, Fifty Years of Fleet Street, pp. 176–177.

G. W. Smalley says that it was supposed in London to be the work of A. Forbes, but that the real author was in reality G. Müller, a correspondent of the New York Tribune who wrote his account in the London off