Plagiarism and Literary Property in the Romantic PeriodUniversity of Pennsylvania Press, 2013 M04 23 - 256 pages In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? |
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... poet or a literary movement. This is not a book about guilt or innocence, although those have been the terms of the plagiarism debate almost since its incep— tion. Rather, this study sets out to answer what turns out to be a deceptively ...
... Poetry” and Alastor in light of the poet's anxieties about his literary obligations. Finally, Chapter 6 explores Wordsworth's concern regarding the appropriation of his style and voice and examines the charges of plagiarism brought ...
... poets and of Coleridge, in particular, were debated vigorously throughout the twentieth century, but their ... poetic objectives, or their use of tradition. The almost exclusive critical emphasis on the plagiarisms of Coleridge is one ...
... poetry, these authors were also keenly aware of the personal and professional stakes involved in failing to articulate the standards by which those works were to be judged. Wordsworth made precisely this point in the “Essay ...
... Poetry” (1821), Percy Shelley made a similar point when arguing for the originality of Virgil. It was, Shelley wrote, “with a modesty that ill became his genius [that Virgil] affected the fame of an imitator, even whilst he created anew ...
Contents
1 | |
17 | |
3 Property and the Margins of Literary Print Culture | 49 |
Byron Originality and Aesthetic Plagiarism | 86 |
Travel Writing and the Defense of Modern Poetry | 122 |
Class Improvement and Enclosure | 144 |
Afterword | 182 |
Notes | 189 |
Bibliography | 211 |
Index | 227 |
Acknowledgments | 235 |