eminence had explained the contradiction by invoking the concept of
plagiarism. This explanation, however, struck me as unconvincing on
two counts: nobody could reasonably call what Jones had done in the
masque plagiarism, and declaring it plagiarism didn’t seem to
me to explain anything. In the essay I came up with an alternative
explanation, which didn’t involve plagiarism and solved the
Unlike Romantic authorship, the Gothic author has long been identified with unoriginality. A foundational moment in this association can be found in the reception of the original Gothic plagiarist, Matthew Lewis. Critics not only condemned Lewis for apparently usurping other authors property in The Castle Spectre but also did so by casting him as his own usurping villain. This parallel between Gothic conventions and critical language suggests that the Gothic might have played a crucial role in the history of our concepts of intellectual property, and particularly in the development of the now-familiar figure of the criminalized, and vilified, plagiarist.
examines the development of the concept of the author-portrait in early
modern England, of ways of imagining and constructing authorship,
looking beyond the familiar examples of Sidney, Shakespeare, Jonson and
Donne. The idea of the author is considered from another aspect in
“Plagiarism revisited,” which returns to an early essay of
mine on the subject, and discusses the history of attitudes toward
, ‘practically the whole of which appears, often in the
same words, as Mr. Howell’s own’. In the Webbs’ opinion, the only value
of Howell’s work lay in it being a ‘thoroughly practical exposition of the
Trade Unionism of his own school and time’. The implication was clear: as
a historical study it was negligible. More recently, in the official biography
of the Webbs, Howell’s historical efforts were swatted aside as ‘simply a
plagiarism from Brentano’.26
The status of Howell’s research profoundly mattered to the Webbs.
Although his works were included in the bibliography of
in evidence in ‘Cemetry Gates’, where the
song’s characters discuss the issue of plagiarism amongst the headstones –
influenced no doubt by Morrissey’s real-life practice of strolling through local
graveyards with Linder Sterling.31 ‘I Know It’s Over’ sees Morrissey drawing
a parallel between getting into an empty bed and being buried alive (‘Oh
Mother, I can feel the soil falling over my head’). Death thus threatens to take
the song’s protagonist before he can ever express himself sexually. The song
suggests a relationship which is equally about mothering and
Re-forming the stage
The season of 1697/8 marks a crucial period in theatre history and an
extraordinary chapter in the history of theatre women. In no other
season on the Late Stuart stage were so many new plays by female playwrights performed by the same company in the same playhouse.
Competition between the two houses was still fierce and an act of overt
plagiarism by the Patent Company fuelled the ongoing animosity. The
Players’ Company maintained its commercially successful edge over its
rivals and this season can be
This book focuses on performance construed in the largest sense, as the deployment of a personal style, as imagery of various kinds, and even as books, which in the early modern era often include strongly performative elements. The chapters in the book fall logically into four groups: on personal style and the construction of the self, on drama, on books, and on the visual arts. Personal style is performative in the simple sense that it is expressive and in the more complex sense that it thereby implies that there is something to express. The book takes a broad view of the question of performance through disguise. Disguises in Elizabethan drama are nearly always presumed to be impenetrable, effectively concealing the self, whereas costume is designed to adorn the self, to make the self more strikingly recognizable. The book considers the changing effects of disguise and costume both on concepts of the self and on assumptions about the kind of reality represented by theater. As a practice that makes performance visible as such, theater is characterized by an ongoing reflection on the very norms that make dramatic performance legible and indeed possible. Images are never more performative in and for a culture than when they offer a view onto the differences through which culture is made.
pedigree, it is
fitting that he should both cite and suppress the papers of Martin
Hesselius. Plagiarised at last, Sheridan Le Fanu could find peace as
well as his modicum of literary immortality.
Plagiarism, when you come to think of it, was exactly the
right literary mode for such a curiously structured social constituency
as Le Fanu’s, for it can pose as imitation and deference while
counteraction to the separate and apparently irreconcilable
existences of the many Marstons of Le Fanu’s other fictions.
These mergers constitute more than an artist’s deft
appropriation of what is useful to the task in hand; as an
examination of ‘Carmilla’ will demonstrate, plagiarism
is the veritable theme of Le Fanu’s late work.
Historiography’ (Ph.D., University of Cambridge, 1999) and ‘Plagiarism
and imitation in Renaissance historiography’, in Paulina Kewes (ed.), Plagiarism in
Early Modern England (Basingstoke, 2003), pp. 106–18.
The political thought of John Hayward
3 Alzada Tipton, ‘“Lively patterns … for affayres of State”: Sir John Hayward’s Life and
Reign of Henry IIII and the Earl of Essex’, The Sixteenth Century Journal, 33 (2002),
769–94, is a partial exception, although Tipton concentrates on whether Hayward
meant to justify rebellion. Rebecca Lemon, Treason by Words: Literature