By Robert Macfarlane
'"Originality" is just plagiarizing from a good many', remarked Rupert Brooke, stealing the road from Voltaire. Questions of originality, and accusations of plagiarism, are as outdated as literature, yet varied literary cultures have interpreted the connection among originality and plagiarism in startlingly distinct ways.Original reproduction investigates and records the drastic reappraisal of literary originality and plagiarism which happened over the process the 19th century: from the heroic visions of unique authorship that characterized the 1820s and 1830s, via to the stickle-brick creativity of Oscar Wilde and Lionel Johnson on the century's finish. It unearths how rules of originality and plagiarism weren't just a theoretical main issue of Victorian commentators on literature, but in addition supplied many very important Victorian writers - Eliot, Dickens, Reade, Pater, Wilde, and Lionel Johnson between them - with an inventive source. relocating among various assorted fields of suggestion and data - literary feedback, the historical past of technological know-how, manuscript tradition, anthropology - and written in a supple and chic kind, this booklet exhibits that the guidelines of originality and plagiarism have been the topics of nineteenth-century literature, in addition to what it used to be topic to.
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Why did originality become so highly regarded as a literary value? One reason concerns what Walter Jackson Bate memorably names ‘the burden of the past’. ¹⁹ According to Bate, ‘the Augustans’, more acutely than any previous literary generation, were aware of the welter of published words, the increasing impossibility of saying anything which had not been said before, and the futility of adding to this verbal superfluity. ¹⁵ Original emphasis. Immanuel Kant, Critique of Judgement, trans. J. H.
What might be concluded here is that the real ‘fiction in need of revision’ concerning Romantic authorship is that Romantic writers always claimed to be ‘spontaneous, extemporising, otherworldly and autonomous’. What is proposed in the next section of this chapter is that the definition of originality as the creation of something ‘utterly new, unique’ was actually invented after Romanticism had largely run its course. ⁵³ Leader, Revision, 1. ‘Romantic’ Originality 33 That is, the myth of ‘Romantic’ originality to which Leader, Gregory, Woodmansee, McGann, and others so confidently allude did not originate with the Romantics.
Grand Rapids: Phanes Press, 1989), 49–50. ¹⁷ Kaplan, Copyright, 24. ¹⁸ Roland Mortier, L’Originalit´e (Geneva: Librarie Droz, 1982), 134–5. Quoted by Marilyn Randall, PP, 48. ¹⁹ BP, 4. 24 ‘Romantic’ Originality They suffered from intellectual fatigue syndrome. As well as inducing a powerful inferiority complex, Bate suggests, the pressure exerted by the burden of the past enhanced the allure of the concept of originality. In market terms, as the available commodity became scarcer, so demand grew proportionally more urgent.