Adams, Percy, 109
Addison, Joseph, 82
Altieri, Charles, xii
anonymous publication, 83, 109–11
Augustan literature, 12, 14. See also neoclassical aesthetics
authorship: assumptions regarding solitary genius, ix, xi, xiii, 6–7, 16, 30, 182, 186–88; commercial or professional, ix, xii, 54–62, 66, 75, 81, 85, 95–96, 123–24, 144, 166–75; poststructuralist theories of, xi, xiii, 1, 6–7, 147, 186–88; pre-Romantic constructions of, xiii, 1. See also gender
ballads, 49, 54, 70–85. See also Wordsworth, William
Barrell, John, 157
Barthes, Roland, 6, 47–48, 196–97 n.27
Bayley, Peter, 15–6, 103, 119, 147–49, 152, 207–8 n.10
Beach, Joseph Warren, 46
Beattie, James, 178
Beaumont, Francis, and John Fletcher, 151
Beckford, William, 108, 111, 116
Bently, Lionel, 11
Birns, Nicholas, 137
Blackstone, William, 51–53
Blessington, Marguerite Gardiner, countess of, 116, 119–21
Bloom, Harold (The Anxiety of Influence), 136
Bloomfield, Robert, 179
Bostetter, Edward, 30, 195 n.12
Brewer, William, 180
Brown, Capability, 145
Brownlow, Timothy, 145–46
Brun, (Sophie Christiane) Friederike, 18–19, 45–46, 50, 55–57, 62
Burgher, Gottfried August, 75, 82
Burke, Edmund, 15
Burke, Séan, xiii
Burns, Robert, 176
Byron, George Gordon, lord: accused of plagiarism, x, xii, 2, 8, 41, 44, 73, 86, 106, 144–45, 147; concern with textual unity, 128, 130; conflict with William Wordsworth, 44, 86–87, 94–96, 106–7, 119, 144, 147; debts in Childe Harold, 94–107, 111, 144; debts to Coleridge, 91–94, 96–97, 100–101, 110, 116; debts to Continental literature, 104–7, 116–21, 202–3 n.15, 204 n.30; debts in Deformed Transformed, 119; debts in Don Juan, 43, 94, 107–13, 115–19; debts in oriental tales, 87–94; debts to travel writing, 50, 86, 90–91, 105, 107–13, 115–17, 123, 127–28; debts to William Wordsworth, 96, 100–101, 201–2 n.7; and empire, 112–16; investment in persona, 98–104, 111, 143, 201 n.2; and Lake School poets, 100–102; literary failure of, 98–104; literary property, attitude toward, 11, 87; originality, attitude toward, 112–16; peasant poets, attitude toward, 179–80; reputation as poet, 28, 54, 86–89, 176; resented by John Clare, 179–80; social class as factor, 121, 166; unconscious, attitude toward, 119–21
Calderón de la Barca, Pedro, 134
Campbell, Thomas, 127–28, 159–60, 196 n.25
Casti, Giambattista, 116–19
Chatteron, Thomas, 23, 72–73, 174–75
Christensen, Jerome, 47, 196 n.25
Clairmont, Claire, 136
Clare, John, x, 2, 8, 176–81, 184
class: related to charges of plagiarism, ix-x, 173–81; genteel or aristocratic contexts, 50, 66, 95–96, 121, 129, 144, 157; related to labor and social ascendancy, 146, 158–65, 173–81
classical literature, 10, 14, 28–29, 128–29, 138–39, 164, 202–3 n.15
Clery, E. J., 75
Cochran, Peter, 111
coincidence, philosophical use of term, 5, 24, 38–39. See also plagiarism, coincidence as factor in
Coleridge, E. H., 58
Coleridge, Samuel Taylor: accused of plagiarism, xii, 2, 17–41, 191–92 n.12, 194 n.2; accuses or defends other writers, 39, 42–44; association and poetic theory, 37–38, 120; Biographia Literaria, observations in, 9, 29–30, 120; borrowing of meter, 29–30; Byron’s debt to, 44, 91–94, 96–97, 100–101; Christabel, 27–35, 64–65, 91–93, 115–16, 151–52, 195 n.15, 196 n.16, 198 n.6; comments on contemporary culture, 183; comments on William Wordsworth, 36, 41–42, 44, 142; criticism of, 46–47; dialogue with Mary Robinson, 50, 57–62, 198–99 n.10; debts in Biographia Literaria, 18, 22–24, 37–41, 45–48, 119, 184, 196 n.25; debts to Friederike Brun, 18–21, 45–46, 50, 55–57, 61–62; debts to Milton, 18–20; debts to Schelling, 18, 20–24, 38–40, 45; debts to travel writing, 18–22, 110, 123; debts to Dorothy Wordsworth, 62–70; debts to William Wordsworth, 61–62; defended by Sara Coleridge, 46; emphasis on plagiarisms as exceptional, x, 7–8, 17–18, 38, 45–47, 56, 86, 191–92 n.12; genial coincidence, 24, 26, 38–41, 133; habit, inhabitation, and addiction, 24–26, 31, 37, 39, 47; irony, 28–30; jouissance, 47–48; “Kubla Khan,” 36, 60, 123; literary property, attitude toward, 11, 43–44, 57, 61–62; novelty, attitude toward, 9, 29; ocular spectra, 26, 35–38; oral recitation, attitude toward, 29–31, 81; originality, attitude toward, 43–44; patchwork, use of term, 21, 43, 128, 185; periodicals, attitude toward, 57, 61–62; philosophical reading of, 24; plagiarisms unconscious, 18, 21–27, 36–37, 46–48; psychological motives for plagiarism assumed, 8, 17–18, 37–38; Rime of the Ancient Mariner, 60, 123; and Walter Scott, 28–29, 32, 39; sympathy, attitude toward, 3; textual parallels, attitude toward, 43–44, 130, 143, 186; tradition, attitude toward, 28–30; trances, 32–34, 36; unconscious, attitude toward, 23–27, 31–48; ventriloquism, 26–35, 40, 44–45, 59–61, 155; Dorothy Wordsworth’s view of, 31
Coleridge, Sara, 46
collaboration: between Coleridge and Wordsworth, 60, 147, 151–52, 155, 207 n.7; in poststructuralist theory, 6; versus proprietorial models of authorship, 28–29; in Romantic period, ix, xi, xiv, 185, 199 n.18
colonialism. See empire
Colwell, Frederic, 138
commonplace books, 49, 50, 55, 64–70
Conger, Sydney, 77–79
Continental literature: borrowings in general, 91, 105–6, 116–21, 202–3 n.15; from French, 21, 106; from German, 75, 77–79, 82–83, 86, 105, 116–17, 170, 200–201 n.39, 204 n.30; from Italian, 106, 116–19, 128–29, 203 n.16, 204 n.32; from Spanish, 134. See also individual authors
copyright law: Berne Convention for the Protection of Literary and Artistic Rights (1886), 5; complicated by anonymous publication, 110–11; complicated by gender, 52–53; complicated by popular genres, 49–50, 84; Copyright Act (1814), 86–87, 121, 144; in current law, 5–6; Donaldson v. Beckett (1774), 11–12, 87, 144; Literary Copyright Act (1842), 171; Millar v. Taylor (1769), 11; Napolitano v. Trustees of Princeton University (1982), 5; proprietary versus natural arguments in, 11–12, 28, 30–31, 87, 110, 144–46, 165, 169–70, 193 n.20; in Romantic period and eighteenth century, 10–14, 72–73, 123–24, 183, 190 n.5, 203 n.21; Society for the Encouragement of Learning Act (1736), 11; Statute of Anne (1709/10), 11; Tonson v. Collins (1760), 13; Webb v. Rose (1732), 11; William Wordsworth’s engagement with, 164–75
coterie circulation of texts, ix-x, 27, 30–32, 49, 64–70, 113–14
Cowley, Hannah, 21, 194–95 n.4, 197 n.1
Cowper, William, 177
Crabbe, George, 177
Cunningham, Allan, 179
Cunningham, John, 177
Dalyell, J. G., 108, 112, 115, 117
Darbishire, Helen, 157
DeQuincey, Thomas: accusations against Coleridge, x, 17–24, 46, 50, 55–56, 106, 119; attitude toward unconscious plagiarism, 21–22, 46, 88–89; as correspondent, 148; plagiarisms of discussed, 191–92 n.12
DeSelincourt, Ernest, 157
Dodd, William, 73
Dyce, A., 88–89
Ehrenprein, Irvin, 66
Eilenberg, Susan, 26, 33, 44, 165–66, 202 n.12, 207 n.12
empire, ix, 51, 79, 112–16, 126, 203–4 n.27
enchantment, 32–34, 36, 195 n.14
enclosure: legal decisions related to, 145, 165, 179; in the Romantic period, ix-x, 144–47, 155–58, 164–66, 172–73, 178–80, 208 n.20
Enfield, William, 13
Ferriar, John, 15
Ferrier, J. F., 46
Filicaia, Vincenzo da, 106
folklore, attitude toward appropriation of, 4, 49, 54, 70, 75–85, 197–98 n.5, 200–201 n.39
Ford, John, 134
forgery. See fraud
Foucault, Michel, 6
Fraistat, Neil, 71–72, 199–200 n.25
fraud, 72–73
Frere, John Hookham, 118
Freud, Sigmund, 4, 196–97 n.27
Fruman, Norman, 17, 37, 44, 47, 56, 61
Fulford, Timothy, 157, 198 n.8
Gait, John, 90
Gardner, John, 168
gender: complicated by social class, 66, 124; Divorce and Matrimonial Causes Act (1857), 53; effect on charges of plagiarism, ix-x, 19, 49–70, 124–25, 197 n.1, 202–3 n.15; legal limitations on women’s literary property, 51–54; and Mary Shelley’s attitude toward women’s writing, 128–31
genius, 97, 135, 155, 172–81, 184. See also style, “spirit”
Genlis, Stephanie, de, 77–79
Gennette, Gérard, 148, 207 n.9
genre: described as popular, 55, 62, 79, 84; designated as literary, 55, 62, 85; designated as subliterary, 54–57, 62, 64–85, 90, 121–31, 157–58; effect on charges of plagiarism, x, 19, 90, 49–85; high and low contrasted, 4, 49, 55, 90–93- See also individual genres
Gillies, R. P., 95, 207–8 n.10
Godwin, William, 58, 126, 201 n.41
Goethe, Johann Wolfgang von, 116–17, 204 n.30
Goldsmith, Oliver, 177
Goodridge, John, 176
gothic, 50, 70–85, 90, 112, 122
Gray, Thomas, 95, 157–58, 174, 177, 208 n.13
Green, Stuart, 5–6
Groom, Nick, 112
Gross, Irena, 109
Grove, Harriet, 70
Grub Street, 62, 158, 170–71, 173
Guillory, John, 54–55, 157, 173–74
habit. See inhabitation
Halsband, Robert, 66
Hargrave, Francis, 14
historical imagination, x-xii
historicism, ix-xiii, 6–7, 187–88
history: considered subliterary genre, 4, 54, 70, 83–84, 90–91, 105, 108–13, 121, 123–24, 185; post-Romantic commentary on, 205 n.3; Romantic-period constructions of, 99, 102–4, 123–24, 126–27, 201 n.41
Hobhouse, John Cam, 103–4, 109
Hogg, Thomas Jefferson, 72
Howard, Rebecca Moore, xiii-xiv, 6
Hurd, Richard, 13
hybridity, as critical complaint, 3, 42, 113–16, 124, 127–28, 132, 202 n.12, 207–8 n.10
imitation: passive imitation in Christabel, 39–40, 43, 135; in Romantic period and eighteenth century, x, 9–10, 12–13, 16, 134–35, 153
imperialism. See empire
imposture. See fraud
improvement: and Byron’s debts, 96–98, 101, 106–7; and Clare’s debts, 176–78; complicated by satire, 147, 154, 163; in debts to Brun, 19–21, 50, 56–57; in debts to journals of Dorothy Wordsworth, 63–64; discussed in other assessments of Romantic-period plagiarism, 2–3, 19–24, 41–42, 163, 175, 182–83, 185; no longer recognized, 6; term used broadly in Romantic-period culture, ix, 145–47
inclosure. See enclosure
Ingleby, C. M., 46
inhabitation, 25–26, 39, 47–48. See also Coleridge, Samuel Taylor
inheritance: literary tradition as, 4, 84, 179; and plagiarism, ix, 66–68, 172; Romanticism as, ix, xi-xiii
Internet, and rise of plagiarism, xiii, 6
intertextuality, 6, 148, 186, 207 n.9
Ireland, William Henry, 72–73
Jaszi, Peter, 11
Johnson, Samuel, 73, 89, 193 n.25
Jones, William, 137–38
journals, private, attitude toward appropriation of, 49–50, 54, 62–70
Keegan, Bridget, 173
Kewes, Paulina, 7
Kooy, Michael John, 38
Lacan, Jacques, 47–48, 196–97 n.27
Landor, Walter Savage, 8, 155–65
landscape, relation to aesthetics, 19–20, 145–47, 161, 175–78
Lee, Debbie, 112
legend. See folklore
Levin, Susan, 68–69
Lewis, Matthew: accused of plagiarism, 8, 21, 43, 50, 105; debts in Castle Spectre, 21, 43; debts in The Monk, 23, 76–80, 83–85, 91, 178; Shelley’s debt to, 70–76, 199–200 n.25
literature: development of as category, xi, 55, 197–98 n.5; legal protections particularly enjoyed by, 4, 49, 64, 70; particular genres associated with, 49, 64–70, 82–85, 95–96, 131; plagiarism as violation of cultural norms defining, 2, 98–99, 103
Locke, John, 11, 87, 110, 144, 165, 201 n.1, 206 n.1
Lockhardt, John, 80–81
Lockwood, Thomas, 14, 192–94 n.30
Lonsdale, James Lowther, earl of, 166–67
Lonsdale, William Lowther, earl of, 166–67
Lowes, John Livingston, 35, 37, 46, 110, 123
Lynch, Jack, 73
Mackintosh, James, 43
Macmillan, Fiona, xiii
Macpherson, James, 150–51
Majeed, Javeed, 126
Malthus, Thomas, 114
Manning, Peter, 62
Martin, Philip, 99
mastery, narrative or lyric: complicated by vernacular, 79–81; related to gender, 53–54, 129–30, 197 n.1; related to improvement, 2, 64, 80; related to metaphors of slavery, 112–15; in Romantic-period writing, ix, xi, 4, 6, 30, 120, 125, 132, 149, 182, 184–85, 207–8 n.10; as sign of aesthetic success, 22, 41–42, 80, 82, 122
McCracken, David, 150
McGann, Jerome, xi, 187, 194 n.30
Medwin, Thomas, 65, 74–75, 111, 114, 116–19
Meltzer, Françoise, 9, 192 n.14
mesmerism. See magnetism
meter, as element of verse, 29–30, 99, 149, 190 n.5
methodology, in this study, x, xii
Middleton, Thomas, 117
Mill, James, 126
Miller, Eric, 179
Milton, John, 4, 12, 18–19, 22, 55, 150–51, 156–58, 178, 193 n.25
Mitchell, J. Forbes, 167
monstrosity, as critical complaint. See hybridity
Montagu, Mary Wortley, 129–31
Moore, Thomas, 91–92, 94, 105, 123, 127–28, 159–60, 204–5 n.1
Moorman, Mary, 65
More, Hannah, 8, 21, 145, 174–76, 194–95 n.4, 197 n.1
multiple-use property, 19–20, 84. See also enclosure
Murray, John, 73, 108–11, 115, 201 n.7
Musäus, Johann Karl August, 77–79
nationalism, related to literature, 79, 84, 102, 113–15, 177–78
neoclassical aesthetics, 20, 129, 147. See also Augustan literature
new, in Romantic aesthetics. See novelty
New Historicism, xi
Newlyn, Lucy, 28–29
newspapers, attitude toward appropriation from, 54, 57–62
North, Christopher, 162–63
Norton, Caroline, 52–53
oral circulation of texts: related to Christabel, 29–31, 91–92, 147; related to Gothic, 50, 75–85; related to other examples of plagiarism, x, 151–52, 155–58, 173–74. See also vernacular
oriental tales, 84–93
originality: and ideas of autogenous invention, ix, xiii, 5, 14, 22, 30, 90, 132, 182; modern characterization of, xiii, 5, 9–10; neoclassical attitudes toward, 10, 12–14, 117, 183, 192 n.17, 192–93 n.18; Romanticism associated with, ix, xi, xiii-xiv, 182; Romantic-period attitudes toward, xiv, 9–10, 16, 29–30, 86–90, 93, 117, 120, 152–53, 170, 178–79, 182–88
Parnell, Thomas, 88
parody, 15, 89, 104, 148, 190 n.5. See also satire
patchwork, used as critical complaint, 3, 21, 43, 128, 185
Peacock, Thomas Love, 125–31, 136, 145
Peck, Louis, 76–77
Peel, Robert, 169–71
Percy, Thomas, 82
Perkins, David, 185–86
Pfau, Thomas, 146
plagiarism: acknowledgment as factor in, 2–3, 107; aesthetic or poetical, x, 2–3, 20, 32, 41, 43, 65, 82, 88, 96–98, 127, 147, 163; aesthetic stakes in, xiv, 1–2, 4–5, 8, 46, 54–55, 73, 83, 87, 90–93, 97–98, 107, 116, 120, 130–32, 143; avowal, criteria for implicit, 2–3, 97, 106; coincidence as factor in, 24, 26, 38–41, 90, 92–93, 109, 133, 162, 174, 178, 190 n.2; as competition, 9, 28, 57, 185, 207 n.7; consciousness as factor in, 2–3, 17–24, 32, 34, 46, 63, 78–77, 83, 88–89, 93, 97, W, 119, 133–34, 173–74, 190 n.2, 195 n.4; critical emphasis on, ix, xiii-xiv, 2, 6–8, 18, 20, 22, 42, 45–46, 190 n.6, 191–92 n.12; critical reluctance to historicize, xii-xiv, 1, 6–7, 45, 106–7, 192 n.14; criticism, as mode of, 9, 18, 28, 42, 45, 86, 112, 154–55; culpable, 2, 4, 7, 20, 32, 41, 45, 72, 83, 89, 97, 125, 148; described in Romantic period, 1–5, 8–9, 17, 19–24, 53–56, 63–64, 76, 88, 96–98, 182–85; etymology of, 110, 112, 203 n.24; familiarity of texts as factor in, 2–3, 19–24, 72, 122, 125, 158; improvement as factor in, 2–6, 19–23, 43–44, 56, 64–65, 83, 97–98, 107, 119, 130, 145, 152, 178, 190 n.2, 195 n.4; legal aspects of, 5–6, 10–14, 46, 49–50, 73; legal rhetoric associated with in Romantic period, 10–14, 16, 89–90, 94, 97, 110; literary failure, as implication of, 16, 20, 18, 44, 88, 97–104, 147; morality as factor in, xiv, 5–6, 8, 18, 20, 42, 45–46, 88, 190 n.6; neoclassical attitude toward, 7, 12–13; as passive imitation, 32, 34; persona as factor in, 97–104, 111, 129–32; and postmodernism, xiii, 5–7, 47; post-Romantic attitudes toward, 53, 162, 183, 190 n.2; psychological motives of assumed, x, 8, 46–48; real estate, compared to, 11, 144–47, 155; social class as factor in, 50, 66, 70, 144; textual unity as factor in, 3–4, 47, 129. See also copyright; gender; style, textual parallels
plot. See machinery
poetry, as privileged genre, xii, 9, 126, 131–35
Polwhele, Richard, 89
Pope, Alexander, 14, 88, 150, 177
Porter, James, xiii
Priestley, Joseph, 35
pseudonymous publication, 59
Pulci, Luigi, 118
Quillinan, Edward, 162–63
Raban, Joseph, 139
Rastic, Ratomir, 142
reader, knowledge of assumed, 3–4, 12, 19–20, 24, 72, 124–25, 127, 137, 205 n.5
realism. See verisimilitude
Reid, David, 157
Reiman, Donald, 72, 196 n.25, 199–200 n.25
Repton, Humphrey, 145
reviews, periodical: attitude toward borrowings from, 54, 56–57, 61; Blackwood’s Edinburgh Review, 105, 154, 161–62, 194 n.2; British Critic, 71, 185; and Byron, 8, 73, 86–90, 94, 96–98, 107–12, 120–21; and Clare, 8, 176–79; and Coleridge, 8, 28–29, 45; Eclectic Review, 177; Gentleman’s Magazine, 87–90, 94, 96, 108; and Lewis, 8, 77–79, 81, 84; London Magazine, 94–96; Monthly Magazine, 108, 110–11; Morning Chronicle, 70; Morning Post, 55–62, 177, 198–99 n.10; New Anti-Jacobin, 117; New Monthly Magazine, 119; Noctes Ambrosianae, 80; Poetical Repository, 71–72; Quarterly Review, 107; role in allegations of plagiarism, ix, xii, 2, 8–9, 122, 158, 161–65, 180; Spectator, 13; and Laurence Sterne, 15; Tait’s Magazine, 18–24, 55, 96, 119
Richardson, Alan, 35
Richardson, Samuel, 14
Ricks, Christopher, 6–7
Rifacimento, 118–19
Robinson, Henry Crabb, 94, 114, 154
Robinson, Mary, 50, 57–62, 198 n.8, 198–99 n.10
Romanticism: aesthetic objectives of, 1, 12; associated with originality, ix, xi, xii-xiv, 5, 16, 186–87; as discipline, xi-xiii, 7–8, 12, 16, 30, 86, 185–88; and ideology, xi-xiii; as new aesthetics, 9, 16, 29–30, 125–26, 128–32, 153, 182; Peacock’s critique of, 125–132. See also inheritance
Rose, Mark, 11
Russett, Margaret, 29–30, 44, 176, 180
satire: denigration of genre, 3, 14–16; related to charges of plagiarism, x, 12, 102–3, 116–21, 145–50, 154, 158–65, 184, 193–94 n.30, 196 n.25
Schelling, Friedrich von, 18, 22–24, 38–40, 44–45, 196–97 n.27, 198 n.6
Schlegel, August Wilhelm von, 38, 105, 202–3 n.15
Schmidgen, Wolfram, 164
Schoenfield, Mark, 166
Scott, Walter: as critic, 15; debts to Christabel, 28–29, 32, 91–92; influence on Byron, 201 n.7; plagiarisms discussed by contemporaries, 39, 207–8 n.10; reputation as poet, 28, 166–68, 176–77; and social class, 166–68, 171
sensibility, 55, 129, 131, 137
servile, imitation described as, 28, 40, 112, 185, 203 n.24
Shakespeare, William, 5, 15, 19, 21–22, 55, 94, 117, 134, 150–51, 158, 194 n.3
Shelley, Elizabeth, 50, 70–76, 84, 199–200 n.25
Shelley, Mary: defends modern verse, 122; “Giovanni Villani,” 125, 128–32, 184, 206 n.10; and Italian Lives, 118, 204 n.30; legal ownership of her writing, 52; Lodore, 123, 204–5 n.1; travel writing, 123, 125, 128–32
Shelley, Percy Bysshe: Alastor, x, 135–43; and Calderón, 134; Cenci, 131; coincidence, attitude toward, 133; debts to Gothic, 50, 70–76, 84, 199–200 n.25; “Defense of Poetry,” x, 10, 125, 128, 131–32, 136, 206 n.10; as husband, 52; plagiarism, discusses in prefaces, 132–35; Prometheus Unbound, 3, 134–35; Revolt of Islam, 131, 133; and social class, 171; Tennyson’s debts to, 3; and travel writing, 122–24, 135–43; unconscious, 133–34; Victor and Cazire, 70–76, 122, 134, 199–200 n.25; Wordsworth critiqued by, 135, 141–43
Sheridan, Caroline, 52
Sheridan, Richard Brindsley, 52
Sherman, Brad, 11
slavery. See servile
Smollett, Tobias, 14
Southey, Robert: Byron’s debts to, 116; debts to travel writing, 123, 127–28, 204–5 n.1; defended by Landor, 158–63; as Lake School poet, 9; Percy Bysshe Shelley’s debts to, 137–38, 140; and Wat Tyler, 110, 203 n.21
Staël, Germaine de, 106
Sterne, Laurence, 15
Stockdale, Joseph, 70–73
Stuart, Daniel, 61
style: authorial identity and persona as central factors in, 14, 83, 149, 183–86; Byron, 87–88, 92–98, 101–4, 110–11, 120–21; Clare, 180; Coleridge’s attitude toward, 27–35, 40–45; defined in pre-Romantic period, 10, 13–14; defined in Romantic period, 13–16, 129–32, 182–88, 190 n.5, 195 n.11; gender, complicated by, 53–54, 56, 64–67, 69, 129–32; legal protections granted to, 4–6, 8, 13–14, 93; plagiarism, as central element in assessment of, 2, 8, 83, 95, 110, 183–88; Mary Shelley, 129–32; Percy Bysshe Shelley, 134–35; “spirit,” 14, 29, 44, 80, 135, 195 n.11; sympathy, 31, 34, 58, 136–37, 139–43, 186; textual unity, productive of, 3–4, 44; Trel-awny, 115–16; ventriloquism, 33, 40–42; vernacular, complicated by, 79–83, 176–77
Talfourd, William Noon, 169–71
Taylor, Henry, x, 23, 94–99, 102, 106–7, 110, 152, 170, 184–85
Tennyson, Alfred, 1st baron, 3, 190 n.2
Terry, Richard, 12, 183, 192–93 n.18
textual parallels: Coleridge and critical emphasis on, 8, 18–23, 45–47, 56; in neoclassical aesthetics, 12–13, 20, 183, 192–93 n.18; particular and universal contrasted, 13–15, 178–79; Romantic-period attitude toward, xiv, 2, 4, 6, 13–16, 20–22, 63–64, 83, 94–95, 116, 132, 149, 183; treated in contemporary culture, 5–6, 72
Thelwall, John, 27
Thomson, James, 156–58, 176, 178
Thorton, Kelsey, 176
tone. See style
Townshend, C. H., 178
trance. See enchantment
translation, 21, 29, 32, 116, 170, 198 n.6
travel writing: attitude toward appropriation from, 4, 50–51, 54, 65, 84–86, 90, 99, 107–15, 122–32, 205 n.3; and empire, 112–15; gender as factor in, 128–31, 205 n.4; Romantic poetry, central to, 122–32
Trott, Nicola, 73
Trumpener, Katie, 79
Tully, Richard, 50, 109, 111–12, 123
unconscious: Coleridge’s conception of, 23–27, 31–48; disagreement between Coleridge and DeQuincey regarding, 23–27; post-Freudian models contrasted with Romantic, 4, 18, 196–97 n.27; use of term in Romantic period, x, 4–5, 17–19
Vassallo, Peter, 118, 203 n.16
verisimilitude, as textual effect, 131, 185–87
vernacular, problems of ownership, 79–85, 147–49, 155–56, 173–74
voice. See style
volition, 26, 31–35, 195–96 n.16, 196 n.25
Volney, Constantin, comte de, 137–38
Voltaire, François-Marie Arouet, 88, 111
Walpole, Horace, 74
Warburton, William, 13
Wedgwood, Josiah, 59
Wellek, René, 46
Williams, Edward Ellerker, 65, 114
Williams, Matthew, 146
Wilson, John, 153–55
Wollstonecraft, Mary, 129–30
Woodmansee, Martha, 11
Wordsworth, Dorothy: attitude toward female authorship, 66–69; on Coleridge and family’s relationship with, 31; on copyright, 168; debts to her journals, 50, 62–70; legal status as author, 62, 199 n.13; on plagiarism, 32, 151–53, 166, 207–8 n.10; on Mary Robinson, 60; and social class, 171; “Thoughts on my Sick-bed,” 67–69
Wordsworth, William: accused of plagiarism, xii, 2, 8; accuses Bayley of plagiarism, 15–16, 103, 119, 147–49, 152, 207–8 n.10; on ballad tradition, 82–83; borrows from journals of Dorothy Wordsworth, 62–70; Christabel and concern over reception of, 151–52; Coleridge’s debts to poetry of, 61–62; collaboration with Coleridge, 60, 147, 151–52, 155, 207 n.7; conflict with Byron, x, 41, 44, 73, 86–87, 94–98, 100–101, 106–7, 119, 144, 147, 164, 167, 171; copyright reform, 165–73; debts to travel writing, 109–10, 123, 191–92 n.12; and egotistical sublime, 184; “Essay Supplementary to the Preface,” 9, 61, 82, 86, 144–47, 149, 153, 162–63, Vi≫ Excursion, x, 141–43, 149, 153–65; Gray, plagiarisms of, 95, 157–58, 208 n.13; Hogg, parodied by, 149; labor and real estate, investment in metaphors of, x, 11, 82, 87, 94–96, 120, 144–47, 155–58, 164–76, 179–81, 201 n.1; and landscape aesthetics, 145–46, 155–57, 161; literary tradition, attitude toward, 55, 157; locodescriptive poetry, relationship to, 156–58; and lyric, 185–86; Lyrical Ballads, concern over, 15, 142, 144, 146–53, 155, 157; plagiarism of friends discussed, 21–22, 151–52, 207–8 n.10; “Preface to The Lyrical Ballads,” 81–82; reputation as poet, 41–42, 54, 150–52, 155, 158, 160, 176; satire, attitude toward, 15–16, 147–49, 154; Shelley’s critique of, 141–43; and social class, x, 144–46, 155–56, 159, 165–67, 169–71, 180–81; stylistic debts, concern with, x, 94–95, 130, 143; “With Ships the sea was sprinkled far and wide,” 185–86; Dorothy Wordsworth’s comments on, 31