Playwrights and plagiarists in early modern England
Subtitle: gender, authorship, literary property
By: Laura J. Rosenthal.
Publisher: Cornell University Press
Published: 1996
Place of publication: Ithaca, N.Y
Language: eng
Number of pages: 257
Subjects: English drama -- Restoration, 1660-1700 -- History and criticism.; English drama -- Women authors -- History and criticism.; English drama -- 18th century -- History and criticism.; Authorship -- Sex differences -- History -- 17th century.; Authorship -- Sex differences -- History -- 18th century.; Plagiarism -- England -- History -- 17th century.; Plagiarism -- England -- History -- 18th century.; Literature and society -- England.; Women and literature -- England.; Theater -- England.; Intertextuality.; Playwriting.
Description: Passage of the first copyright law in 1710 marked a radical change in the perception of authorship. According to Laura J. Rosenthal, the new construction of the author as the owner of literary property bore different consequences for women than for men, for amateurs than for professionals, and for playwrights than for other authors.

Rosenthal explores distinctions between legitimate and illegitimate forms of literary appropriation in drama from 1650 to 1730. In considering the alleged plagiarists Margaret Cavendish (the duchess of Newcastle), Aphra Behn, John Dryden, Colley Cibber, and Susanna Centlivre, Rosenthal maintains that accusations had less to do with the degree of repetition in texts than with the gender of the authors and the cultural location of the plays.

Questions of literary property, then, became not just legal matters but part of a discourse aimed at conferring or withholding cultural authority. Gender and class, she contends, continued to influence judgments as to what stories a playwright could own or use, as to whom critics praised as heirs to Shakespeare and Jonson, and as to whom they damned as plagiarists.
Notes: Includes bibliographical references and index.