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The author presents a criticism of the work of English writer Edward Dannreuther. He mentions Dannreuther's borrowings from the works of poet Algernon Swinburne as a form of literary imitation, Swinburne's critical perspective, and Dannreuther's literary and aesthetic style as influenced by Swinburne.

The article discusses the differences between conscious and unconscious borrowing of literary and orthographic elements by writers from their own work of that of others, and examines elements in the original text of the play "Sir Thomas More" indicating either that the dramatist William Shakespeare participated in its creation or that its authors either intentionally or unintentionally imitated elements of Shakespeare's style. Questions surrounding the dating of the play, which is traditionally dated to the 1590s, are also touched on.

The article discusses various passages from English playwright William Shakespeare's plays that came to influence later generations of writers. Particular emphasis is given to his influence on the English dramatists and poets John Dryden, Nicholas Rowe, Thomas Otway, and Edward Young. These writers were especially influenced by passages from the plays and poems "Othello," "Sonnet 72," and "Hamlet." The importance of recollection, literary transplants, and literary imitation in the works of these writers is described.

The article presents information on new manuscript evidence regarding writer Oscar Wilde's self-plagiarism. There are two books named "Pall Mall Gazette" and "Women's World" and his critical dialogues in writings are symbols of plagiarism. The kind of borrowing observed in the writings of Wilde is the most conspicuous example and his reuse of large portions is common. In case of Wilde's criticism, there are several extant manuscripts but hardly read by scholars. The article also describes how Wilde settled the thoughts very easily.

Discusses William Shakespeare's borrowing of accounts in Ludovico Ariosto's 'Orlando Furioso' which were not in Giraldo Cinthio's 'Hecatommithi' for his play 'Othello.' Occasions on which Shakespeare echoes Ariosto's words and phrases; Imitation of the rhythm and verse-form of 'Orlando Furioso.'

Examines an unpublished fragment of Middle English verse on King Harold, written in imitation of John Lydgate's `Verses on the Kings of England.' Inclusion of the fragment in the British Library Manuscript Cotton Julius B.xii; Highlights of the manuscript; Significance of the find for people's sense of Lydgate's repute during the later years of the 15th century.

This article asserts that in a recent article, critic Paul Hartle has examined the extent and nature of writer Daniel Defoe's plagiarism in his account of the Peak District in his Tour, with particular reference to his main source, "The Wonders of the Peake." There are three occasions when Defoe is known to have been in Derbyshire; but on only one of these did he really enter the Peak District. Clearly he must have been accompanying his father on his journey a month or two earlier; and curious zigzags in the earlier part of the journey suggest that Defoe was picking up other students enroute.

The article examines the work of the poet Henry King. W. Frazer Mitchell in his influential pioneering work of 1932, "Pulpit Oratory of the Seventeenth Century," dismissed the sermons of the poet Henry King (1592-1669), later Bishop of Chichester, as a pale imitation of John Donne. Mitchell's suggestion of plagiarism obscures the much more interesting fact that Henry King is deliberately developing a dialogue with Donne here on his earlier interpretation of their text. Many of King's images and examples are the same as Donne's, though he may develop them in a different direction.

This article reports that poet George Gordon Byron wrote to his publisher John Murray, on August 23, 1821, apropos of the accusations of plagiarism made about his borrowings from "Shipwrecks and Disasters at Sea," he apparently phrased his self-defence with great frankness. The words are designed to run rings round Murray, and to avoid the question of plagiarism altogether. It is hard to imagine that Byron, with his acutely retentive memory, is unaware that he is quoting Backford.

The article focuses on some quotations of poet John Rochesters's poems in the book "The Two First Books of Philostratus," by Charles Blount. The quotations are scattered among Blount's idiosyncratic and compendious notes to his translation, and are of interest on two main counts. Firstly, they are of textual importance since all derive from manuscript sources, and one constitutes the earliest known version of an extract from one of Rochester's translations from poet Lucretius. Secondly, they offer one a rare example of how a contemporary admirer viewed some of Rochester's works, in particular, A Satyr Against Reason and Mankind. There also occurs in Blount's notes an intriguing passage which may well glance at reactions to Rochester's deathbed conversion.

The article informs that from the time of the first performances of "The Rivals," in 1775, critics were speculating on possible borrowings for some of the play's characters and scenes. In fact, author Richard Brinsley Sheridan's "Preface to the First Edition," written to explain why the play had been cut and rewritten after the disastrous first performance, was used to answer the accusations of plagiary. Critics since have agreed about the Iikelihood of some borrowings, particularly to do with characters Mrs. Malaprop and Lydia Languish. The former has been deemed to derive from Sheridan's mother's unfinished comedy, "A Journey to Bath," and the latter, more generally, from the satire of the ultra-romantic heroine in the comic drama of the period.

The article discusses English clergyman Conyers Middleton's book "Life of Cicero." It went through several editions, the last in 1837, and was translated into French and Spanish. Agreeably written and well documented, it deserved its success. Its reputation has, however, suffered from the belief that it was extensively plagiarized from a work by the Scotsman William Bellenden, published in Paris, France in 1634 with the title "De Tribus Luminibus Romanorum," a curious work that consists of passages from Cicero's writings put together to form a continuous history of Rome from the earliest times.

Describes a passage from Thomas Nashe's 1594 book 'The Unfortunate Traveller' that was borrowed by George Chapman for his play 'Bussy D'Ambois.' Possibility that Nashe may have borrowed the cock and lion image from the Greek skeptic Sextus Empiricus; Possibility that Chapman knew and read the English version of Sextus.

Suggests that William Hale White's (Mark Rutherford) admiration for Charlotte Bronte may have led to imitation, as seen from chapter 9 of `Clara Hopgood' and chapter 23 of `Jane Eyre.' Letter cited as showing White's esteem for Bronte; Key passages in the two chapters discussed.

This article presents information about sources of the book "Ara Vos Prec," by T.S. Eliot. On a copy of Ara Vos Prec now at the Houghton Library at Harvard University, T. S. Eliot has penciled in notes about his sources. His annotations to the poems depict Eliot in the process of parsing and explicating his own dense references in the same manner that he would employ in the published version of "The Waste Land". On the original manuscript, T.S. Eliot's notes appear in pencil. Here, his notes are indicated by capital letters. Their position in the manuscript is marked by quotation marks denoting the place in the original text where the note appears.

The article analyzes Robert Baron's poem "Cyprian Academy." It is a juvenile and highly derivative political romance issued in 1647. Baron's plagiarisms were first catalogued by critic Thomas Warton in his edition of Milton's shorter poems. The list has been extended by later scholars. Two other comments on "The Cyprian Academy," are worth recording. A closer study of the romance's extraordinary Latinate diction bears out critic Moore Smith's surmise that Baron owed many of his more unusual expressions to many poets.

The article presents an analysis of the plagiarism of French and English eighteenth century guide-books to London. It informs that travel-books and guide-books have been copied down, some word by word and some translation works without being acknowledging the original source. Some of these 'borrowings' are well-known: for instance the "Guide d'Angleterre ou Relation curieuse du voyage de Mr de B+ + +," which is the translation of John Macky's book "A Journey through England in familiar letters from a gentleman here, to his Friend abroad."

The article reports that none of the three recent editions of English poet Samuel Johnson's poems mentions the striking resemblance in phrasing between the first lines of English poet Alexander Pope's Prologue. Although the two poems continue in different veins, there can be little doubt that Johnson is indebted to Pope, but it would seem from the account Johnson gave of the poem's composition most likely that any imitation was unconscious. The whole was composed before he threw a single couplet on paper and afterwards he did not change more than a word in it.