University of Virginia Library

I. On Imitation in Writing

This "Paper," as Murphy calls it, was not written by Fielding, but by
Murphy in the guise of Charles Ranger, Esq, author of The Gray's-Inn Journal.
The credit for it, however, goes to the "ingenious Gentleman" because
not only the topic in general, but, for much of the paper, the specific treatment
of the topic and the phrasing was his—that is, was Fielding's, as will
be seen.

Murphy, who throughout the journal reminds readers that he is a mere
tyro in the writing profession, opens the paper with a conversation between
Ranger and Mr. Candid, an older, wiser man who warns that the fame the
young journalist enjoys as a new writer will, with familiarity, turn to indifference.
This advice leads Ranger "to throw together a few Reflections
upon what may be term'd Novelty in Writing" (i. 106). These reflections,
however, are not so much Murphy's as they are, essentially, Fielding's: they
are borrowed without open acknowledgment—though, by his allusions to
Fielding, Murphy winks at his friend and source—from the introductory
essay to Book XII of Tom Jones: "Shewing what is to be deemed Plagiarism
in a modern Author, and what is to be considered lawful Prize." The debt is
most obvious in the paragraphs at the beginning and end of Murphy's remarks
on the topic of literary imitation, where Fielding is first complimented
as the model for aspiring comic novelists, and later (implicitly) invoked as
Ranger's "humourous Acquaintance," with whom plagiarism is a favorite
subject. The relevant passages are these:

I think then that judicious Imitation either of antient or modern Standards
ought not to be stigmatised as Larceny in an Author. He is certainly at Liberty to
draw from any excellent Model, whom he chuses to copy; and that without incurring
the ignominious Appellations of a Plagiary or Transcriber. Universal Custom will
justify the Practice. All the imitative Arts may be more particularly termed so, as
the several Masters have frequently work'd after a Plan, that was first sketched out
by some eminent Example. The same Design, diversified indeed with newer Decorations,
as Genius or Invention prompted, may be traced in the different Performances
of subsequent Artists; sometimes extended by the Addition of Circumstances, which
naturally grew out of the Work; or contracted, by pruning the luxuriant Branches,
and retrenching what appeared superfluous and unnecessary.

This general and distant Imitation, it will be readily owned, is allowable and
just; is what cannot perhaps be easily avoided, where the Subject is treated with
Propriety, and according to the Rules of Art. Thus Virgil followed Homer; thus
Addison will always be regarded as the Pattern either of grave, or of humourous
Speculation; and Fielding will ever be a faithful Guide to the Adventurer in comic
Romance. (i. 106-107)

* * * * *

An humourous Acquaintance, who often talks to me on this head, lays it down
as an indisputable Principle, that Composition is only the Art of Stealing wisely:
And indeed, as Matters are usually managed by our worthy Fraternity of Authors, if

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we strike out the last Word, his definition is perfectly unexceptionable. I make then
no Scruple to declare, that I look on all the Wit, and all the Humour in antient or
modern Languages, as good and lawful Prize; and that I shall freely convert them to
my own Use, and the Public Emolument. . . . (i. 109)[21]