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)

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An humorous 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 Hour in ancient 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]