Plagiary: Wednesday Workshop

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Plagiary
Wednesday Workshop
9 August 2017

No, plagiary has nothing to do with the plague, though it might do in certain circumstances, especially if a plagiarist is plagued by lawsuits from others who think that the thief has benefitted financially or unfairly from the theft.

What is plagiary? The Merriam-Webster dictionary suggests the following, and I quote, with references:

Plagiarius, the Latin source of “plagiary,” literally means “kidnapper.” “Plagiarius” has its roots in the noun “plagium,” meaning both “kidnapping” and “the netting of game,” and ultimately in the noun plaga, meaning “net.” The literal sense of “plagiarius” was adopted into English; in the 17th and early 18th century, a kidnapper might be referred to as a “plagiary,” and, in the legalese of the time, kidnapping was “plagium.” But “plagiarius” also had a couple of figurative meanings – “seducer” and “literary thief.” It is the latter that has made the most enduring contribution to the English language. A “plagiary” could also be one who commits literary theft (now usually referred to as a “plagiarist”) or the act or product of such theft (now, more commonly, “plagiarism”).

https://www.merriam-webster.com/dictionary/plagiary

From the above definition, we can conclude that plagiary is theft, the stealing of another person’s work, and, above all, the presenting of that work as if it belonged to the plagiarist. In other words, creators create: they are not meant to steal and misrepresent.

Does plagiary matter? Of course it does. By its very definition, theft, it is one of the Ten Commandments, and therefore something to be avoided: Thou shalt not steal. However, as with all things, the gravity of the crime depends very much upon the circumstances. In academia, where creativity and original thought is the ‘name of the game’, the theft of intellectual property is considered by the gatekeepers of the purity of knowledge to be a very serious offence. That is why so many universities so carefully define plagiary / plagiarism and place such stiff academic penalties on the plagiarists who offend. By extension, certain professions, such as journalism and science (in the broadest sense, the creation, protection, and distribution of knowledge) must hold to very strict rules on the subject of intellectual theft.

The article on plagiarism in Wikipedia [ https://en.wikipedia.org/wiki/Plagiarism ] opens several horizons. It stresses that academia (with its spin off into scientific and industrial research) and journalism (with its theory of scooping) are the two biggest areas in which plagiarism is considered offensive. Plagiarism, the article stresses, more than anything else, is re-quoting other people’s material while claiming it as one’s own and without citing the sources from which it was taken. This quickly leads to the infringement of copyright and this is a much more serious and complicated legal matter, as the article points out.

As for literary and artistic plagiary, this is a very different kettle of fish as artists seem to borrow from each other in the most curious of ways. Molière, for example, proudly announced that, as for his artistic material, “Je le prends où je le trouve.” This roughly translates as “I take it from wherever I find it.” In his day and age, imitation was a favorite rhetorical device, and the imitation of other people’s work was considered more like flattery than theft. Miguel de Cervantes, in the Don Quixote, that most original of novels, took the first sortie of the famous and ingenious knight almost word for word from an earlier entremés (short play to be performed in the interval between the acts of a longer play) entitled El entremés de los romances. This is not so much ‘Homer nods’ as Homer ‘carries a gun and holds up a local bank’. Do we cry plagiary or imitatio when the similarities between the play and the novel’s opening are such that for a long time people attributed the Entremés de los romances to Cervantes and referred to it as his early work?

I follow the Spanish tradition and often use lines and words from other authors in my own work. However, I think that what I borrow is in most cases well enough known for it not to need quote marks, nor to need identifying. Though Lovers Be Lost and Broken Ghosts, two of my book titles, come directly from Dylan Thomas’s poetry. However, I quote the verses in the opening pages of each book and Dylan Thomas’s name is clearly attached to them. If, however, I write “Rage, rage against the dying of the light” … or “Rage, rage … ” against anything, I think personally that the attribution should be clear as should the literary dialog that I am starting within the text. Similarly, if I write that “July is the cruelest month, because we expect the sun and it is always raining”, then surely the reference to T. S. Eliot is clear as well, and so is the attribution and twisting of his ideas. I have used the phrase “Jack Pine Poems” before now, without referencing Milton Acorn, but most Canadian poets will be aware of the origin of the term without my writing “following in the footsteps of Milton Acorn and his Jack Pine Sonnets” ….

To further complicate the matter, plagiarism is a hydra, and its many heads may take a multitude of forms. Wikipedia suggests that there may well be a whole epidemic of what might be called ‘literary borrowings’ that verge on plagiarism; there is, for example, a touch of ‘literary theft’ about all of these: “plagiarism, literary theft, appropriation, incorporation, retelling, rewriting, recapitulation, revision, reprise, thematic variation, ironic retake, parody, imitation, stylistic theft, pastiches, collages, and deliberate assemblages.”

However, as the Wiki points out: “There is no rigorous and precise distinction between practices like imitation, stylistic plagiarism, copy, replica, and forgery. These appropriation procedures are the main axis of a literate culture, in which the tradition of the canonic past is being constantly rewritten.” The quote marks show that this list is lifted bodily from the Wikipedia article.

What I would underline most strongly is that “the canonic past is being constantly rewritten.” Literature is, to a large extent, a writer’s dialogue not only with (in my case) his own times, but also with the way other writers have seen the world and written about it. And not just written about it: think of the geometric expansion of oral literature. We hear so much, so much is repeated, words and phrases slip in and out of common usage. There is usually a prime over, an original author, but when a word r a phrase slips into what might be called ‘common usage’, then plagiarism takes a turn in a different direction.

“To borrow from one author is plagiary, to borrow from many is research,” as Oscar Wilde is rumored to have phrased it. As a result, what is considered to be a can of worms in academia, science, and journalism, may turn into an interesting and not necessarily a dishonest practice in the artistic world. How about the erotic cowboy novel that I am thinking of writing? I am going to call it Fifty Shades of Zane Grey … how many copyright laws am I breaking with that little joke? None, in my opinion, yet given a competent lawyer and two or more clients greedy for money, and virtually anything can be turned into a fertile battleground for legalistic dispute. Hopefully, the pitiful pennies that I own and the innocent and innocuous literary discourse that I exchange with other authors, many of them long dead, will not bring on a flurry of lawsuits.

“Where there’s muck, there’s money,” as a famous Yorkshire millionaire once said. So quit mucking about with even the possibility of plagiary, check your sources, and, if in any doubt at all, make sure that you add those quote marks and those references. And remember, it’s better to be safe than holding up your hand in court and saying “I’m very, very sorry, M’Lud.”

Words

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Kingsbrae 8, 2
8 June 2017

Words

Here, on the seashore,
the whisper of waves,
splashed with a flash of sun,
wind fingering the hair,
the light a delight,
and wordless this world
though its beauty be
configured in words.

The scything of the sea,
the land seized in snippets,
grey stones, red rocks,
gelatinous mudflats
blue on white striations.

Seagull wings
snipping celestial ribbons,
salt caked keen on lips,
sea weed scents sensed
yet never seen.

Captivated we stand here,
unattached our single wings,
save to this singular beauty:
peregrine the falcon soul,
so solitary as it soars.

Comment: So many of these new poems are just that, “new” and “raw”. Words, for example, is just a couple of hours old. That is the gift of time that I have been given. The writing process is so rapid that there is little time to digest the last thought and image sequence, before the next comes tumbling along. I guess it’s just a question of rolling merrily along and we’ll see later what we still think is fit for survival. The selecting of these poems will be an interesting task … and who will select the selectors …