Plagiarism

Summer of ’99

In the summer of 1799, John Cummings, a 23-year old American sailor, crewed on a ship to France.

The Mountebank’s Nefarious Influence

Stationed there, he witnessed a mountebank pretending to swallow knives in a circus near Havre de-Grace.

An Astonishing Claim

The sailors returned to the ship after the show was over; most had had too much to drink that night.

While discussing the events of the night, particularly the knife-swallowing Frenchman, he made an astonishing claim.

Under the alcohol influence, he claimed to possess the same knife-swallowing skill.

He swallowed four knives with no obvious ill effect, although only three of the four knives were seen again.

He washed the knives down with more alcohol.

His Movements

The next morning, his bowel movements were uneventful.

However, he passed one of the knives in his stool.

Moreover, he passed two more knives in his stool the next day.

The fourth and final knife never made its way out of his bowels and also did not prove to be of any inconvenience for him.

On Not Practicing His Skill

Over the next six years, the young man did not practice this skill again.

In Boston

Six years later he was stationed in Boston.

While drinking in a gathering of sailors, he boasted about his former knife-swallowing skills.

His current shipmates did not believe his story and under the influence of grog he began again, he demanded a knife be brought to him to swallow.

He swallowed it instantly.

Throughout the evening he swallowed five more knives.

Obligations

The following morning, word had spread about his tactics the previous night.

Many visited him during the day, and he was obliged to swallow eight more!

The Tally

The tally of the total knives he had swallowed now stood at fourteen!

First Admission

He was admitted to Charleston Hospital with abdominal pain.

After a few days the knives had all passed safely through and his symptoms resolved, just in time for him to sail back with his ship to France.

Pressed on to the HMS Isis

His next ship was the Betty of Philadelphia. Early in the voyage back from France to the USA she was stopped by the Royal Navy and he was impressed into service aboard HMS Isis.

Drunk Once Again

On 4 December 1805, drunk once again, he swallowed his final twenty knives and two days later he reported to the ship’s surgeon, Benjamin Lara.

His Treatments

He was given castor oil and enemas of thick water-gruel, and opium for the pain.

When the symptoms continued, a dose of 30 or 40 drops of sulphuric acid daily was tried in an attempt to dissolve the iron.

Finally he was given murinated tincture of iron, but this made his pain worse.

When the Knives Dropped

After remaining on the sick list for three months he felt the knives drop into his bowel and felt much relieved and was discharged back to light duties.

Summer, Fall, and Winter, 1806-1807

In June 1806, he vomited one side of a knife handle.

In November and again the following February he passed more pieces.

Dr. Lara Kept Informed

Although Lara was transferred off HMS Isis in November 1806 his successor, Mr Peter Kelly, kept him informed of the patient’s progress.

Discharge

He continued to pass pieces of iron and knife handles; each ejection was accompanied by considerable pain and in one instance the vomiting of two pounds of blood. He was finally discharged from the ship, as unfit, in June 1807.

Disbelief

After leaving HMS Isis, he traveled immediately to London and presented himself to Guy’s Hospital for treatment. His admitting physician, Dr. Babbington, did not believe his story and discharged him after a few days.

Readmission and Deterioration

He was readmitted in August, however, his condition much deteriorated. Examining the patient with Sir Astley Cooper, Babbington asked for the opinion of the surgeon Mr Lucas.

What Dr. Lucas Found

Lucas performed a rectal examination and felt one of the knives in the rectum.

Under the Care of Dr. Curry

Although he was again discharged on 28 October 1807, Cummings was readmitted in September 1808, this time under the care of Dr. Curry.

He was given more acid, mucilage and opium but slowly deteriorated, suffering bouts of pain and indigestion and having difficulty eating.

Incurable

Over the course of three and a half years, he consulted several doctors and was admitted to the hospital on numerous occasions.

During this period, he vomited and defecated many knife fragments.

In his final moments, he was sent home and was deemed “incurable” by the doctors.

His Death

He finally died in March 1809 in a state of extreme emaciation.

Plagiarism

died of joy

poisoned arrow

struck by a pear

swallowed hot coals

executed by scaphism

choked on molten lead

drowned in a barrel of wine

horse tripped over a black pig

murdered with a poisoned toothpick

killed by a tortoise dropped by an eagle

rolled up in a rug and trampled by horses

died on the spot through holding his breath

broke his neck by tripping over his own beard

devoured by wolves (or, in later versions, lions)

died of laughter after he saw a donkey eating his figs

leaped into an active volcano to prove his immortality

died in a drinking contest against a Georgian nobleman

distraught over the lateness of seafood delivery, he killed himself with his sword

sewn into a linen sheet soaked in distilled spirits which later caught fire

devoured by dogs after smearing himself with cow manure

wrapped in cotton wool soaked in oil and set on fire

exposed to the taunts of sailors and flayed alive

died of laughter while painting an elderly woman

smothered to death by gifts of cloaks and hats

carried off and then killed by a hippopotamus

drowned in excrement after porch collapse

choked to death on a grape stone

died while playing with a pear

assassinated with a bucket

indigestion and laughter

dragged on deer antlers

ate too many lampreys

crucified upside-down

dancing mania

died laughing

pit of snakes

sawn in half

roasted alive

 

Plagiarism

Choose any tree that you think pretty.

Which is nearly bare of leaves.

Which you can see against the sky, or against a pale wall, or other light ground.

(It must not be against strong light, or you will find the looking at it hurt your eyes; nor must it be in sunshine, or you will be puzzled by the lights on the boughs. But the tree must be in shade; and the sky blue, or gray, or dull white. A wholly gray or rainy day is the best for this practice.)

You will see that all the boughs of the tree are dark against the sky.

Consider them as so many dark rivers, to be laid down in a map with absolute accuracy.

Without the least thought about the roundness of the stems, map them all out in flat shade, scrawling them in with pencil.

Then correct and alter them, rubbing out and out again, never minding how much your paper is dirtied.

(Only not destroying its surface.)

Correct until every bough is exactly, or as near as your utmost power can bring it, right in curvature and in thickness.

Look at the white interstices between the boughs with as much scrupulousness as if they were little estates which you had to survey, and draw maps of, for some important lawsuit, involving heavy penalties if you cut the least bit of a corner off any of them, or gave the hedge anywhere too deep a curve.

Try continually to fancy the whole tree nothing but a flat ramification on a white ground.

Do not take any trouble about the little twigs, which look like a confused network or mist.

Leave them all out, drawing only the main branches as far as you can see them distinctly.

Your object at present being not to draw a tree, but to learn how to do so.

When you have got the thing as nearly right as you can, take your pen, and put a fine outline to all the boughs.

Take care to put the outline within the edge of the shade, so as not to make the boughs thicker.

(The main use of the outline is to affirm the whole more clearly; to do away with little accidental roughnesses and excrescences.)

(It may perfectly well happen that in Nature it should be less distinct than your outline will make it; but it is better in this kind of sketch to mark the facts clearly.)

The temptation is always to be slovenly and careless.

The outline is like a bridle, and forces our indolence into attention and precision.

You cannot do too many studies of this kind.

Every one will give you some new notion about trees.

Plagiarism

He was born in New York City on August 1, 1819, the third of eight children.

His mother added a final e to the family name after her husband’s death, perhaps to distance herself from his financial problems.

His grandfathers had participated in the Revolutionary War.

At the time of his birth, his father was a fairly prosperous importer of luxury items such as silks and colognes, and his family lived well in a series of houses around New York City, each with comfortable furnishings, refined food and drink, and household servants to keep things in order.

Such lineage and lifestyle notwithstanding, family letters suggest that he was a rather unremarkable child, at least in his father’s eyes.

In 1826, when he was seven years old, his father wrote of him to his brother-in-law : “He is very backward in speech & somewhat slow in comprehension, but you will find him as far as he understands men & things both solid and profound, & of a docile & amiable disposition.”

Instead, the family’s highest praise often went to his older brother

In 1830, after years of increasing debts, his father’s business collapsed, and the family moved—or, some might say, fled—to Albany, New York, to seek sanctuary among his mother’s relatives.

His father died of pneumonia in 1832, entirely bankrupt and raving deliriously from fever.

After his father’s death, he, at 13 years old assumed the responsibilities of a “man” in the family.

With his father’s death and the family’s debt, he was now obliged to seek employment.

He worked as an errand boy at a local bank.  A clerk at his brother’s store. A hand on his uncle’s farm.

After, he enrolled in Albany Classical School in 1835 in order to prepare for a business career, but once there, the young man whom his father had described as inarticulate and “slow” discovered that he had an interest in writing.

He required the requisite knowledge of Latin to obtain a teaching position in the Sikes district of Pittsfield, Massachusetts, in the fall of 1837.

He found teaching in a country school unappealing at best.

His students were, by his own accounts, dull and backward

An early biographer hints at “a rebellion in which some of the bigger boys undertook to ‘lick’ him.”

He left the teaching position after one term, and in 1838 he enrolled in the Lansingburgh Academy, where he was certified as a surveyor and engineer but failed to find the employment he had hoped for as part of the Erie Canal project.

In 1837 he took his first trip to sea.

Several of his uncles were sailors, and he had grown up hearing about their exploits.

He sailed out as a cabin boy on the merchant ship St. Lawrence on June 4, 1839.

He spent four months aboard, including a visit to Liverpool that would provide inspiration and material for scenes of England’s urban poverty in one of his early novels.

None of his letters from this voyage have survived.

When he returned he found his mother and sisters in serious financial trouble, and desperate for extra income, he once again took a teaching job, only to lose it a few months later. He visited an uncle in Galena, Illinois, hoping to find better job prospects there, but failed.

He returned to New York and signed on with the New Bedford whaler Acushnet.

On January 3, 1841, he shipped for the Pacific.

He had signed up for the customary four-year tour aboard the whaler.

Once in the fleet, he quickly grew restless under the conditions imposed by his captain.

Rations were scanty, work and discipline were harsh, and, perhaps most unforgivably, time at sea was continually extended in search of greater hauls.

The Acushnet made one of its few stops in the port of Nuku Hivain the Marquesas in June 1842.

He jumped ship on July 9, 1842.

By the time the Acushnet completed its voyage, fully half the crew had deserted, and several more had died.

He fled into the island’s interior, where he was taken in by the Taipi.

Known as fierce warriors who were actively hostile to neighboring groups, the Taipi were also reputed to practice cannibalism on their conquered enemies.

He lived among the Taipi for four weeks before finding his way back to Nukuheva, where on August 9 he went aboard an Australian whaler named the Lucy-Ann.

Life aboard the Lucy-Ann proved to be even harder than it had been on the Acushnet. The captain of the ship had fallen ill and was taken ashore at Papeete, Tahiti’s largest port, to be treated, and while the ship was anchored, the crew revolted.

Along with most of the crew, he was arrested as a mutineer and handed over to the British authorities, who locked him up in a makeshift outdoor jail.

Conditions at the “calabooza,” as the jail was called, were far better than they had been aboard ship.

Though the inmates did sleep with their feet locked in wooden stocks, they were well fed and were allowed a great deal of leisure and liberty during the day—including being allowed small day-trips across the island. This laxity resulted in the escape of four prisoners. He and his friend were among these escapees.

After touring the Society Islands briefly, they signed up on yet another whaler, the Charles & Henry.

He left that ship on May 2, 1843, in Lahaina, on the island of Maui, Hawaii. He traveled to Honolulu, where he went to work at several odd jobs, including as a clerk in a shop and a pin-setter in a bowling alley.

On August 17 he joined the crew of the USS United States as an ordinary seaman.

He observed flogging routinely used as punishment per existing naval codes of discipline, and he also saw several burials at sea. The United States docked in Boston 14 months later.

Upon his return to Lansingburgh, his tales of the South Pacific made him a minor celebrity.

Friends and family encouraged him to write about his experiences, and he did, transforming his time among the “cannibals” of the Marquesas into a novel published to critical acclaim and financial reward in 1846.

Around this time, he began courting a family friend who lived in Boston, the daughter of the powerful chief justice of the Massachusetts supreme court.

Buoyed by his recent literary success, he married her on August 4, 1847.

Letters suggest a happy, flirtatious union, at least early in the marriage.

They would eventually have four children together.

He made an unsuccessful attempt to gain a government position in Washington, D.C. and had to rely on the support of his father-in-law to supplement his income.

He then wrote two financially-successful novels, which he would later refer to as “two jobs—which I did for money—being forced to it, as other men are to sawing wood. … [M]y only desire for their ‘success’ (as it is called) springs from my pocket, & not from my heart.”

While vacationing in Pittsfield, Massachusetts, in the summer of 1850, he met a successful New England writer, and struck up an immediate and intense, though short-lived, friendship.

The two writers spent a great deal of time together discussing all manner of intellectual and philosophical matters.

In September 1850, he borrowed money from his father-in-law and bought a farm in Pittsfield, a mere six miles from his writer friend.

In 1851, he dedicated his next novel to his friend.

The novel was not a success.

His next novel was even less successful.

An 1853 fire at his publishers warehouse destroyed most of the existing copies of his novels.

He tried unsuccessfully to obtain a consular appointment.

He completed and unsuccessfully attempted to publish two other novels in the 1850s.

One of these was a story about tortoise hunting.

Both manuscripts are lost.

His physical and mental health continued to concern his family.

He suffered severe back problems and recurrent eyestrain; family letters also hint carefully at “ugly attacks” of a more psychological nature.

In 1856, his father-in-law financed a seven-month trip  during which he visited Europe and the Holy Land.

On the trip out, he stopped in Liverpool and spent three days with his successful New England writer friend, who was serving there on a diplomatic appointment. The friend noted in his journal that he appeared “much as he used to (a little paler, and perhaps a little sadder).”

His next novel, the last published in his lifetime, met with critical and popular rejection. 

He failed to earn money on the lecture circuit.

Once again he tried to obtain a consular appointment, but failed.

He continued to meet rejection in his attempts to earn a government position, and his first volume of poetry was rejected for publication in 1860.

He sold his country estate to his brother and bought his brother’s house in New York City.

They visited their cousin on the Virginia battlefields in 1864, leading to a series of poems published in 1866.

He finally won a position as a customs inspector in New York in 1866—which marked the end of his attempts to sustain a living through writing.

He would work there for nineteen years.

Many of his friends died in the 1860s.

His eldest son died of a self-inflicted gunshot wound in 1867. He had argued with his son the night before.

His wife consulted her minister about the possibility of legally separating from him.

He may have also developed alcohol-related emotional problems over time.

She stayed with him until his death.

After his 1889 retirement, he resumed writing as his primary occupation.

Much of his late work was poetry.

He died of heart failure at home in his bed on September 28, 1891, having been largely forgotten by the literary world in the thirty years since his last novel was published.

The New York Times misspelled his name in its obituary.

Virtually all of the letters he wrote were destroyed after his death, as were many of his manuscripts and writing notes.

Plagiarism

Thomas Chatterton (1770), English poet and forger, arsenic poisoning

Heinrich von Kleist (1811), German author, poet and journalist, gunshot

Manuel Acuña (1873), Mexican poet, ingestion of potassium cyanide

Amy Levy (1889), British writer, inhaling charcoal gas

Per Sivle (1904), Norwegian poet and novelist, gunshot

Sergei Yesenin (1925), Russian and Soviet poet, hanging

Ryūnosuke Akutagawa (1927), Japanese writer, overdose of barbital

Kostas Karyotakis (1928), Greek poet, gunshot

Charlotte Mew (1928), English poet, Lysol poisoning

Vladimir Mayakovsky (1930), Russian and Soviet poet, gunshot

Vachel Lindsay (1931), American poet, poison

Hart Crane (1932), American poet, jumped off ship

Austra Skujiņa (1932) Latvian poet, jump from a bridge

Charlotte Perkins Gilman (1935), American writer, chloroform overdose

Robert E. Howard (1936), American author, gunshot to the head

Horacio Quiroga (1937), Uruguayan playwright, poet, and short story writer, drank a glass of cyanide

Alfonsina Storni (1938), Argentine poet, drowning

Walter Benjamin (1940), German-Jewish literary critic and culture theorist, morphine overdose

Walter Hasenclever (1940), German poet and playwright, overdose of Veronal

Marina Tsvetaeva (1941), Russian poet, hanging

Virginia Woolf (1941), English author, essayist, and publisher, drowning

Stefan Zweig (1942), Austrian novelist, playwright, journalist and biographer, barbiturate overdose

Osamu Dazai (1948), Japanese author, drowning in the Tamagawa Aqueduct

Cesare Pavese (1950), Italian author, overdose of barbiturates

Sadegh Hedayat (1951), Iranian writer, carbon monoxide poisoning

Ernest Hemingway (1961), American writer and journalist, gunshot to head

Sylvia Plath (1963), American poet, novelist, children’s author, gas inhalation

Charles R. Jackson (1968), American writer, barbiturate overdose

José María Arguedas (1969), Peruvian novelist and poet, gunshot

John Kennedy Toole (1969), American novelist, carbon monoxide poisoning

Paul Celan (1970), Romanian poet, drowning in the Seine

Yukio Mishima (1970), Japanese author, poet, playwright, film director and activist, ritual seppuku disembowelment

John Berryman (1972), American poet, jumped off the Washington Avenue Bridge in Minneapolis, Minnesota

Yasunari Kawabata (1972), Japanese writer, gas inhalation

Alejandra Pizarnik (1972), Argentine poet, secobarbital overdose

William Inge (1973), American writer, carbon monoxide poisoning

B. S. Johnson (1973), English novelist, poet, literary critic, sports journalist, television producer and filmmaker, cut his wrists

Anne Sexton (1974), American poet, carbon monoxide poisoning

Jens Bjørneboe (1976), Norwegian novelist, hanging

Frank Stanford (1978), American poet, gunshot

Jean-Louis Bory (1979), French writer, gunshot to the chest

Breece D’J Pancake (1979), American short story writer, gunshot

Wally Wood (1981), American comic book writer and artist, gunshot

Arthur Koestler (1983), Hungarian-British author, novelist, barbiturates

Richard Brautigan (1984), American writer, gunshot

Alice Bradley Sheldon (James Tiptree, Jr.) (1987), American writer, gunshot

Hai Zi (1989), Chinese poet, lying down on railroad tracks

Jerzy Kosinski (1991), Polish-born American writer, suffocation with plastic bag

Charles Crumb (1992), American comics writer and artist, overdosed on pills

Gu Cheng (1993), Chinese poet, hanging

John O’Brien (1994), American novelist, gunshot to the head

Walter M. Miller Jr. (1996), American writer, gunshot

Hunter S. Thompson (2005), gonzo journalist, author of Fear and Loathing in Las Vegas, gunshot

Thomas M. Disch (2008), American writer, gunshot

David Foster Wallace (2008), American author, hanging

Ned Vizzini (2013), American author of young adult fiction, leapt from a building

Mark Fisher (2017), English writer and political theorist, hanging

Anthony Bourdain (2018), American chef, author, and television personality, hanging

Victor Heringer (2018), Brazilian novelist and poet, winner of the 2013 Prêmio Jabuti, self-defenestration

David Berman (2019), American musician and poet, hanging

100 phrases culled from The New York Times list of “100 Notable Books of 2018”

The following phrases appear in The New York Times list of “100 Notable Books of 2018.” There is one phrase culled from each blurb on the list.


slow burn

latest novel

bizarre story

tour de force

stunning debut

homage of sorts

explores this idea

tactile immediacy

fragmented novel

fascinating paean

grapples seriously

searching account

harrowing account

harrowing memoir

fascinating portrait

expansive narrative

novel that ricochets

fast-paced account

stunning new novel

bristling intelligence

impassioned account

incisive new collection

magisterial new novel

bighearted family saga

breezy, appealing style

impressive debut novel

bewitching debut novel

remarkable debut novel

private and public twists

stylish and inspired collection

deeply and lovingly personal

describes the years of research

reveals surprising connections

world of scams and seductions

our history and our current age

dire consequences for democracy

darkly comic and profound novel

memoir of an unstable childhood

powerful and realistic page turner

mammoth autobiographical novel

devastatingly beautiful debut novel

blazingly moral and devastatingly sidelong

capturing the themes of identity and reinvention

written by the actress herself and not a ghostwriter

seemingly quiet but ultimately volcanic collection

recounted here with great lyricism and emotion

sometimes fanciful, always gossipy portrait

navigate the political and the personal

tense, moment-by-moment account

illuminates her narrator’s inner life

public and private responsibilities

searing autobiographical novel

the personal and the political

more political than economic

vivid, slightly surreal history

writes about new research

sweeping, sobering account

deep dive into the question

unnerving cautionary tale

searingly passionate book

deeply reported account

monumental biography

heralds America’s future

much more complicated

posthumous collection

law professor recounts

marvelous debut novel

nervy, obsessive novel

shattering work of art

important biography

recounts her struggle

first major biography

semi-surreal sendup

landmark translation

thinly veiled memoir

satisfying slow burn

unbelievable debut

forgotten histories

reads like a thriller

fast-paced thriller

mine the question

capture the chaos

infinitely capable

rousing defense

widens the lens

singular portrait

sparkling novel

eloquent novel

riveting exposé

gritty depiction

noted historian

searing memoir

writerly passion

road-trip novel

think differently

page after page

Pulitzer finalist

tells his story

timely novel

wry catalog

“Thus do authors beget authors” — Washington Irving on Plagiarism and Creation

0126m

Now and then one of these personages would write something on a small slip of paper, and ring a bell, whereupon a familiar would appear, take the paper in profound silence, glide out of the room, and return shortly loaded with ponderous tomes, upon which the other would fall, tooth and nail, with famished voracity. I had no longer a doubt that I had happened upon a body of magi, deeply engaged in the study of occult sciences. The scene reminded me of an old Arabian tale, of a philosopher shut up in an enchanted library, in the bosom of a mountain, which opened only once a year; where he made the spirits of the place bring him books of all kinds of dark knowledge, so that at the end of the year, when the magic portal once more swung open on its hinges, he issued forth so versed in forbidden lore, as to be able to soar above the heads of the multitude, and to control the powers of Nature.

My curiosity being now fully aroused, I whispered to one of the familiars, as he was about to leave the room, and begged an interpretation of the strange scene before me. A few words were sufficient for the purpose. I found that these mysterious personages, whom I had mistaken for magi, were principally authors, and were in the very act of manufacturing books. I was, in fact, in the reading-room of the great British Library, an immense collection of volumes of all ages and languages, many of which are now forgotten, and most of which are seldom read: one of these sequestered pools of obsolete literature to which modern authors repair, and draw buckets full of classic lore, or “pure English, undefiled,” wherewith to swell their own scanty rills of thought.

Being now in possession of the secret, I sat down in a corner, and watched the process of this book manufactory. I noticed one lean, bilious-looking wight, who sought none but the most worm-eaten volumes, printed in black letter. He was evidently constructing some work of profound erudition, that would be purchased by every man who wished to be thought learned, placed upon a conspicuous shelf of his library, or laid open upon his table—but never read. I observed him, now and then, draw a large fragment of biscuit out of his pocket, and gnaw; whether it was his dinner, or whether he was endeavoring to keep off that exhaustion of the stomach, produced by much pondering over dry works, I leave to harder students than myself to determine.

There was one dapper little gentleman in bright-colored clothes, with a chirping gossiping expression of countenance, who had all the appearance of an author on good terms with his bookseller. After considering him attentively, I recognized in him a diligent getter-up of miscellaneous works, which bustled off well with the trade. I was curious to see how he manufactured his wares. He made more stir and show of business than any of the others; dipping into various books, fluttering over the leaves of manuscripts, taking a morsel out of one, a morsel out of another, “line upon line, precept upon precept, here a little and there a little.” The contents of his book seemed to be as heterogeneous as those of the witches’ cauldron in Macbeth. It was here a finger and there a thumb, toe of frog and blind worm’s sting, with his own gossip poured in like “baboon’s blood,” to make the medley “slab and good.”

After all, thought I, may not this pilfering disposition be implanted in authors for wise purposes? may it not be the way in which Providence has taken care that the seeds of knowledge and wisdom shall be preserved from age to age, in spite of the inevitable decay of the works in which they were first produced? We see that Nature has wisely, though whimsically provided for the conveyance of seeds from clime to clime, in the maws of certain birds; so that animals, which, in themselves, are little better than carrion, and apparently the lawless plunderers of the orchard and the corn-field, are, in fact, Nature’s carriers to disperse and perpetuate her blessings. In like manner, the beauties and fine thoughts of ancient and obsolete authors are caught up by these flights of predatory writers, and cast forth, again to flourish and bear fruit in a remote and distant tract of time. Many of their works, also, undergo a kind of metempsychosis, and spring up under new forms. What was formerly a ponderous history, revives in the shape of a romance—an old legend changes into a modern play—and a sober philosophical treatise furnishes the body for a whole series of bouncing and sparkling essays. Thus it is in the clearing of our American woodlands; where we burn down a forest of stately pines, a progeny of dwarf oaks start up in their place; and we never see the prostrate trunk of a tree mouldering into soil, but it gives birth to a whole tribe of fungi.

Let us not then, lament over the decay and oblivion into which ancient writers descend; they do but submit to the great law of Nature, which declares that all sublunary shapes of matter shall be limited in their duration, but which decrees, also, that their element shall never perish. Generation after generation, both in animal and vegetable life, passes away, but the vital principle is transmitted to posterity, and the species continue to flourish. Thus, also, do authors beget authors, and having produced a numerous progeny, in a good old age they sleep with their fathers, that is to say, with the authors who preceded them—and from whom they had stolen.

 

From Washington Irving’s story-essay “The Art of Book-Making.”

Plagiarism

2014 (MMXIV) will be a common year starting on Wednesday of the Gregorian calendar, the 2014th year of the Common Era (CE) and Anno Domini (AD) designations, the 14th year of the 3rd millennium, the 14th year of the 21st century, and the 5th year of the 2010s decade.

The object of a New Year is not that we should have a new year.

The United Nations designated 2014 as the International Year of Family Farming and Crystallography.

Hope
Smiles from the threshold of the year to come,
Whispering ‘it will be happier.’

New Year’s is a harmless annual institution, of no particular use to anybody save as a scapegoat for promiscuous drunks, and friendly calls, and humbug resolutions, and we wish you to enjoy it with a looseness suited to the greatness of the occasion.

4

Year 1914 (MCMXIV) was a common year starting on Thursday in the Gregorian calendar and a common year starting on Wednesday in the Julian calendar. It was the year that saw the beginning of what became known as World War I.

Latvia will officially adopt the euro currency and will become the eighteenth Eurozone country.

For last year’s words belong to last year’s language
And next year’s words await another voice.

The 2014 Winter Olympics will be held in Sochi, Russia.

Have a new soul.

2

Year 1814 (MDCCCXIV) was a common year starting on Saturday of the Gregorian calendar and a common year starting on Thursday of the 12-day slower Julian calendar.

Comet Holmes (17P/Holmes) will reach perihelion.

Each age has deemed the new-born year
The fittest time for festal cheer.

A new nose.

Ring out the old, ring in the new.

An annular solar eclipse will occur.

3

Year 1714 (MDCCXIV) was a common year starting on Monday of the Gregorian calendar and a common year starting on Thursday of the 11-day slower Julian calendar.

Now is the accepted time to make your regular annual good resolutions.

Next week you can begin paving hell with them as usual.

New feet.

Faye’s Comet will reach perihelion.

The clock is crouching, dark and small,
Like a time bomb in the hall.

New backbone.

5

Year 1614 (MDCXIV) was a common year starting on Wednesday of the Gregorian calendar and a common year starting on Saturday of the 10-day slower Julian calendar.

Ring out the false, ring in the true.

The 2014 FIFA World Cup will be held in Brazil.

I will bestir myself.

New ears.

The Sky City skyscraper is planned for completion in Changsha, Hunan, China.

And try to be wise if I cannot be good.

7

Year 1514 (MDXIV) was a common year starting on Sunday of the Julian calendar.

NASA’s New Horizons spacecraft will cross the orbit of Neptune after travelling for over eight years. New Horizons is scheduled to reach its mission target, Pluto, in 2015.

New eyes.

The Scottish independence referendum will be held.

The first unmanned flight test of NASA’s Orion spacecraft is scheduled to be launched.

6

Year 1414 (MCDXIV) was a common year starting on Monday of the Julian calendar.

The Catalan independence referendum will be held.

Hark, it’s midnight, children dear.
Duck! Here comes another year.

A commercial cure for baldness is predicted to become available.

New hair?

Plagiarism

Art and cultural property crime—which includes theft, fraud, looting, and trafficking across state and international lines—is a looming criminal enterprise with estimated losses in the billions of dollars annually.

Jan van Eyck: The Just Judges.

Early to mid-1800s: Burkel paints After the Hunt (c. 1830), Amalfi Cave (c. 1845), and The Horse Round-up (c.1861-1863).

In October 1969, two thieves entered the Oratory of San Lorenzo in Palermo, Italy and removed the Caravaggio Nativity from its frame. Experts estimate its value at $20 million.

Vincent van Gogh: View of the Sea at Scheveningen(1882).

1925: All three Burkel paintings are acquired and subsequently exhibited by the Pirmasens Museum in Germany.

On December 31, 1999, during the fireworks that accompanied the celebration of the millennium, a thief broke into the Ashmolean Museum in Oxford, England and stole Cezanne’s landscape painting View of Auvers-sur-Oise. Valued at £3 million, the painting has been described as an important work illustrating the transition from early to mature Cezanne painting.

Johannes Vermeer: The Concert (c.1658–1660).

On September 8, 2011, Madeleine Leaning on Her Elbow with Flowers in Her Hair by Pierre Auguste Renoir was stolen during an armed robbery in a Houston home. The masked robber is described as a white male, 18 to 26 years old, who weighs about 160 pounds and is approximately 5’10” tall. He was armed with a large-caliber, semi-automatic handgun. A private insurer is offering up to $50,000 for information leading to the recovery of the painting.

Rembrandt: The Storm on the Sea of Galilee (1633).

May 13, 1942: To avoid Allied bombings, the Burkel paintings were taken to a local air-raid shelter outside of Pirmasens.

Approximately 100 paintings stolen from a Florida family’s art collection in a fine art storage facility. This collection included works by Picasso, Rothko, Matisse and others that were recovered from Chicago, New York and Tokyo.

Vincent van Gogh: Congregation Leaving the Reformed Church in Nuenen (1884).

Radu Dogaru’s mother, hoping to free her son from prosecution, told the police that on a freezing night in February, 2013, she placed seven stolen paintings — which included Monet’s 1901 Waterloo Bridge, London; Gauguin’s 1898 Girl in Front of Open Window” and Picasso’s 1971 Harlequin Head — in a wood-burning stove used to heat saunas and incinerated them.

September 19, 1945: The Pirmasens Museum reports that “about 50 paintings which had been stored in the air-raid shelter at Husterhoh School during the war have been lost during the arrival of the American troops on March 22, 1945.” The works were later smuggled to the U.S. by unknown individuals.

Jean-Baptiste Oudry: The White Duck (1753).

Mid-1960s: A New Jersey man purchases the Burkel paintings.

How Picassos, Matisses, Monets and other precious masterpieces may have met a fiery fate in a remote Romanian village, population 3,400, is something the police are still trying to understand.

Amadeo Modigliani: La Femme à l’éventail (Modigliani) (1919).

Late 1980s: The Burkel paintings are handed down to the New Jersey man’s daughter.

Caspar David Friedrich: Landschaft mit Regenbogen (c. 1810).

October 25, 2005: The William H. Bunch Auction and Appraisal Company in Pennsylvania advertises the sale of the Burkel paintings on the Internet and through the print media. Heike Wittmer, Pirmasens Museum Director and Archivist, spots the paintings for sale and alerts German authorities. U.S. Embassy officials contact the FBI, which halts the sale and takes custody of the paintings from the consignor, who voluntarily agrees to their return to Germany.

Rembrandt’s Self Portrait (1630): Recovered in a sting operation in Copenhagen carried out in cooperation with ICE and law enforcement agencies in Sweden and Denmark. The FBI had previously recovered Renoir’s The Young Parisian. Both paintings had been stolen from the Swedish National Museum in Stockholm in 2000.

February 10, 2006: The Burkel paintings are repatriated to Germany by the U.S.

Pablo Picasso: Le pigeon aux petits pois(1911).

In December 2002, two thieves used a ladder to climb to the roof and break in to the Vincent Van Gogh Museum, Amsterdam, The Netherlands. In just a few minutes the thieves stole two paintings: Van Gogh’s View of the Sea at Scheveningen and Congregation Leaving the Reformed Church in Nuenen, valued at $30 million. Dutch police convicted two men in December 2003, but did not recover the paintings.

Forensic analysis of ash found in Mrs. Dogaru’s stove, conducted by Romania’s National History Museum, found nails and tacks that indicated that at least three had been burned.

Franz Marc: The Tower of Blue Horses 1913 (missing since 1945).

Carl Spitzweg: Der Liebesbrief 1845-1846 (missing since 1989).

IF YOU HAVE ANY INFORMATION CONCERNING THESE WORKS OF ART OR CIRCUMSTANCES OF THESE CRIMES, PLEASE CONTACT YOUR LOCAL FIELD OFFICE OR THE NEAREST U.S. EMBASSY OR CONSULATE.

Plagiarism

It was an icy day.

Pierre Pinoncelli damaged two of the eight copies of Fountain by Marcel Duchamp with a hammer.

The attacks were separated by 13 years: The latest on January 4, 2006 at Centre Pompidou in Paris.

And in Nîmes in 1993.

Where he also urinated into it before using the hammer.

Accordingly, in our Mongolian age all change has been only reformatory or ameliorative, not destructive or consuming and annihilating.

The substance, the object, remains.

All our assiduity was only the activity of ants and the hopping of fleas, jugglers’ tricks on the immovable tight-rope of the objective, corvée -service under the leadership of the unchangeable or “eternal.”

I have seen

The old gods go

And the new gods come.

The Stone Breakers (FrenchLes Casseurs de pierres) was an 1849–50 painting by the French painter Gustave Courbet.

It was a work of social realism, depicting two peasants, a young man and an old man, breaking rocks.

The painting was first exhibited at the Paris Salon of 1850. It was destroyed during World War II, along with 154 other pictures, when a transport vehicle moving the pictures to the castle of Königstein, near Dresden, was bombed by Allied forces in February 1945.

Day by day

And year by year

The idols fall

And the idols rise.

Damage then recovery, damage then recovery.

We buried the cat,

then took her box

and set fire to it

in the back yard.

Even to his death, Duchamp retained a sense of humor.

The evening of 1 October 1968 had been a pleasant one, dinning at home with his friends Man Ray and Robert Lebel. Shortly after his guests had left, it happened suddenly and peacefully. Just before retiring at 1:05 A.M. his heart simply stopped beating.

Those fleas that escaped

earth and fire

died by the cold.

Courbet died, age 58, in La Tour-de-Peilz,Switzerland, of a liver disease aggravated by heavy drinking.

But he hammered his poor heart to death, Lord, Lord,
    He hammered his poor heart to death.

“D’ailleurs, c’est toujours les autres qui meurent;” or “Besides, it’s always the others who die”.

Today

I worship the hammer.

Plagiarism

blue-rollers_6312

A rose is a rose is a rose.

The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!

The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.

Antimetabole. Repetition of two words or short phrases, but in reversed order to establish a contrast. It is a specialized form of chiasmus.

Sometimes a cigar.

Freedom from morality.

Epiphora. The repetition of a phrase or word at the end of several sentences or clauses.

Sisyphus was son of King Aeolus of Thessaly and Enarete, and the founder and first king of Ephyra.

Epizeuxis. Emphasizing an idea using one word repetition.

Everything becomes and recurs eternally – escape is impossible! – Supposing we could judge value, what follows?

Conduplicatio. The repetition of a word in various places throughout a paragraph.

So one must be resigned to being a clock that measures the passage of time, now out of order, now repaired, and whose mechanism generates despair and love as soon as its maker sets it going?

Inque tuo sedisti, Sisyphe, saxo.

Parachesis. Repetition of the same sound in several words in close succession.

New means against the fact of pain.

Epistrophe. The repetition of a word or phrase at the end of every clause.

Are we to grow used to the idea that every man relives ancient torments, which are all the more profound because they grow comic with repetition?

Antanaclasis. The repetition of a word or phrase to effect a different meaning

Tantalus was made to stand in a pool of water beneath a fruit tree with low branches, with the fruit ever eluding his grasp, and the water always receding before he could take a drink.

Anadiplosis. The repetition of the last word of a preceding clause.

The enjoyment of all kinds of uncertainty.

That human existence should repeat itself, well and good, but that it should repeat itself like a hackneyed tune, or a record a drunkard keeps playing as he feeds coins into the jukebox?

Anaphora. The repetition of a word or phrase at the beginning of every clause.

Wu Gang, known for endlessly cutting down a self-healing Bay Laurel on the Moon.

wing_of_a_blue_roller_1512_mugs-rc589eed1ec6d499abe372d473ec40308_x7jpm_8byvr_512

Experimentalism, as a counterweight to this extreme fatalism.

Polyptoton. The repetition of a word or root in different cases or inflections within the same sentence.

Abolition of the concept of necessity. Abolition of the “will.”

The most famous facet of Naranath Branthan’s life is his apparently eccentric habit of rolling big stones up the hill and letting them roll down back, and laughing thunderously on seeing this sight

Polysyndeton. The repeated use of conjunctions within a sentence, particularly where they do not necessarily have to be used.

Abolition of “knowledge-in-itself.”

Nothing is harder to understand than a symbolic work. A symbol always transcends the one who makes use of it and makes him say in reality more than he is aware of expressing.

A rose is a rose is a rose.

blue-rollers_6312

Plagiarism

Knock knock.

An art thief is a man who takes pictures.

Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.

It was the blurst of times.

Take my wife—please.

You have a better chance of stopping a serial killer than a serial thief in comedy.

I shot an elephant in my pajamas.

I have a scoop for you. I stole his act. I camouflaged it with punchlines, and to really throw people off, I did it before he did

Satire is tragedy plus time. You give it enough time, the public, the reviewers will allow you to satirize it. Which is rather ridiculous, when you think about it.

Ducks will never hug! This devastating thought will consume my evening.

I’m wild about his turnip tops.
Likes the way he warms my chops!
I can’t do without my kitchen man.
Now when I eat his donut
All I leave is just the hole.
And if he really needs it,
He can use my sugar bowl!

I’d like to give my kid an interesting name. Like a name with no vowels … just like 40 Fs, that’s his name.

Just realized ducks can’t hug and now I can’t sleep.

Rice is great when you’re hungry and you want 2,000 of something.

I think I am, therefore I am. I think.

I intend to live forever, or die trying.

We all pay for life with death, so everything in between should be free.

Life is a four-letter word.

#1: Hey, I hear you got a job as a salesman.
#2: Sure did. Pays real good.
#1: What do you sell?
#2: I sell salt.
#1: Is that right? I’ll be. I sell pepper.
#2: Shake!

Let’s face it, some people have a way with words. Other people, uhh . . . oh . . . not have way, I guess.

I’d like to have 19 kids. I think naming them, that’s going to be fun. I already have names picked out. First kid — boy, girl, I don’t care — I’m naming it Rrrrrrrrrrrr.

A burrito is a sleeping bag for ground beef.

The funniest food: ‘kumquats.’ I don’t even bring them home anymore. I sit there laughing and they go to waste.

Inside of a dog it’s too dark to read.

What are three words a woman never wants to hear when she’s making love?
“Honey, I’m home!”

Just realized giraffes can’t hug and now I can’t sleep.

My real name is bdbdbdbdbdbd. My sister’s name was yullyullyull.

You’re watching a guy do your material and people are laughing, but they’re laughing because they think this performer has a brilliant mind and he’s a funny person.

Just realized horses can’t hug and now I can’t sleep.

A drunk was in front of a judge. The judge says, “You’ve been brought here for drinking.”
The drunk says “Okay, let’s get started.”

I think he sort of got some of my jokes in his head and got sloppy.

Who’s there?

Turtles. Zebras.

Little tiny hairs.

It takes forever to cook a baked potato in a conventional oven. Sometimes I just throw one in there, even if I don’t want one. Cause by the time it’s done, who knows?

The Aristocrats!

Plagiarism

line up all the empty bottles

the long-necked beer bottles

the wine bottles

Stand to attention all the empty bottles, yes …

the long-necked beer bottles from the antique stores,

steam off the labels and line the bottles up, the green ones
with the brown, black, yellow and clear ones.

The beer bottles whose labels have been torn off by
bleak, neurotic fingers

Is a pillow bottle a disciplinary form of some metaphor?

The bottles afloat on all the seas, those with messages in
them and those without any.

What I viewed there once, what I view again /Where the physic bottles stand

On the table’s edge,—is a suburb lane, / With a wall to my bedside hand.

Line up the bottle that killed Malcolm Lowry with the bottle
that killed Dylan Thomas ( I think that’s a record ! ).

I don’t know how many bottles of beer
I have consumed while waiting for things
to get better

line up the bottle that killed Malcolm Lowry with the bottle that killed Dylan Thomas

Lie still, sleep becalmed, sufferer with the wound
In the throat, burning and turning.

Rage, rage

and the bottles that killed all the drunken poets nobody’s heard of and the poets who spoke all their lines into their bottles

Because their words had forked no lightning

Yes, line up all the empty bottles; yes …

the bottles that killed all the drunken monkeys,
poets nobody’s heard of and the poets who spoke all their
lines into their bottles and all that weren’t smashed on frozen
roadsides, when flung from car windows.

Nevertheless, I am happy
Riding in a car with my brother
and drinking from a pint of Old Crow.
We do not have any place in mind to go,
we are just driving.

because I’m telling you now, right now…
the party’s over.

Plagiarism

All, all is theft, all is unceasing and rigorous competition in nature; the desire to make off with the substance of others is the foremost – the most legitimate – passion nature has bred into us and, without doubt, the most agreeable one.

Georges Simenon wrote more than 500 novels.

Property is theft.

Art is either plagiarism or revolution.

Isaac Asimov wrote 506 novels.

Ideas improve. The meaning of words participates in the improvement. Plagiarism is necessary. Progress implies it. It embraces an author’s phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea.

Alexandre Dumas wrote 277 novels.

The robbed that smiles, steals something from the thief.

Opportunity makes a thief.

Rolf Kalmuczak: maybe 3,000 novels. More than 100 pseudonyms.

Hunger makes a thief.

Want of money and the distress of a thief can never be alleged as the cause of his thieving, for many honest people endure greater hardships with fortitude. We must therefore seek the cause elsewhere than in want of money, for that is the miser’s passion, not the thief’s.

Ursula Bloom—over 500 novels.

James Joyce wrote four novels.

James Joyce wrote three novels.

James Joyce wrote only three novels.

It’s nice to sometimes get things out of life, rather than stealing from other artists. I’m trying to steal from the real people.

The Mystery of Edwin Drood.

They’re stealing my ideas. They’re imitating my shots.

Only.

Plagiarism

Criminal man has lost all enterprise and originality.

And this same progeny of evils comes
From our debate, from our dissension;
We are their parents and original.

Those with no memory insist on their originality.

Books serve to show a man that those original thoughts of his aren’t very new after all.

Great poets steal.

The one and the only.

All my best thoughts!

Stolen by the ancients.

Ah! Gooblazqruk brukarchkrasht!

Truth! stark, naked truth, is the word; and I will not so much as take the pains to bestow the strip of a gauze wrapper on it, but paint situations such as they actually rose to me in nature, careless of violating those laws of decency that were never made for such unreserved intimacies as ours; and you have too much sense, too much knowledge of the originals, to sniff prudishly and out of character at the pictures of them.

Tear him for his bad verses, tear him for his bad verses.

Mature poets steal.

Nothing new except what has been forgotten.

It’s not a real leg, only a false leg.

And there’s a mighty difference between a living thump and a dead thump.

O! Weeshwashtkissinapooisthnapoohuck?

An original artist is unable to copy. So he has only to copy in order to be original.

Let a splinter swerve.

It hath it original from much grief, from study, and perturbation of the brain.

Great artists steal.

The original papers, together with the scarlet letter itself—a most curious relic—are still in my possession, and shall be freely exhibited to whomsoever, induced by the great interest of the narrative, may desire a sight of them. I must not be understood affirming that, in the dressing up of the tale, and imagining the motives and modes of passion that influenced the characters who figure in it, I have invariably confined myself within the limits of the old Surveyor’s half-a-dozen sheets of foolscap. On the contrary, I have allowed myself, as to such points, nearly, or altogether, as much license as if the facts had been entirely of my own invention. What I contend for is the authenticity of the outline.

Necessary to any originality: the courage to be an amateur.

It is all for the taking.

Great artists.

We have always been shameless about stealing great ideas.

The great artist who is truly schizophrenic will break the wall, reaching the unknown country where he does not belong to any age, any environment, any school.

And all that poets feign of bliss and joy.

Now, do you doubt that your bird was true?

Plagiarism

You pray to the gods? Let me grant your prayers.

It is the honourable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind.

The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.

Criticism is a genre of literature or it does not exist.

To imagine is to misinterpret, which makes all poems antithetical to their precursors.

Who are your parents? Do you know?

The strength of any poem is the poems that it has managed to exclude.

The death of Patroclus, Iliad XVI:

Even as he spoke, the shadow of death came over him. His soul fled from his limbs and went down to the house of Hades, bemoaning its fate, leaving manhood and youth.

Every poem is a misinterpretation of a parent poem.

There is a voice inside of you
That whispers all day long.

New poems originate mainly from old poems.

Ivan Goncharov was essentially deranged in the last thirty years of his life.

And insisted that every word Turganev published had been stolen from him.

All unknowing you are the scourge of your own flesh and blood, the dead below the earth and the living here above, and the double lash of your mother and your father’s curse will whip you from this land one day, their footfall treading you down in terror, darkness shrouding your eyes that now can see the light!

The primary struggle of the young poet is against the old masters.

The father is perceived as an obstacle.

They fuck you up, your mum and dad.

The death of Hector, Iliad XXII:

Even as he spoke, the shadow of death came over him. His soul fled from his limbs and went down to the house of Hades, bemoaning its fate, leaving manhood and youth.

The ephebe must clear imaginative space for himself through a creative misreading of the strong poets of the past.

The old God, the Father, took second place; Christ, the Son, stood in His stead, just as in those dark times every son had longed to do.

Only strong poets can overcome this anxiety of influence.

Picasso: He was my one and only master. Cézanne! It was the same with all of us—he was like our father.

Lesser lights become derivative flatterers and never achieve poetic immortality for themselves.

No poem, not even Shakespeare or Milton or Chaucer, is ever strong enough to totally exclude every crucial precursor text or poem.

To you, your father should be as a god;
One that compos’d your beauties, yea, and one
To whom you are but as a form in wax
By him imprinted, and within his power
To leave the figure or disfigure it.

Mom and pop, they will fuck you up.

Under the wide and starry sky,

Dig the grave and let me lie.

Glad did I live and gladly die,

And I laid me down with a will.

Poetic misreading or misprison proper.

A corrective movement in his own poem. A swerve.

A breaking device, a movement towards discontinuity with the precursor.

But they were fucked up in their turn.

Sublime.

Counter-sublime.

How sharper than a serpent’s tooth it is
To have a thankless child.

The return of the dead.

As though the later poet himself had written the precursor’s characteristic work.

To imagine after a poet is to learn his own metaphors for his acts of reading.

A poem is not an overcoming of anxiety, but is that anxiety.

This be the verse you grave for me:

Here he lies where he longed to be.

Man hands on misery to man.

There are no interpretations but only misinterpretations.

Plagiarism

The first century Roman poet Martial used the Latin word plagiarius to complain that another poet had kidnapped his verses.

Plagiarius: kidnapper, seducer, plunderer, one who kidnaps the child or slave of another.

Anglicized by Johnson in 1601.

Plagiary, adjective. 1. Stealing men; kidnapping. 2. Practicing literary theft.

Based on the Indo-European root *-plak, “to weave” (seen for instance in Greek plekein, Bulgarian “плета” pleta, Latin plectere, all meaning “to weave”).

Listen Fates, who sit nearest of gods to the throne of Zeus, and weave with shuttles of adamant, inescapable devices for councels of every kind beyond counting.

Neith.

Frigg.

Brigantia.

If, while riding a horse overland, a man should come upon a woman spinning, then that is a very bad sign; he should turn around and take another way.

Wonderful, wonderful, yet again the sword of fate severs the head from the hydra of chance.

When shall we three meet again

In thunder, lightning, or in rain?

As we, or mother Dana, weave and unweave our bodies from day to day, their molecules shuttled to and fro, so does the artist weave and unweave his image.

In the 19th century there was a literary scandal when the leading Sterne scholar of the day discovered that many of the quintessentially Sternean passages of Tristram Shandy had been lifted from other authors.

Typically, a passage lamenting the lack of originality among contemporary writers was plagiarised from Burton’s Anatomy of Melancholy.

Now academics call the plagiarism “intertextuality.”

When the hurlyburly’s done,

When the battle’s lost and won.

Urðr.

Verðandi.

Skuld.

Olaudah Equiano was born in 1745 in Eboe, in what is now Nigeria. When he was about eleven, Equiano was kidnapped and sold to slave traders headed to the West Indies.

When our women are not employed with the men in tillage, their usual occupation is spinning and weaving cotton, which they afterwards dye, and make it into garments.

“I did so, sir, for my sins,” said I; “for it was by his means and the procurement of my uncle, that I was kidnapped within sight of this town, carried to sea, suffered shipwreck and a hundred other hardships, and stand before you to-day in this poor accoutrement.”

Persephone.

Europa.

Ganymede.

Plagiarism begins at home.

Nothing is said which has not been said before.

Originality: Judicious imitation.

Perhaps the efforts of the true poets, founders, religions, literatures, all ages, have been, and ever will be, our time and times to come, essentially the same—to bring people back from their present strayings and sickly abstractions, to the costless, average, divine, original concrete.

Hippolyta.

Helen.

Rapunzel.

I am against the prophets, saith the Lord, that steal My words every one from his neighbor.