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Poets’ Borrowings. An unsigned review of Shakespeare, Jonson and Wilkins as Borrowers. A Study in Elizabethan Dramatic Origins and Imitations, by Percy Allen
- Johns Hopkins University Press
- document
- Additional Information
London: Cecil Palmer, 1928. Pp. xix + 236.
Mr. Percy Allen, a dramatic critic who modestly professes no special skill in Elizabethan scholarship, has written an intelligent and interesting book which should be of service to students of Elizabethan drama, whether they accept his particular conclusions or not.
Mr. Allen makes this general statement:
All men, whether writers or no, most borrow; since the whole of this world’s progress, by infinitely slow degrees, out of chaos and old night has been accomplished by a process of age-long, multitudinous, accumulated loans and adaptations from our progenitors, which we, as inheritors of a sacred trust, must make use of, and adapt to the service of our own generation, before handing it down, in a more shapely form, to a posterity
It may be cavilling to suggest that borrowing only leads to a more shapely form in rare instances, and the vast majority of borrowing is borrowing by inferiors from superiors, and therefore usually results in less shapely form. But Mr. Allen has hit upon a line of inquiry which should interest literary critics as much as scholars. To our mind, the most important point that Mr. Allen makes is the borrowing of writers from themselves. The debt of every poet to his predecessors and contemporaries is a scent eagerly sniffed and followed by every critic; but the debts of poets to their own earlier work are apt to be overlooked. Yet any intelligent psychologist ought to see at once that any poet, even the greatest, will tend to use his own impressions over and over again. It is by no means a matter of poverty of inspiration. Every man who writes poetry has a certain number of impressions and emotions which are particularly important to him. Every man who writes poetry will be inclined to seek endlessly for a final expression of these, and will be dissatisfied with his expressions and will want to employ the initial feeling, the original image or rhythm, once more in order to satisfy himself. It would be surprising if Shakespeare did not illustrate this tendency. Hence we are inclined to believe, whatever we think of Mr. Allen’s instances, that this thesis of his is right.
Mr. Allen deals in this way with several possible reworkings by Shakespeare. The first, and perhaps the most interesting, is the manipulation of material from