The advent of statutory copyright in eighteenth-century England raised questions about ensuring access to the materials that writers need to produce new books. The public domain did not spring into being as the obverse of the rights afforded by the Act of Anne (1710), nor was it created by nineteenth-century doctrines such as fair use; rather, it developed out of practices and assumptions predating the Act of Anne and others that emerged in the statute’s wake. To explore these ideas, this chapter considers booksellers’ and authors’ conceptions of copyright as property, the metaphors proposed by advocates of anti-piracy measures, arguments about copyright’s duration and its basis in the common law, and analogies between copyright and patent law during this period. Finally, the chapter discusses the booksellers’ strategic litigation in the equity courts, where pleading could rely on imaginative premises that, in some respects, rival those of contemporaneous novelists.
This article examines the development of scholarship on literary responses to the Revolutionary and Napoleonic Wars, 1793–1815. It examines the reasons for the surprising lack of research on this area in both traditional and new historicist accounts of romanticism, as seen in the work of M. H. Abrams and Jerome J. McGann, despite the pioneering work of Betty T. Bennett. It then examines the major studies of the topic produced by Gillian Russell, Simon Bainbridge, Philip Shaw, Mary A. Favret, Neil Ramsey, and others. Particular focus is placed on key critical issues, including the distance from the scene of conflict of those writing and reading about war, the representation of suffering and wounding, and the impact of war on noncombatants. The article ends with pointing to areas for further study.