+Shakespeare and Plagiarism+.--Among the curious alterations in public sentiment that have come in the last century or two, none is more striking than the change of attitude in regard to what is called "plagiarism." Plagiarism may be defined as the appropriation for one's own use of the literary ideas of another. The laws of patent and of copyright have led us into thinking that the ideas of a play must not be borrowed in any degree, but must originate in every detail with the writer. This is as if we should say to an inventor, "Yes, you may have invented a safety trigger for revolvers, but you must not apply it to revolvers until you have invented a completely new type of revolver from the original matchlock." But the playwright of to-day cannot help plagiarizing his technique, many of his situations, and even his plots from earlier plays; consequently, he tries to conceal his borrowings, to placate public opinion by changing the names and the environment of his characters. The Elizabethan audiences were less exacting. If a play about King Lear were written and acted with some success, they thought it perfectly honest for another dramatist to use this material in building up a new and better play on the story of King Lear. They cared {106} even less when the dramatist went to other dramas for hints on minor details. The modern audience, if not the modern world at large, holds the same view. So long as the mind of the borrower transforms and makes his own whatever he borrows, so long will his work be applauded by his audience, whatever be the existing state of the copyright laws or of public fastidiousness. Hence we do not to-day hunt up the sources of Shakespeare's plots and characters in order to prove plagiarism, but in order to understand just how great was the power of his genius in transmuting common elements into his fine gold. It is customary to say: "Shakespeare did not invent his plots. He was not interested in plots." So far is this from the truth that the amount of pains and skill spent by him in working over any one of his best comedies or tragedies would more than suffice for the construction of a very good modern plot. It is more true to say of most of his work, "Shakespeare did not waste his time in inventing stories.[1] He took stories where he found them, realized their dramatic possibilities, and spent infinite pains in weaving them together into a harmonious whole." There is one other point to remember. The sources of Shakespeare's plays were no better literary material than the sources of most Elizabethan plays. Shakespeare's practice in adapting older plays was {107} the common practice of the time. We can measure, therefore, the greatness of Shakespeare's achievement by a comparison with what others have made out of similar material.