into being, during the eighteenth century, titles were at first more important than authors: translated texts were regularly published anonymously, or wrongly credited, and plagiarism and book piracy were rife.

In the late eighteenth and early nineteenth centuries, though, a number of changes came about. Book censorship, tightened up successively under Catherine II, Paul I, Alexander I, and Nicholas I, underlined the concept of individual authorship. This was not only because authors were held responsible for what they wrote and anonymity was strongly discouraged (the publication of unsigned journal articles was expressly forbidden in 1848). It was also because, alongside their punitive role, censorship boards were responsible for enforcing copyright. In the words of an official edict, they were supposed to ‘prevent publishers from the unauthorized and capricious publication of books by authors with whom those publishers have no connection’. At the same time, the growth of self-consciousness was fostered by the emergence of the censor as a reader who was assumed to be both hostile and artistically literate (several prominent nineteenth-century censors, including Ivan Goncharov, the author of Oblomov, the famous novel about a character who can’t get out of bed, were themselves writers). The need for writers to keep ahead of censors stimulated authors into different forms of allegorical writing. For instance, a tale would be set at the Spanish court, when the Russian one was meant, or references to Hamlet and the rottenness of the state of Denmark would be used to suggest somewhere much closer to home. This use of what was termed ‘Aesopian language’ by writers also encouraged readers (and, of course, censors) to read between the lines of texts, searching for hidden meanings.

Also in the early nineteenth century, booksellers became aware of the value of authorial ‘brand names’ in the marketplace. They began to enter into contracts according to which the grant to a publisher of

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