from The times 9 Nov

Motion “ripped off” Remembrance book, says angry historian

Sir Andrew Motion has been accused of “shameless burglary” by a military 
historian whose research he lifted and put into a poem about shell-shock for 
Remembrance Sunday.
The former Poet Laureate yesterday insisted that his use of quotations that he 
discovered in a history book belonged to a noble tradition of “found poetry” 
dating back to Shakespeare.
But Ben Shephard, an expert who produced The World at War for television, 
complained that the poet had been “extracting sexy soundbites” from his 
painstaking work on military psychiatry.
Motion’s poem, published as a tribute to war veterans in The Guardian on 
Saturday, uses quotations from soldiers and psychiatrists whose accounts 
Shephard spent ten years compiling. “He has no right to claim any sort of legal 
or moral ownership of the material,” Shephard said. “There is nothing original 
in this at all.”
Motion described his poem An Equal Voice as a stitching together of voices of 
shell-shocked people, from a variety of sources, into “a poem by them, 
orchestrated by me”.
But Shephard said: “What Motion actually stitched together were 17 passages from 
my book A War of Nerves: the ‘voices from a variety of sources’ were not ‘found’ 
by Motion, but by myself. Of the poem’s eight stanzas, five consist entirely of 
material from A War of Nerves, very slightly rejigged; in the remaining three 
stanzas, extracts from the book sit alongside reworked passages from Siegfried 
Sassoon — the only other source used. Of the 152 lines in An Equal Voice, all 
but 16 are taken directly from A War of Nerves. There is a word for this. It 
begins with ‘p’ and it isn’t poetry.
“There is a further issue. My work can be lazily ripped off like this, without 
any recompense — what did The Guardian pay Motion for copying out my research? 
Yet every time I quote a line of poetry in a book, I have to pay. As most of the 
words here are not Andrew Motion’s — the entire first stanza, for example, is 
taken almost unaltered from a letter written by the American psychiatrist Thomas 
W. Salmon in 1917; I could list the generals, psychiatrists and soldiers whose 
words provide the rest of the poem — it would be obscene if Motion’s estate 
claimed copyright on this material. If a poet’s words are not his own, why 
should anyone pay to use them?
“And the poem itself? In War of Nerves I warned that it would be all too easy, 
given the nature of the subject matter, to take material out of context and 
‘pull together a collage of horror and pathos’. Andrew Motion has now done 
exactly that.”
Shephard claimed that one soldier’s reference to his “wife and kiddies” was “not 
middle-class enough for Motion”, so the poet had bowdlerised it into “wife and 
children”.
Motion, the son of a lieutenant-colonel who served in the Second World War, was 
in defiant mood. “He doesn’t get it, does he?”, the poet said of Shephard. “This 
is ridiculous. He has got completely the wrong end of the stick. To blow off 
about it like he has done completely misunderstands what found poetry is. It has 
a long pedigree, which he seems not to be aware of.”
This long and honourable tradition, the poet explained, involved quoting or 
rearranging existing texts to alter their emphasis. He cited Ruth Padel’s book 
based on the writings of her great-great-grandfather Charles Darwin, work by 
James Fenton and Anthony Thwaite’s dramatic monologues in Victorian Voices.
Shakespeare’s Antony and Cleopatra borrowed whole passages from Sir Thomas 
North’s Life of Mark Antony he said, including the description of her barge: 
“The poop was beaten gold; purple the sails . . .”
Motion makes clear in the introduction to his Remembrance poem that its title An 
Equal Voice is a direct quotation from Shephard and refers to his history book 
by name. “It is the case that it does give a bit more publicity for his book 
which has been out for eight years,” Motion said. “It’s not for me to say 
whether he should be grateful for that.
“I have done absolutely nothing that is underhand. As far as getting paid for 
it, it was always my intention to give whatever The Guardian have paid me to the 
organisation that exists to benefit people who have got shellshock. I haven’t 
said that, because it would have looked as if I am trotting about trying to find 
a halo.”
As for changing “kiddies” to “children”, Motion said that this was done to keep 
a consistent tone throughout the poem and avoid sentimentality.

Perhaps it amounts to nothing more than a literary misunderstanding: the 
historian examined the poem like a work of history and the poet read the history 
book as if it were a poem. [log in to unmask]



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