International Copyright by James Russell Lowell

It's about literary piracy — specifically the 19th-century American practice of reprinting foreign authors' books without compensating them or obtaining their permission. Lowell argues that no matter the business rationale, this act is still stealing.

It was crafted as an epigram—a form meant to make a sharp point and move on. Lowell was a talented poet who understood that, with a moral argument this clear, being concise packs more punch than a lengthy explanation. The entire case is captured in just four lines.

"Fudge" in this context refers to nonsense or rubbish. Lowell is talking about people who disregard traditional moral standards as outdated and irrelevant — those who say things like "that's an old-fashioned way to look at it" to dodge acknowledging that something is wrong.

Primarily, it was American publishers and the politicians backing them. The publishing industry made a significant profit by reprinting foreign works without paying for them, using strong lobbying tactics to argue that low book prices were beneficial for American readers. Lowell recognized this manipulation.

The Chace Act of 1891 was the first U.S. law to provide copyright protection for foreign authors. This law was a significant win for advocates like Lowell, who had fought for it for years. The poem reflects this advocacy tradition — a moral argument captured in a memorable way.

Not really, even with the mention of the Ten Commandments. Lowell isn't trying to make a theological point. He's using the Commandments as a widely recognized symbol of moral law that stands firm against convenience — and this idea resonates with secular readers too.

The main device here is antanaclasis — repeating the same word in two different grammatical roles. In the phrase "Stealing will continue stealing," "stealing" is used first as a noun (the subject) and then as a verb (the predicate). This creates a satisfying logical loop: the thing is what it is and remains what it is.

Lowell was recognized for his satirical and politically charged poetry, particularly in The Biglow Papers, where he employed dialect verse to critique the Mexican-American War. This poem continues that tradition of using humor and brevity to convey a serious moral message in a way that resonates with many readers.