This paper grasped the author’s concept while opening up the history of British copyright law. In the UK, the rights of printing and publishing have evolved from the guild monopoly status of the printing and book publishers to the proprietary rights of that business and author. It was John Locke’s idea to sustain the development. Although Edward’s Romanistic ideas occur in England, they do not have their roots in England. Also, Count Mansfield’s Romanist ideas were not handed down to backward judges. In the end, it can be said that British copyright law has grown, excluding Romanistic ideas, encompassing aspects of the business owner’s property rights and the ideological impact of labor value theory. In the first part of this paper, we recount the events leading to the making of the Copyright Act. In the second part, we examine the various features of this Act in the light of contemporary law and economic knowledge to show how they had the combined effect of limiting the monopolistic effect of a copyright. The pressure on harmony in the 20th century eventually forced us to accept systematic contradictions under the British Copyright Act. In other words, copyright as incompatible property rights, and Romanistic copyrights, have become institutionally mixed, and the British Copyright Act does not originally have an institutional framework to cover both rights. There is also emphasis on the factors of labor, technology, or judgment, as mentioned in the preliminary paragraph, as well as the requirements for creativity In response, this requirement for data base works introduced under the EU Directive is an element of intellectual creativity. Discussions about the nature of authors also affect the theory of requirements for creativity. I think it is quite interesting to see whether the British Copyright Act will maintain duality regarding the requirements of creativity, or go in the direction of unifying, and it also suggests a lot in the discussion about the concept of authors in Korea.