Manual The Anxiety of Influence: A Theory of Poetry

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  2. Harold Bloom - The Anxiety of Influence. A Theory of Poetry
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Sign in now. Lennard Davis wonders whether activist academics have wrongly prioritised exuberantly bad behaviour over the hard graft of working for real change. Proposed new law not as tough as some feared — but critics argue focus on Dutch ignores benefits of studying in English.

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Harold Bloom - The Anxiety of Influence. A Theory of Poetry

Kathryn M. Rudy considers the huge expenses of doing scholarly work in her field of art history. By Kathryn M. Making political interventions more effective. By Lennard Davis.

How to Read Literature and Why: Short Stories, Poems, Novels and Plays (2000)

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The Anxiety of Influence : A Theory of Poetry, 2nd Edition - cpanel.openpress.alaska.edu

The strangeness added to beauty by the positive apophrades is of that kind whose best expositor was Pater. Any departure from initial narcissism, according to Freud, leads to the development of the ego, or in our terms, every exercise of a revisionary ratio, away from identification, is the process generally called poetic development. Apophrades, when managed by a capable imagination, by the strong poet who has persisted in his strength, becomes not so much a return of the dead as a celebration of the return of the early self-exaltation that first made poetry possible.

The strong poet peers in the mirror of his fallen precursor and behold neither the precursor nor himself but a Gnostic double, the dark otherness or antithesis that both be and the precursor longed to be, yet feared to become.

Out of this deepest evasion, the complex imposture of the positive apophrades constitutes itself, making possible the last phases of Browning, Yeats, Stevens - all of whom triumphed against old age. But this takes us to the central problem of apophrades : is there still an anxiety of style as distinct from [] the anxiety of influence, or are the two anxieties one?

The fear of godhood is pragmatically a fear of poetic strength, for what the ephebe enters upon, when he begins his life cycle as a poety, is in every sense a process of divination. The young poet, Stevens remarked, is a god, but he added that the old poet is a tramp. If godhood consisted only in knowing accurately what is going to happen next, then every contemporary Sludge would be a poet. But what the strong poet truly knows is only that he is going to happen next, that he is going to write a poem in which his radiance will be manifest.


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  • Harold Bloom - The Anxiety of Influence. a Theory of Poetry (2nd. Ed. 1997)?

This is the curious magic of the positive apophrades. We feel, in reading The Witch of Atlas , that Shelley has read too deeply in Yeats, and is doomed never to get the tonal complexities of the Byzantium poems out of his mind. It is important only that we learn to distinguish this phenomenon from its aesthetic opposite, the embarrassment, say, of reading The Scholar Gipsy and Thyrsis , and finding the odes of Keats crowding out poor Arnold.