2. In his seminal work “The Anxiety of Influence,” literary critic Harold Bloom proposes a bold theory about the relationship between poets and their predecessors. Bloom argues that all poets are engaged in a struggle against the towering influence of the great poets who came before them. This struggle, which Bloom terms “poetic misprision,” is a necessary part of the creative process, as each new generation of poets must find a way to break free from the dominant modes and styles of their forebears in order to create something truly original.
Bloom’s theory is rooted in a Freudian conception of the artist as a figure in constant tension with the “father” figure of the precursor poet. The young poet, in Bloom’s view, is always haunted by a sense of belatedness, a fear that everything worth saying has already been said by the great poets of the past. To overcome this anxiety, the poet must engage in a kind of creative misreading of the precursor’s work, willfully distorting or misinterpreting it in order to create a space for his or her own imaginative vision.
This process of poetic misprision, Bloom suggests, is not a smooth or linear one, but rather a series of six “revisionary ratios,” each of which represents a different stage in the poet’s struggle for originality. These stages range from the initial “clinamen,” or poetic misreading, to the final “apophrades,” or return of the dead, in which the new poet’s work is so original that it seems to have influenced the precursor’s work retroactively. By outlining this complex process of influence and revision, Bloom offers a powerful new way of understanding the creative process and the ways in which literature evolves over time.
Based on the passage, which of the following can be reasonably inferred about Bloom’s “revisionary ratios”?
Incorrect. Consider what the passage implies about the structure and purpose of these stages.
Correct! This inference is supported by the passage’s description of the revisionary ratios.
The passage describes the revisionary ratios as stages in a poet’s struggle for originality, ranging from initial misreading to final achievement of originality. This implies they represent a developmental process toward poetic independence.