The Anxiety of Influence

"The Anxiety of Influence: A Theory of Poetry" (ISBN 0-19-511221-0) is a book by Harold Bloom, published in 1973. It was the first in a series of books that advanced a new "revisionary" or antithetical [ [http://prelectur.stanford.edu/lecturers/bloom/excerpts/anxiety.html#anticrit antithetical] Presidential Lectures: Harold Bloom: Excerpts] approach to literary criticism.

Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintained with precursor poets. While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is derivative of existing poetry, and, therefore, weak. Because a poet must forge an original poetic vision in order to guarantee his survival into posterity (i.e., to guarantee that future readers will not allow him to be forgotten), the influence of precursor poets inspires a sense of anxiety in living poets.

Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence. Such an agon, he asserts, depends on six revisionary ratios [ [http://prelectur.stanford.edu/lecturers/bloom/excerpts/anxiety.html#ratios revisionary ratios] Presidential Lectures: Harold Bloom: Excerpts] , which reflect Freudian defense mechanisms and the tropes of classical rhetoric. Later books, especially "Kabbalah and Criticism" and "A Map of Misreading" connect each ratio to the Kabbalah.

Prior to writing this book, Bloom spent a decade studying the Romantic poets of the early nineteenth century. This is reflected in the emphasis given to those poets and their struggle with the influence of John Milton. Other poets analyzed range from Lucretius and Dante to Walt Whitman, Wallace Stevens, and John Ashbery.

In "The Anxiety of Influence" and other early books, Bloom claimed that influence was particularly important for post-enlightenment poets. Conversely, he suggested that influence was not as much of a problem for such poets as Shakespeare and Ben Jonson. He since has changed his mind, and the most recent editions of "The Anxiety of Influence" include a preface claiming that Shakespeare was troubled early in his career by the influence of Christopher Marlowe.

References