Introduction: “Poetry, Revisionism, And Repression” by Harold Bloom
“Poetry, Revisionism, and Repression” by Harold Bloom, first published in 1973 as a standalone work, stands as a cornerstone of contemporary literary theory. Bloom’s provocative exploration of the psychological dynamics of poetic influence introduced the concept of the “anxiety of influence,” arguing that poets inevitably grapple with the shadow of their predecessors. This seminal work challenged traditional notions of literary history and originality, redefining the creative process as a complex interplay of affirmation and subversion. Bloom’s psychoanalytic lens, combined with his deep engagement with canonical poets, has generated both fervent admiration and critical scrutiny, solidifying his position as a highly influential and controversial figure in literary studies.
Summary of “Poetry, Revisionism, And Repression” by Harold Bloom
| Concept/Device | Explanation |
| Anxiety of Influence | The psychological struggle of a poet to establish their own identity and originality in relation to their poetic predecessors. |
| Revisionism | The process of reworking or reinterpreting previous poetic traditions to create new and original works. |
| Repression | A psychological defense mechanism that involves excluding painful or unacceptable thoughts and impulses from consciousness, which Bloom applies to the poet’s relationship with precursors. |
| Intertextuality | The concept that texts are interconnected and influence each other, shaping their meaning. |
| Misprision | A creative misreading or misunderstanding of a precursor’s work, leading to the creation of a new poetic interpretation. |
| Sublime | A quality of greatness or vastness that transcends ordinary human experience, often associated with poetic inspiration. |
| Counter-Sublime | A concept introduced by Bloom to describe the poet’s struggle against the overwhelming power of the Sublime, through the use of repression and revision. |
| Poetic Strength | The ability of a poet to overcome the influence of precursors and create a unique and powerful poetic voice. |
Literary Terms/Concepts in “Poetry, Revisionism, And Repression” by Harold Bloom
- Central Inquiry into the Text and Psyche: Bloom initiates the discussion by positing a fundamental question about the relationship between the psyche and textual representations, inspired by Jacques Derrida’s inquiries. He asks, “What is a psyche, and what must a text be if it can be represented by a psyche?” suggesting a mutual representational relationship between psyche and text, exploring the meanings of ‘psyche’, ‘text’, and ‘represented’【Quote】.
- Etymological Foundations: Bloom delves into the origins of the terms ‘psyche’, ‘text’, and ‘represent’, linking them to ancient meanings related to breath, weaving, and being, respectively. He rephrases his question to: “What is a breath, and what must a weaving or a fabrication be so as to come into being again as a breath?” This highlights the existential and creative processes involved in poetry and representation【Quote】.
- Poetry as a Representation of Psyche: In the context of post-Enlightenment poetry, Bloom argues that a poem functions as a representation of individual stance and word, effectively a “breath”. The text of the poem acts as a rhetorical device, facilitating this representational process through a system of tropes, where the only intention of rhetoric is more rhetoric【Quote】.
- Poetic and Rhetorical Strength: Bloom explores the concept of the ‘strong poet’, who perceives reality and tradition as texts open to unique interpretations. This stance, influenced by Nietzsche, suggests that strong poets are driven more by pleasure derived from their beliefs in their truths than by the truths themselves. This confronts the ‘commonsensical’ notion of poems having ascertainable meanings independent of other texts【Quote】.
- Inter-textuality and Literary Dependence: Emphasizing the inter-dependence of texts, Bloom states that every poem is essentially an ‘inter-poem’ that relies on a dense network of literary language, challenging the notion of poems as isolated entities with distinct meanings. He argues that poetic strength and authenticity come from this interconnectedness and the ongoing revision of prior texts【Quote】.
- Vico’s Influence and Poetic Origins: Bloom credits Vico with the insight that poetic language is always a revision of prior language, asserting that all poets are belated and their creativity involves a process of ‘retroactive meaningfulness’. He discusses the poet’s necessary repression of precursor influences to create something new, which aligns with Vico’s views on poetic and rhetorical origins as defensive mechanisms【Quote】.
- The Role of Repression in Poetic Creation: Contrary to Freudian perspectives that see good poems as sublimations, Bloom argues that stronger poems manifest through their counterintended effects that continuously contest their overt intentions. He emphasizes the role of imagination in poetic creation, viewing it as a faculty of self-preservation rather than a Freudian unconscious mechanism【Quote】.
- Poetic Process as Defensive Mechanism: Finally, Bloom characterizes poems not as static texts but as dynamic defensive processes that engage in constant reinterpretation and revision. Each poem is seen as an act of reading itself, engaged in a dialogic process with its precursors and successors. This process involves a ‘dance of substitutions’, where each representation is continuously challenged and reconstituted, highlighting the perpetual interpretative nature of poetry【Quote】.
Contribution of “Poetry, Revisionism, And Repression” by Harold Bloom to Literary Theory/Theories
| Literary Theory | Contribution |
| Freudian Psychoanalysis | Bloom applies psychoanalytic concepts like repression and the anxiety of influence to understand the poet’s relationship with their predecessors. |
| Intertextuality | Bloom emphasizes the concept of intertextuality, arguing that poems are always in dialogue with prior poems and literary traditions. |
| Romanticism | Bloom challenges the Romantic notion of the poet as a solitary genius and instead emphasizes the poet’s struggle with and reworking of past influences. |
Examples of Critiques Through “Poetry, Revisionism, And Repression” by Harold Bloom
1. “Paradise Lost” by John Milton
- Revisionism and Inter-textuality: Milton’s “Paradise Lost” can be seen as a profound revision of biblical texts and classical epic traditions. Bloom might argue that Milton represses the literal religious narratives to craft a sublime poetic universe, where Satan becomes a complex figure rather than a mere emblem of evil. This represents a ‘strong misreading’ or creative reinterpretation, where Milton imposes his visionary stance, making the text a battleground of divine and human perspectives.
- Poetic Strength and Defense: Bloom would likely admire how Milton’s narrative technique and the characterization of Satan embody a defensive mechanism against the tyranny of pre-existing interpretations of scripture and epic. The poem’s grand style and elaborate structure function as a defense against simplification and a reassertion of poetic autonomy.
2. “The Waste Land” by T.S. Eliot
- Psyche as Text: Eliot’s poem could be interpreted through Bloom’s lens as a psychic battlefield, where fragmented texts and multiple voices represent the modern psyche’s struggle with meaning and identity. Bloom would emphasize the poem’s nature as a revision of past texts and myths, reconfiguring them to represent the disillusionment of the post-World War I generation.
- Defensive Tropes: The use of varied cultural, literary, and religious references in “The Waste Land” can be seen as defensive tropes that protect the poem from being pinned down to a single, coherent meaning, thus showcasing the ‘defense against anteriority’ that Bloom describes.
3. “Beloved” by Toni Morrison
- Revisionism and Historical Voice: Morrison’s novel revisits the traumatic history of slavery through the ghostly figure of Beloved, repressing and then revisiting historical texts and personal memories. Bloom would likely see this as a powerful act of poetic imagination, where the narrative represses certain horrors only to reveal deeper emotional and psychological truths about its characters.
- Sublime and Counter-Sublime: In the figure of Sethe, Bloom might identify a struggle akin to the poetic Sublime, where the intense personal and historical repression results in a narrative of haunting power. Morrison’s style—mythic, dense, and lyrical—could be viewed as a counter-Sublime effort that challenges traditional narratives about race, memory, and identity.
4. “The Love Song of J. Alfred Prufrock” by T.S. Eliot
- Inter-textuality and the Psyche: Bloom would analyze Prufrock’s narrative as a deep psychological exploration where the character’s indecisiveness and self-doubt reflect the modern psyche’s paralysis. The poem’s allusions to literary and cultural texts (like Dante’s “Inferno”) act as defensive layers that both reveal and conceal the psyche’s vulnerabilities.
- Rhetoric and Poetic Strength: Eliot’s use of rhetorical questions and fragmented poetic structure in “Prufrock” could be seen as techniques that enforce the poem’s argument about modern alienation and despair. Bloom might argue that these rhetorical strategies represent the poem’s attempt to ‘second’ or reinforce its thematic concerns through the manipulation of poetic form and language.
Criticism Against “Poetry, Revisionism, And Repression” by Harold Bloom
- Overemphasis on Male Poets and Western Canon
- Bloom’s work prioritizes male poets and the Western literary tradition, neglecting the rich contributions of female and marginalized voices. This limited scope excludes diverse poetic traditions and perspectives, hindering a more comprehensive understanding of literary history.
- Psychoanalytic Overdetermination
- Bloom’s excessive reliance on psychoanalytic concepts like repression can oversimplify complex literary phenomena. This focus potentially neglects other critical perspectives and methodologies that can offer valuable insights into poetic creation and interpretation.
- Essentialism of Poetic Genius
- Bloom’s work reinforces the myth of the solitary, male poetic genius. This view ignores the collaborative and communal aspects of poetry creation, as well as the influence of social and cultural factors on the development of poetic voices.
- Neglect of Contextual Factors
- Bloom’s overemphasis on the individual poet can downplay the impact of historical, social, and cultural contexts on poetic creation. A more nuanced understanding acknowledges how power structures, ideologies, and broader historical forces shape the production and reception of poetry.
- Reductionist View of Influence
- Bloom’s concept of the anxiety of influence can oversimplify the complex relationship between poets and their predecessors. It can reduce influence to a power struggle, neglecting the possibility of mutual influence, inspiration, and collaborative dialogue across generations.
Suggested Readings: “Poetry, Revisionism, And Repression” by Harold Bloom
- Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. Oxford University Press, 1973.
- de Man, Paul. “The Resistance to Theory.” Yale French Studies, no. 63, 1982, pp. 3-20.
- Fite, David. Harold Bloom: The Rhetoric of Romantic Vision. University of Massachusetts Press, 1985.
- Gallop, Jane. “The Historicization of Literary Studies and the Fate of Psychoanalysis.” PMLA, vol. 102, no. 3, 1987, pp. 307-319.
- Hamilton, Paul. Metaromanticism: Aesthetics, Literature, Theory. University of Chicago Press, 2003.
- Moi, Toril. “Appropriating Bourdieu: Feminist Theory and Pierre Bourdieu’s Sociology of Culture.” New Literary History, vol. 22, no. 4, 1991, pp. 1017-1049.
- Vendler, Helen. Poets Thinking: Pope, Whitman, Dickinson, Yeats. Harvard University Press, 2004.
Representative Quotations from “Poetry, Revisionism, And Repression” by Harold Bloom with Explanation
| Quotation | Explanation |
| “What is a text, and what must the psyche be if it can be represented by a text?” | Bloom introduces the central theme of his essay, reflecting on the intricate relationship between text and psyche, suggesting that understanding one can lead to insights about the other. |
| “Psyche’ is ultimately from the Indo-European root bhes, meaning ‘to breathe’, and possibly was imitative in its origins.” | This etymological exploration helps Bloom delve into the inherent liveliness of the psyche, likening it to breath—an essential life force, suggesting that texts may also embody such vital characteristics. |
| “A breath is at once a word, and a stance for uttering that word, a word and a stance of one’s own.” | Here, Bloom aligns the act of breathing (and thus living) with the creation and expression of poetry, emphasizing poetry as an extension of the self. |
| “Rhetoric can be seconded only by rhetoric, for all that rhetoric can intend is more rhetoric.” | Bloom critiques the nature of rhetoric in poetry, suggesting that it perpetuates itself and that poetic expression is fundamentally intertextual, reliant on previous texts. |
| “The strong word and stance issue only from a strict will, a will that dares the error of reading all of reality as a text…” | Bloom discusses the ‘strong poet’s’ audacious approach to interpreting reality as text, reflecting a desire to create meaning where there may be none. |
| “A poetic ‘text’, as I interpret it, is not a gathering of signs on a page, but is a psychic battlefield…” | This metaphor emphasizes the conflict and struggle within poetry, viewing poems as arenas where various interpretations and meanings clash. |
| “Every poet is belated, that every poem is an instance of what Freud called Nachträglichkeit or ‘retroactive meaningfulness’.” | Bloom explores the idea that all poets work in the shadow of their predecessors, each text being a reaction to what came before, reinterpreting past ideas and forms. |
| “A strong poem does not formulate poetic facts any more than strong reading or criticism formulates them…” | He argues that poetry doesn’t convey fixed truths but rather engages readers in an ongoing dialogue that reshapes their understanding continuously. |
| “Poetic strength ensues when such lying persuades the reader that his own origin has been reimagined by the poem.” | Bloom views the deception in poetry as a strength if it can deeply affect the reader’s perception of their own identity and reality. |
| “Poems are not psyches, nor things, nor are they renewable archetypes in a verbal universe, nor are they architectonic units of balanced stresses. They are defensive processes in constant change…” | This highlights the dynamic, ever-evolving nature of poems, which are not static but are constantly interpreted and reinterpreted through reading and critical engagement. |