Walter Jackson Bate
《英國詩人》一書並沒有將這個問題渲染得聳人聽聞；它所承載的負擔不僅是一種令人疲憊的重擔，也是一種歌唱的解放，一種抒情的負擔；但這本書的重要意義在於，它揭示了作家前輩們施加的種種壓力——有時是令人束手無策的，有時則是激勵人心的力量。
評論家也會聽到這樣的問題；哈羅德·布魯姆很快便開始自問，在「還有什麼可做的」這個問題上，究竟還有什麼可做的。三年前，布魯姆在《影響的焦慮》“The Anxiety of Influence,” 一書中，以佛洛伊德式的視角擴展了貝特的論點，將詩人對前輩的焦慮與我們對父母的焦慮聯繫起來。詩歌應被解讀為一種抵禦詩歌父母或前輩影響的心理防禦機制；影響的焦慮不僅是詩歌的驅動力，更是大多數（甚至所有？）詩歌的主題；詩人與“前輩們既愛又怕的詩篇”作鬥爭，以求獲得那種“彷彿自己是自己父親的養父”的詩歌不朽。布魯姆的另外三本著作——《誤讀地圖》、《卡巴拉與批評》以及現在的《詩歌與壓抑》——都秉持著同樣的想法。 “詩歌的真正主題是它的壓抑。” “A Map of Misreading,” “Kabbalah and Criticism” and now “Poetry and Repression.” “A poem's true subject is Its repression
He is running out of prizefights. Blake vs. Ezekiel; Wordsworth vs. Milton; Shelley vs. Milton; Keats vs. Milton (the Muhammad All of It all); Tennyson vs. Keats; Browning vs. Shelley; Yeats vs. A. N. Other. too many of these squarings are return‐fights demanded by Bloom's
他快沒比賽可打了。布萊克對以西結；華茲華斯對彌爾頓；雪萊對彌爾頓；濟慈對彌爾頓（穆罕默德·阿特爾）；丁尼生對濟慈；勃朗寧對雪萊；葉芝對其他某某。太多這樣的對決都是布魯姆要求的複賽。
//「在詩歌詮釋的脈絡下，佛洛伊德不過是另一位強大的詩人，儘管他是現代詩人中最強大的，甚至比叔本華、愛默生、尼采、馬克思和勃朗寧還要強大；遠勝於瓦萊裡、裡爾克、葉芝和史蒂文斯。」憑藉著如此強大的力量，《誤讀地圖》的作者展現出查爾斯·阿特拉斯式的雄辯。
布魯姆為何覺得自己必須如此強勢？部分原因在於蕭伯納所理解的那種處境——一位受過大學訓練的作家覺得自己和他的作品在某種程度上不如其他男人及其作品那樣充滿男子氣概，正如蕭伯納所說，他們沉溺於「表達的暴力和力量之中，就像只有文學家在被孤獨的工作、久坐的懦弱和同情心的匱乏徹底腐蝕之後才會做的那樣。艾略特因其關於傳統如何影響個人才能的「良性」理論而受到讚賞，但布魯姆對生死搏斗式的惡意影響的堅定偏好當然是一種感傷主義，並且是嫉妒的伴隨物，而這種嫉妒正是批評家想要實踐的，並且一旦沒有偉大的詩人活著來約束他較小、更不重要的創造力，他就會鼓起勇氣去實踐。// NYT
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哈羅德·布魯姆的《詩歌與壓抑：從布萊克到史蒂文斯的修正主義》（1976）第2章《布萊克和修正主義》：
兩首抒情詩現在肯定需要什樣得誤讀：《倫敦》是相關先知《以西結》的修正主義文本。《老虎》是相關《約伯記》以及《失樂園》的修正主義文本。
AI Overview
哈羅德·布魯姆的《詩歌與壓抑：從布萊克到史蒂文斯的修正主義》（1976）是一部開創性的文學批評著作，它論證了詩歌是對前人詩人影響的反抗，詩歌的真正主題是其自身的壓抑。布魯姆認為，詩人透過「壓抑」前人來創造原創空間，並將佛洛伊德的理論修正為一種詩的「影響焦慮」。
Poetry and Repression: Revisionism from Blake to Stevens (1976) by Harold Bloom is a seminal work of literary criticism arguing that poetry is a struggle against the influence of precursor poets, where a poem’s true subject is its repression. Bloom argues that poets "repress" predecessors to create original space, revising Freudian theory into a poetic "anxiety of influence".
Internet Archive +3
Key concepts from Harold Bloom's work, which is available in a 1980 edition and for study at the Internet Archive, include:
Internet Archive +2The Anxiety of Influence: A "strong" poet, to achieve originality, must struggle against the "father-figure" poet that came before, resulting in a defensive, revisionary poetic act.
Repression as Poetic Method: Rather than expressing raw emotion, poems repress an earlier, stronger poetic voice, making the poem a "misreading" or "misprision" of its predecessor.
Revisionary Ratios: Bloom analyzes how poets use specific "tropic maneuvers" or rhetorical defenses to repress influence and clear creative space.
Focus Areas: The book features close readings of Romantics and modernists, including Blake, Wordsworth, Shelley, Keats, Tennyson, Browning, Yeats, and Stevens.
Amazon.com +4
Relevance in Literary CriticismAlternative to Formalism: Bloom offers an alternative to the "New Criticism," structuralist, and archetypal approaches of his time.
Defense of the Canon: He often defended the Western canon, critiquing what he termed the "School of Resentment," as discussed in critical reviews of his work.
Influence Study: It represents the culmination of his early work on poetic influence, bridging psychoanalysis with literary history.
Amazon.com +4
A review and analysis of the book is available via Duke University Press.
Duke University Press +1
| Previous | 以西結/厄則克耳Ezekiel, also spelled Ezechiel, was an Israelite priest. :Chapter 9 | Next |
| 1以後我聽見他高聲喊說：「懲罰此城的，快來！每人手中應拿着毀滅的工具。」 |
| 2看，有六個人從上邊朝北的門走來，每人拿着破壞的武器。他們中間有一個人身穿細麻衣，腰間帶着書記的墨盒。他們來到，就站在銅祭壇旁。 |
| 3那停在革魯賓上的以色列的天主光榮，就由革魯賓身上升起，來到聖殿的門限上，叫將那身穿細麻衣，腰間帶着墨盒的人召來。 |
| 4上主對他說：「你要走遍此城，即走遍耶路撒冷，凡因城中發生的醜惡之事而悲痛哀號的人，要在他們額上劃一個十字記號。」 |
| 5以後我聽見他向其餘的人說：「你們也跟着他走遍全城擊殺，你們的眼不要憐視，一點也不要顧惜； |
| 6把老人、少年、處女、嬰兒和婦女都要殺盡滅絕；但凡額上有十字記號的人，不可走近。你們從聖所這裏開始。」果然他們就從在聖殿前的長老開始。 |
| 7以後又向他們說：「你們要玷污這聖殿，使被殺者充塞整個庭院，然後出去！」他們就出去，在城中擊殺。 |
| 8他們去擊殺時，只留下我一人。我就伏地掩面呼求說：「哎！吾主上主，你在耶路撒冷發洩你的憤怒，要滅絕以色列的遺民嗎？」 |
| 9他回答我說：「以色列和猶大的家族，實在罪大惡極；此地充滿了血債，滿城都是暴行，他們還說：上主已離棄了此地，上主看不見。 |
| 10因此，我的眼也決不憐視，一點也不顧惜；反而我要把他們的行為，歸在他們頭上。」 |
| 11看啊，那身穿細麻衣，腰間帶着墨盒的人，回來報告說：「我已照你吩咐的做了。」 |
AI Overview
哈羅德·布魯姆的《詩歌與壓抑：從布萊克到史蒂文斯的修正主義》（1976）是一部開創性的文學批評著作，它論證了詩歌是對前人詩人影響的反抗，詩歌的真正主題是其自身的壓抑。布魯姆認為，詩人透過「壓抑」前人來創造原創空間，並將佛洛伊德的理論修正為一種詩的「影響焦慮」。
Poetry and Repression: Revisionism from Blake to Stevens (1976) by Harold Bloom is a seminal work of literary criticism arguing that poetry is a struggle against the influence of precursor poets, where a poem’s true subject is its repression. Bloom argues that poets "repress" predecessors to create original space, revising Freudian theory into a poetic "anxiety of influence".
Internet Archive +3Key concepts from Harold Bloom's work, which is available in a 1980 edition and for study at the Internet Archive, include:
Internet Archive +2The Anxiety of Influence: A "strong" poet, to achieve originality, must struggle against the "father-figure" poet that came before, resulting in a defensive, revisionary poetic act.Repression as Poetic Method: Rather than expressing raw emotion, poems repress an earlier, stronger poetic voice, making the poem a "misreading" or "misprision" of its predecessor.
Revisionary Ratios: Bloom analyzes how poets use specific "tropic maneuvers" or rhetorical defenses to repress influence and clear creative space.
Focus Areas: The book features close readings of Romantics and modernists, including Blake, Wordsworth, Shelley, Keats, Tennyson, Browning, Yeats, and Stevens.
Amazon.com +4Relevance in Literary CriticismAlternative to Formalism: Bloom offers an alternative to the "New Criticism," structuralist, and archetypal approaches of his time.
Defense of the Canon: He often defended the Western canon, critiquing what he termed the "School of Resentment," as discussed in critical reviews of his work.
Influence Study: It represents the culmination of his early work on poetic influence, bridging psychoanalysis with literary history.
Amazon.com +4A review and analysis of the book is available via Duke University Press.
Duke University Press +1
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