NP..."Like a patient etherized upon a table".....

[barbie gaze]

But no serious critic has ever imagined that great works of literature
“spring into the world fully formed.” From Ancient Greece to the
Renaissance to the neo-classicism of the 18th century, it was universally
assumed that literary artists, like painters and composers, develop their
voices through dialogue with their predecessors, blending imitation with
variation, so carving a space for themselves in the canon. The most
magisterial account of the process remains TS Eliot’s *Tradition and the
Individual Talent* (1919). Bloom’s book was little more than a Freudian
extrapolation of Eliot’s brief essay, with some Kabbalistic and Talmudic
terms thrown in for effect and in order to displace Eliot’s brand of high
Anglophile Christianity with Bloom’s own New York Yiddish inheritance.

Prospect, Jonathan Bate   25th May 2011  —  Issue 183
http://www.prospectmagazine.co.uk/tag/harold-bloom/



On Wed, Feb 1, 2012 at 4:40 PM, barbie gaze <barbiegaze at gmail.com> wrote:

>
>  I don't mean to be too hard on Mr. Rosen because of some silly quote,
>> whether he belongs in such a camp is not for me to say.
>>
>
> And, who cares. One could structure a course on Romanticism and its
> critics around two works, one by Eliot and one by Bloom. Take Tradition and
> the Individual Talent and compare & contrast it with The Axiety of
> Influence and you have a very good start for a course of study. You could
> address the men, the authors, their biographies and contexts--including the
> influence of anti-Semitism on each.
>
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