Six "correction ratios": One is "Clinamen", which is a misreading or intentional misreading of the real poem. Crinamen borrowed the term from Lucretius, which originally refers to the deflection of atoms, and metaphorically refers to a poet who deflects the precursor and corrects the direction of movement.
The second is "Tessera", which is the continuation and duality. Tessela is taken from ancient mysterious sacrificial rituals, and is a token of identity recognition. It means that the poet retains the words of the predecessor and gives them a unique meaning, as if he has gone further than the predecessor.
The third is "Kenosis", which is to smash the movement that continues the precursor. This word is taken from St. Paul. It originally refers to Christ's self-renunciation of divinity and acceptance of degradation from God to man. It refers to the poet's intention to give up divinity and "ebbing" to a humble state. This decline is related to the precursor, making The sacredness of the precursor is also in a humble position, and as a result the poet gains historical substance instead of leaving it empty.
The fourth is "Daemonization", that is, the "counter-sublime" movement toward personalization, which is a reaction to the "sublime" that preceded it. This word is taken from the term Neoplatonism. It originally refers to a non-divine and non-human intermediate thing that possesses and helps new people. It means that later poets accept the power that is contained in but slightly beyond the predecessor poems, obliterating the uniqueness of the predecessor poems. Sex, completing the demonic movement.
The fifth is "Askesis", which is the self-purification movement to reach a state of loneliness. Different from the humble revision of "Knossis", it is a "reduction" revision, which weakens some poetic talents and alienates the pioneers, so that the poetic talents of the pioneers are also weakened.
The sixth is "A·pophrades", or "the return of the dead". This word is taken from the allusion of the city-state of Athens. It originally refers to the ominous period when the dead return to their former residence every year. It means that the poets of later generations completely open their poems to the poems of their predecessors. It seems that the wheel of history has turned back to its original place, so that the poems of the predecessors can rely on it. The power of later generations' revisions produces a strange effect, that is, the glorious achievements of later generations' poems highlight the characteristics of their predecessors' poems, as if the predecessors' poems were written by later generations of poets. This is what is carried forward and shows new light in the history of poetry.
I wonder if the six types of correction ratios can be simplified and understood as "tampering, advancement, destruction, obliteration, alienation, and renewal"? The first chapter of the book is divided into six chapters, combining literary classics to provide a detailed and expanded explanation of the six revision ratios. With a Nietzschean style that deliberately escapes the influence of popular criticism styles, the practice of poetry criticism itself also shows the theory of "misreading" features. Bloom said that the misreading theory of this book was mainly influenced by Nietzsche and Freud; the influence anxiety touched by contemporary poetry criticism and poetry also stimulated his rebellious power.