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       “误读”作为一种理论英语论文首次提出的理论体系。哈罗德可以被认为“误读”的第一个以及最热情的理论者.在1973出版的影响，哈罗德提出了“诗的影响”的理论，也叫“诗学误读”，它被说成是“特里伊格尔顿在20世纪70年代的“最有创意的理论。（伊格尔顿，1983：186）诗学误读现在已经发展成为一个理论体系，而是关于文化一个纯文本误读理论的误读。

       “Misreading” as a theory was first brought forward in the Post-construction theoretical system. Harold Bloom can be thought as the first and the most enthusiastic advocator of “Misreading”. In Anxiety of Influence published in 1973, Harold Bloom put forward the theory of “Poetic Influence”, also called “Poetic Misprision”, which was said to be “the most creative theory in the 1970s” by Terry Eagleton.( Eagleton, 1983: 186) Poetic Misprision now has developed into a theoretical system concerning cultural misreading instead of a theory purely about text misreading.

       诗学误读的主要原则是其“修正比”。布卢姆说诗是误读的结果，因此诗学的历史充满了误读。他说，诗歌的影响——当它涉及到两个房，强者诗人——总是通过后者的误读的前进行。（开花，1989：31）他认为作家的人会被他的前驱作家和诗歌的影响。影响他是什么，就像佛洛伊德说的，他脑中熟悉和自交系。正是这种影响，使作家感到焦虑，那么他的父亲故意误读，从而建立了自己的诗学地位。应特别注意，“诗人”与“诗史”盛开在这里指的是各种文学发展历史的作家而不是诗歌的特殊的诗体的作家和发展历史。

       The main principle of Poetic Misprision is its “Revisionary Ratios”.Bloom declares poem is the result of misreading, thus the history of poetics is full of misreading. He says, Poetic influence--when it concerns two real, strong poets--is always conducted through the latter’s misreading of the former.(Bloom, 1989: 31) He thinks anyone of the writers will be influenced by his precursor writer and poem. The influence added on him is something, like Freud said, familiar and inbred in his brain. It is this influence that makes the writer feel anxious and then misread his fathers deliberately, thus to establish his own poetic status. Particular attention should be paid that “poet” and “poetic history” Bloom means here refer to all kinds of writers in literature and its development history instead of the special verse-writer and the development history of poems.

       布鲁姆总结6修正比：克里纳门，镶嵌物，排泄物，damennization，asksesis和•pophrades通过后者诗人误读了他的前体。没有任何6个修正比假定极限，中心取向的解释，和他们自己的隐喻，转喻，提喻，换置修辞，修辞反讽、夸张。（胡坪，1999：21-24）因此布鲁姆说各种各样的读数是误读。所谓的准确把握，他否认，只有创造性误读的存在，和每一个行为的误读，紧随其后的是另一个误读。

       Bloom sums up 6 revisionary ratios: Clinamen, Tessera, Kenosis, Damennization, Asksesis and A•pophrades through which the latter poet misread his precursor. Not any of the 6 revisionary ratios presupposes ultimate, center-oriented interpretation, and they present themselves as metaphor, hypallage, synecdoche, metonymy, irony and hyperbole in rhetoric. (Hu Baoping, 1999: 21-24) Therefore Bloom declares all kinds of readings are misreading. The so-called accurate understanding is denied by him, only creative misreading existed, and every single act of misreading is followed by another misreading.
        In Bloom’s opinion, any poem is the result of the misreading of its precursor poem. There is something common between Harold Bloom’s Poetic Misprision and Deconstruction, i.e., both of them take reading as a process of différance in which the meaning of literal texts comes into being and disappears ceaselessly because of the perpetual exchanging, spreading and différance of the signifiers. Therefore, the indeterminacy of text meaning leads to misreading.
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