Clinamen (/klaɪˈneɪmən/; plural clinamina, derived from clinare, to incline) is the unpredictable swerve of atoms in the atomistic doctrine of Epicurus. This swerving, according to Lucretius, provides the "free will which living things throughout the world have". Lucretius never gives the primary cause of the deflections.
According to Lucretius, the unpredictable swerve occurs "at no fixed place or time":
Epicurus (/ˌɛpɪˈkjʊərəs/, EH-pih-KURE-əs; Ancient Greek: Ἐπίκουρος Epikouros; 341–270 BC) was an ancient Greek philosopher who founded Epicureanism, a highly influential school of philosophy; it asserted that philosophy's purpose is to attain as well as to help others attain tranquil lives, characterized by freedom from fear and the absence of pain.
Epicurus advocated that people were best able to pursue philosophy by living a self-sufficient life surrounded by friends; he and his followers were known for eating simple meals and discussing a wide range of philosophical subjects at "The Garden", the school he established in Athens. Epicurus taught that although the gods exist, they have no involvement in human affairs. Like the earlier philosopher Democritus, Epicurus claimed that all occurrences in the natural world are ultimately the result of tiny, invisible particles known as atoms moving and interacting in empty space, though Epicurus also deviated from Democritus by proposing the idea of atomic "swerve", which holds that atoms may deviate from their expected course, thus permitting humans to possess free will in an otherwise deterministic universe.
The Anxiety of Influence: A Theory of Poetry is a 1973 book by Harold Bloom on the anxiety of influence in writing poetry. It was the first in a series of books that advanced a new "revisionary" or antithetical approach to literary criticism. Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintain with precursor poets. While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is in danger of being derivative of existing poetry, and, therefore, weak. Because poets historically emphasize an original poetic vision in order to guarantee their survival into posterity, the influence of precursor poets inspires a sense of anxiety in living poets. Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence. Such an agon (a vain attempt by a writer to resolve the conflict between his ideas and those of a much more influential predecessor), Bloom argues, depends on six revisionary ratios, which reflect Freudian and quasi-Freudian defense mechanisms, as well as the tropes of classical rhetoric.
Before writing this book, Bloom spent a decade studying the Romantic poets of the early nineteenth century. This is reflected in the emphasis given to those poets and their struggle with the influence of John Milton, Robert Burns, and Edmund Spenser. Other poets analyzed range from Lucretius and Dante to Walt Whitman, Wallace Stevens, and John Ashbery. In The Anxiety of Influence and other early books, Bloom claimed that influence was particularly important for post-enlightenment poets. Conversely, he suggested that influence might have been less of a problem for such poets as Shakespeare and Ben Jonson. Bloom later changed his mind, and the most recent editions of The Anxiety of Influence include a preface claiming that Shakespeare was troubled early in his career by the influence of Christopher Marlowe. The book itself is divided into six major categories, called "six revisionary ratios" by Bloom. They are clinamen, tessera, kenosis, daemonization, askesis, and apophrades.