I myself always want to talk about "poetry," not "the poem."

Both the 18th and the early 20th centuries, however, feature brilliant attacks on originality, and it's no doubt one of the hallmarks of romanticism to care about originality and suppose with a sometimes naive spontaneity that it's all that matters.

I don't think theory adds to criticism. (Methodology does, for better or worse.) Theory's function is to make criticism self-conscious, maybe even a little sheepish, about its ex cathedra pronouncements.

Authors we are in danger of accepting as gospel, whereas founders of discursivity provide permeable ideas that we can elaborate upon in a tradition of constructive dialogue.

I'm not only a romanticist but a romantic myself. I take it for granted the originality matters.

I make a distinction between theory and methodology, the latter being the practical deployment of a premise. Theory on the contrary may well be applied, hence becomes methodology without a hitch, but isn't necessarily practical at all.

I beg my reader to consider the "evidence" I provide for my case and perhaps feel persuaded as a result. Beyond that I make no claim.