In September 2005, I wrote to Dilip Chitre:
"I recently came across "The Anxiety of Influence: A Theory of Poetry" by Harold Bloom which you may well know about.
In this Bloom has likened the modern poet to Satan in Milton's 'Paradise Lost'.
Just as Satan fought to assert his individuality by defying the perfection of God, so must the modern poet engage in an Oedipal struggle to define himself in relation to Shakespeare, Dante and other masters.
The effort is ultimately futile because no poet can hope to approach, let alone surpass, the perfection of such forebears. Modern poets are all essentially tragic figures, latecomers.
Bloom's "strong poets" accept the perfection of their predecessors and yet strive to transcend it through various subterfuges, including a subtle misreading of the predecessors' work; only by so doing can modern poets break free of the stultifying influence of the past.
...I realized how well you have explained this in relation to Marathi literature. Surely Keshvsut, Balkavi are probably not even "latecomers" vis-a-vis Tukaram and Dnyaneshwar. And we struggle to define even Mardhekar and Kolatkar - "latecomers" or not even that?..."
Chitre replied:
"Several years ago (1970), I wrote a monograph on Milton for a Gujarati series of books---Parichay Pustakavali.
I interpreted Milton's epic there in relation with Milton's sympathy and support for Oliver Cromwell, suggesting him that Milton's Satan was a puritan republican rising against the very idea of monarchy.
Your letter reminded me of that.
Thank you for your generous words for my introduction to Punha Tukaram..."