Because each new generation of writers is in competition with all others, living or dead, for inclusion in the halls of worldly memory, each artist must develop ways of strategically, even unconsciously, “misreading” the work of the precursor. So T.S. Eliot’s poetry becomes a struggle with Alfred Lord Tennyson and, more covertly, Walt Whitman. Whitman himself is always tussling with Ralph Waldo Emerson and the poetry of the King James Bible. William Wordsworth has to fend off the over-influence of John Milton and Shakespeare to achieve a comparable Romantic success. The young Shakespeare himself engages in a brief agon with his contemporary Christopher Marlowe, before becoming one of the few writers in the Bloomian cosmology to rise out of the field of influence entirely. Shakespeare, according to Bloom’s appraisal, owes nothing to anybody. In fact, all of us now owe most of ourselves to Shakespeare—so much so that any academic or critical attempts to destabilize the Bard’s preeminence only prove how embarrassing the debt has become. As the history of the written word goes on, the burden of influence accumulates, until finally young writers feel such a pang at their own belatedness, they wonder whether they’ll ever be able to add a single thing to their scandalously rich inheritance.
I hope my quick overview has convinced you that coherence is a problem worth solving! If you want to dive deeper, there are tons of great resources online that go into much more detail. I would recommend the rust-orphan-rules repository, which collects all the real-world use cases blocked by the coherence rules. You should also check out Niko Matsakis's blog posts, which cover the many challenges the Rust compiler team has faced trying to relax some of these restrictions. And it is worth noting that the coherence problem is not unique to Rust; it is a well-studied topic in other functional languages like Haskell and Scala as well.，更多细节参见wps
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