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Mr. Empson sees the pastoral convention as including not only poems
of shepherd life but any work "about the people but not by or for"
them. Finding examples in the writing of every country and century,
from Mencius to William Faulkner or Celine, he concentrates on an
analysis of certain works and forms in English literature, several
of them, like Alice in Wonderland, Troilus and Cressida, and
proletarian novels not traditionally considered pastoral. His
chapter on Milton and Bentley is a precursor of Mr. Empson's 1961
book, Milton's God. With virtuoso clarity and perception throughout
he brings the student to a new awareness of hidden values in
individual works and to the creative possibilities of the language.
Revised twice since it first appeared, it has remained one of the
most widely read and quoted works of literary analysis. Ambiguity,
according to Empson, includes "any verbal nuance, however slight,
which gives room for alternative reactions to the same piece of
language." From this definition, broad enough by his own admission
sometimes to see "stretched absurdly far," he launches into a
brilliant discussion, under seven classifications of differing
complexity and depth, of such works, among others, as Shakespeare's
plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth,
Gerard Manley Hopkins, and T. S. Eliot.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ The Edinburgh Review: Or Critical Journal, Volume 227 Sydney
Smith, William Empson, Henry Reeve, Harold Cox Leonard Scott
Publication Co., 1918 English literature
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
Many of the earliest books, particularly those dating back to the
1900s and before, are now extremely scarce and increasingly
expensive. We are republishing these classic works in affordable,
high quality, modern editions, using the original text and artwork.
SEVEN TYPESOF AMBIGUITY By the Same Author SOME VERSIONS OF
PASTORAL POEMS Chatto T MnJus THE GATHERING STORM Faber 5 Faber
Seven Types Of Ambiguity William Empson 1949 Chatto and Windus
LONDON Contents CHAPTER I Page i The sorts of meaning to be
considered the problems of Pure Sound and of Atmosphere. First-type
ambiguities arise when a detail is effective m several ways at
once, e. g. by com parisons with several points of likeness,
antitheses with several points of difference p. 22, comparative
adjectives, subdued metaphors, and extra meanings suggested by
rhythm. Annex on Dramatic Irony p. 38. CHAPTER II Pagpfi In
second-type ambiguities two or more alternative meanings are fully
resolved into one. Double grammar in Shakespeare Sonnets.
Ambiguities in Chaucer p. 58, the eighteenth century, T. S. Eliot.
Digressions p. 80 on emendations of Shakespeare and on his form The
A and B of C. . CHAPTER III Page 102 The condition for third-type
ambiguity is that two apparently unconnected meanings are given
simultaneously. Puns from Milton, Marvell, Johnson, Pope, Hood.
Generalised form p. in when there is reference to more than one
universe of discourse allegory, mutual comparison, and pastoral. Ex
amples from Shakespeare, Nash, Pope, Herbert, Gray. Dis cussion of
the criterion for this type. CHAPTER IV Page 133 In the fourth type
the alternative meanings combine to make clear a complicated state
of mind in the author. Complete poems by Shakespeare and Donne
considered. Examples p. 145 of alternative possible emphases in
Donne and Hopkins. Pope on dowagers praised. Tintern Abbey accused
of failing to achieve this type. vi CONTENTS CHAPTER V Page 155 The
fifth type is a fortunate confusion, aswhen the author is
discovering his idea in the act of writing examples from Shelley or
not holding it all in mind at once p. 163 examples from Swinburne.
Argument p. 166 that later metaphysical poets were approaching
nineteenth-century technique by this route examples from Marvell
and Vaughan. CHAPTER VI Page 176 In the sixth type what is said is
contradictory or irrelevant and the reader is forced to invent
interpretations. Examples from f Shakespeare, Fitzgerald, Tennyson,
Herbert p. 183, Pope, Yeats. Discussion of the criterion for this
type and its bearing on nineteenth-century technique. CHAPTER VII
Page 192 The seventh type is that of full contradiction, marking a
divi sion in the authors mind. Freud invoked. Examples pp. 198-211
of minor confusions in negation and opposition. Seventh-type
ambiguities from Shakespeare, Keats, Crashaw, Hopkins, and Herbert.
CHAPTER VIII Page 234 General discussion of the conditions under
which ambiguity is valuable and the means of apprehending it.
Argument that theoretical understanding of it is needed now more
than previ ously. Not all ambiguities are relevant to criticism
example from Jonson p. 242. Discussion of how verbal analysis
should be carried out and what it can hope to achieve. PREFACE TO
THE SECOND EDITION THE first and only previous edition of this book
was pub lished sixteen years ago. Till it went out of print, at
about the beginning of the war, it had a steady sale though a smajl
one and in preparing a second edition the wishes of the buyers
ought to be considered. Many of them will be ordering a group of
books on this kind of topic, for a library, compiled from
bibliographies some of them maybe only put the book on their list
asan awful warning against taking verbal analysis too far. Anyway,
such a buyer wants the old book, not a new one, even if I could
make it better. On the other hand, there was obviously room to tidy
up the old one, and I would not want to reprint silently anything I
now think false. It seemed the best plan to work the old footnotes
into the text, and make clear that all the footnotes in this
edition are second thoughts written recently. Sometimes the
footnotes dis agree with the text above them this may seem a fussy
process, but I did not want to cut too much...
Empson has long been applauded for the dazzling intelligence and emotional passion of his poems. Praised in his lifetime by the likes of T.S. Eliot, Dylan Thomas and John Betjeman, his reputation contines to be high. His poems take a wide range of themes from metaphysics to melancholy, social climbing to political satire, and from love to loss.
This is the first scholarly edition of one of the classics of
literary criticism. William Empson was among the two or three most
important and influential literary critics and theorists of the
twentieth century. He has long been celebrated as one of the most
fertile (as well as one of the funniest) explorers of how meaning
works in language, especially in poetry. The Structure of Complex
Words (1951) was much his longest book and was intended as a major
theoretical statement of his contribution to the subject. Since its
publication, it has been constantly referred to, but usually from a
respectful distance, since it can seem a forbidding and difficult
work. This edition provides an extensive introduction together with
full critical and explanatory notes. The editors trace the book's
genesis and development in detail, beginning with Empson's
collaboration with I. A. Richards in the early and mid-1930s, and
concluding with the extensive writing and re-writing that Empson
undertook while in Peking in 1947-50. This edition also reprints a
selection of materials (including articles and letters) that
illuminate Empson's thinking and contributed to the eventual book.
The edition makes Empson's great work more intelligible to a range
of readers and will immediately become the standard version of this
celebrated text.
Passionate, controversial and illuminating - this collection
contains Empson's best short pieces on Shakespeare, a sally on
George Herbert, a defence of Coleridge, and an eager introduction
to a French farce, a group of incomparably witty autobiographical
articles, and the text to his extraordinary Inaugural Lecture as
Professor of English Literature at Sheffield University.
This collection of William Empson's essays on Elizabethan and
Jacobean drama is the second volume of his writings on Renaissance
literature. Edited with an introduction by the leading Empson
scholar John Haffenden, the contents range from famous essays on
The Spanish Tragedy, Volpone, The Alchemist and The Duchess of
Malfi to a sprightly piece on Elizabethan spirits. In addition,
there are previously unpublished essays which revisit critical
controversies, and a magnificent, provocative study of A Midsummer
Night's Dream which ventures a major new reading of the play. 'I am
attracted by the notion of a hearty indifference to one's own and
other people's feelings, when a fragment of the truth is in
question,' Empson stated. The incomparable Empson here fights his
own critical corner with unequalled zest, intelligence and insight.
Following the success in paperback of William Empson's Essays on
Shakespeare (1986), this first volume of his Essays on Renaissance
Literature (1993) now appears in an accessible format. The volume
gathers Empson's passionate and controversial essays on John Donne
in the context of contemporary science, and includes previously
unpublished pieces on some of the most influential Renaissance
writers and scientists. Edited and introduced by leading Empson
scholar John Haffenden, this is a book for anyone interested in the
Renaissance, the history of science, and the history of literary
criticism. 'Some of these passages have a sweep as grand as Empson
found in Donne.' Eric Griffiths, The Times Literary Supplement
'Empson's achievement here as elsewhere comes from the generosity
of spirit which made him consistently a great critic.' The New York
Review of Books
This collection of William Empson's essays on Elizabethan and
Jacobean drama is the second volume of his writings on Renaissance
literature. Edited with an introduction by the leading Empson
scholar John Haffenden, the contents range from famous essays on
The Spanish Tragedy, Volpone, The Alchemist and The Duchess of
Malfi to a sprightly piece on Elizabethan spirits. In addition,
there are previously unpublished essays which revisit critical
controversies, and a magnificent, provocative study of A Midsummer
Night's Dream which ventures a major new reading of the play. 'I am
attracted by the notion of a hearty indifference to one's own and
other people's feelings, when a fragment of the truth is in
question,' Empson stated. The incomparable Empson here fights his
own critical corner with unequalled zest, intelligence and insight.
Featuring major analyses of Hamlet and Macbeth, this collection of the late critic's works encompasses recent advances in Shakespearian scholarship; a witty and passionate defense of Falstaff; and an original essay on Renaissance playhouse architecture.
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