William Empson

Sir William Empson (27 September 1906 – 15 April 1984) was an English literary critic and poet, regarded by some to be the greatest English literary critic after Samuel Johnson and William Hazlitt and a fitting heir to their mode of subtle, witty and politically informed close reading of literary works. Jonathan Bate has remarked that the three greatest English Literary critics of the 18th, 19th and 20th centuries are, respectively, Johnson, Hazlitt and Empson, "not least because they are the funniest". Empson has been styled a "critic of genius" by Sir Frank Kermode, although the latter has lamented his lapses into what he regards as willfully perverse readings of certain authors, and the scholar and critic Harold Bloom has confessed that Empson is among a handful of critics who matter most to him, in particular, because of the force and eccentricity (Bloom's expression is "strangeness") of character as revealed in their critical work. The eccentricity or perversity of some of his interpretations, as well as Empson's rather blunt and brusque manner of dealing with criticism of his position, landed him a good deal of criticism both during his life and after his death, leading to his reputation in many circles as a "licensed buffoon" (Empson's own phrase). Education Empson attended a prep school, where he first discovered his great skill and interest in mathematics. He won an entrance scholarship to Winchester College, where he excelled as a student and received what he later described as "a ripping education" in spite of the rather rough and abusive milieu of the school: a long standing tradition of physical force, especially among the students, figured prominently in life at such schools. In 1925, Empson won a scholarship to study at Magdalene College, Cambridge and achieved a double first in Mathematics and English in 1929. His supervisor in Mathematics, the father of the mathematician and philosopher Frank P. Ramsey, expressed regret at Empson's decision to pursue English rather than Mathematics, a discipline for which Empson showed great talent; and I.A. Richards, the director of studies in English, recalled the genesis of Empson's first major work, Seven Types of Ambiguity, composed when Empson was not yet 22 and published when he was 24: At about his third visit he brought up the games of interpretation which Laura Riding and Robert Graves had been playing [in A Survey of Modernist Poetry, 1927] with the unpunctuated form of 'The expense of spirit in a waste of shame.' Taking the sonnet as a conjuror takes his hat, he produced an endless swarm of lively rabbits from it and ended by 'You could do that with any poetry, couldn't you?' This was a Godsend to a Director of Studies, so I said, 'You'd better go off and do it, hadn't you?' Despite Empson's great precocity and skill in both English and Mathematics, he was asked to leave Cambridge due to infractions against propriety - a servant discovered prophylactics in his room - a fitting symbol of Empson's cheerful disregard for prevailing moral norms. As a result, not only did Empson never receive his M.A. in English, but he had his name stricken from the College records, was prevented from assuming a comfortable fellowship at Cambridge, and, astonishingly, was banished from the city of Cambridge, none of which seems, in retrospect, to the detriment of his subsequent critical output or eminence. Professional career After his banishment from Cambridge, Empson supported himself for a brief period as a freelance critic and journalist, living in Bloomsbury, London until 1930 when he signed a three-year contract to teach in Japan after his tutor Richards had failed to find him a post teaching in China. He returned to England in the mid-1930s only to depart again upon receiving a three-year contract to teach at Peking University, where, upon his arrival, he discovered that due to the Japanese invasion of China, he no longer had available a post. Empson joined the exodus, with little more than a typewriter and suitcase, of professors at Peking University in continual evasion of the invading force, teaching whole courses on English poetry without texts or other aids, and would not arrive in England until January of 1939.

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He later became head of the English department at the University of Sheffield, and in 1953 became professor of rhetoric at Gresham College, London, for a year. Critical Focus Empson's critical work focuses largely on pre-modern works in the English literary canon. He was a significant critic of Milton (see below), Shakespeare (Essays on Shakespeare), Elizabethan drama (Essays on Renaissance Literature: Volume 2, The Drama) and published a monograph on the subject of censorship and the authoritative version of Marlowe's Doctor Faustus (Faustus and the Censor); but also an important scholar of the metaphysical poets John Donne (Essays on Renaissance Literature: Volume 1, Donne and the New Philosophy) and Andrew Marvell. Rather more occasionally, Empson would bring his critical genius to bear on modern writers; Using Biography, for instance, contains papers on Henry Fielding's Tom Jones as well as the poetry of Yeats and Eliot and Joyce's Ulysses. Literary Criticism I: Style, Method, & Influence Empson is today best known for his literary criticism, and in particular his analysis of the use of language in poetical works: his own poetry is arguably undervalued, although it was admired by and influenced English poets in the 1950s. In his critical work he was particularly influenced by the philosopher Ludwig Wittgenstein, whose own work is largely concerned with the nature of language in its relation to the world and to its speakers. Empson's best known work is the book Seven Types of Ambiguity which, together with Some Versions of Pastoral and The Structure of Complex Words, mine the astonishing riches of linguistic ambiguity in English poetic literature. Empson's studies unearth layer upon layer of irony, suggestion, and argumentation in various literary works - a technique of textual criticism so influential that often Empson's contributions to certain domains of literary scholarship remain significant, though they may no longer be recognized as his. The universal recognition of the difficulty and complexity (indeed, ambiguity) of Shakespeare's "Sonnet 94" ("They that have power...") in light of the preceding and following sonnets is traceable to Empson's sophisticated analysis of the sonnet in Some Versions of Pastoral - a virtuosic display of the riches a critic might unearth from a close reading of a poem. Empson's study of "Sonnet 94" goes some way towards explaining the high esteem in which the sonnet is now held (often being reckoned as among the finest sonnets), as well as the technique of criticism and interpretation that has reckoned it thus. It would, however, be a mistake to suppose Empson's skill in discovering a rich variety of interpretations of poetic literature amounts to little more than a rather wildly indulged semantic refinement. Empson iss as much interested in the human or experiential reality to be discovered in great works of literature: the deep truths communicated, often only by intimation, to the reader. Indeed, it is this commitment to unravelling or articulating the truth in literature that aligns Empson so perfectly with Dr. Johnson and that permits him unusual avenues to explore sociopolitical ideas in literature in a vein very different from contemporary Marxist critics (e.g., Fredric Jameson) or scholars of New Historicism (e.g., Stephen Greenblatt). Thus, for instance, Empson remarks in the first few pages of Some Versions of Pastoral that: Gray's Elegy is an odd case of poetry with latent political ideas: Full many a gem of purest ray serene The dark, unfathomed caves of ocean bear; Full many a flower is born to blush unseen And waste its sweetness on the desert air. What this means, as the context makes clear, is that eighteenth century England had no scholarship system or carrière ouverte aux talents. This is stated as pathetic, but the reader is put into a mood in which one would not try to alter it. ... By comparing the social arrangement to Nature he makes it seem inevitable, which it was not, and gives it a dignity which was undeserved. ... The tone of melancholy claims that the poet understands the considerations opposed to aristocracy, though he judges against them; the truism of the reflections in the churchyard, the universality and impersonality this gives to the style, claim as if by comparison that we ought to accept the injustice of society as we do the inevitability of death. Empson goes on to deliver his political verdict with a subtle psychological suggestion:

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Many people, without being communists, have been irritated by the complacence in the massive calm of the poem, and this seems partly because they feel there is a cheat in the implied politics; the 'bourgeois' themselves do not like literature to have too much 'bourgeois ideology.' Should one be in doubt of Empson's estimation and understanding of Gray's achievement, in the face of a tradition of canonization and study of the poem, Empson routs all political quibbles and ideological concerns with some remarks (in the very next paragraph!) reminiscent of Dr. Johnson in their pained insistence: And yet what is said is one of the permanent truths; it is only in degree that any improvement of society could prevent wastage of human powers; the waste even in a fortunate life, the isolation even of a life rich in intimacy, cannot but be felt deeply, and is the central feeling of tragedy. And anything of value must accept this because it must not prostitute itself; its strength is to be prepared to waste itself, if it does not get its opportunity. A statement of this is certainly non-political because it is true in any society, and yet nearly all the great poetic statements of it are in a way 'bourgeois', like this one; they suggest to readers, though they do not say, that for the poor man things cannot be improved even in degree. Despite the complexity of Empson's critical methods and attitude, his work, in particular, Seven Types of Ambiguity, had a significant impact on the New Criticism, a school of criticism which directed particular attention to close reading of texts, among whose adherents may be numbered F.R. Leavis, although, as has been noted, Empson could scarcely be described as an adherent or exponent of such a school or, indeed, of any critical school at all (any more than Johnson could be). Perhaps it should be expected, then, that Empson consistently ridiculed, both outrightly in words and implicitly in practice, the doctrine of the Intentional Fallacy formulated by William K. Wimsatt, an influential New Critic. Indeed, Empson's distaste for New Criticism could manifest itself in his distinctive dismissive and brusque wit as when he describes New Criticism, ironically referring to it as "the new rigour", as a "campaign to make poetry as dull as possible" (Essays on Renaissance Literature: Volume 1, Donne and the New Philosophy, pg. 122). Similarly, both the title and content of one of Empson's volumes of critical papers, Using Biography, show a patent and polemical disregard for the teachings of New Critics as much as for those of Roland Barthes and postmodern literary theories predicated upon, if not merely influenced by, the notion of the Death of the Author, despite the fact that some scholars regard Empson as a progenitor of certain of these currents of criticism, which vexed Empson enough to comment: Now and again somebody like Christopher Norris may, in a pious moment, attempt to "recuperate" a particularly brilliant old-style reputation by claiming its owner as a New New Critic avant la lettre - Empson in this case, now to be thought of as having, in his "great theoretical summa," The Structure of Complex Words, anticipated deconstruction. The grumpy old man repudiated this notion with his habitual scorn, calling the work of Derrida (or, as he preferred to call him, "Nerrida") "very disgusting"... (Kermode, Pleasure, Change, and the Canon) Literary Criticism II: Milton's God Empson's Milton's God is often described as a sustained attack on Christianity and defence of Milton's attempt to 'justify God's ways to man' in Paradise Lost. Empson argues that precisely the inconsistencies and complexities adduced by critics as evidence of the poem's badness, in fact, function in quite the opposite manner: what the poem brings out is the difficulty faced by anyone in encountering and submitting to the will of God and, indeed, the great clash between the authority of such a deity and the determinate desires and needs of human beings. ...the poem is not good in spite of but especially because of its moral confusions, which ought to be clear in your mind when you are feeling its power. I think it horrible and wonderful; I regard it as like Aztec or Benin sculpture, or to come nearer home the novels of Kafka, and am rather suspicious of any critic who claims not to feel anything so obvious. (Milton's God (1965), p13) Empson claims that it is precisely Milton's great sensitivity and faithfulness to the Scriptures, in spite of their apparent madness, that generates such a controversial picture of God: it requires a mind of astonishing integrity to, in the words of Blake, be of the Devil's party without knowing it. [Milton] is struggling to make his God appear less wicked, as he tells us he will at the start (l. 25), and does succeed in making him noticeably less wicked than the traditional Christian one; though, after all, owing to his loyalty to the sacred

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text and the penetration with which he make its story real to us, his modern critics still feel, in a puzzled way, that there is something badly wrong about it all. That this searching goes on in Paradise Lost, I submit, is the chief source of its fascination and poignancy... (Milton's God (1965), pg. 11) The tendency in surveys of Empson's achievement in Milton's God is, depending on one's politics, to marvel or bristle at the audacious perversity of his central thesis - though something of the same perversity was tidied up and reinterpreted in Stanley Fish's much lauded work on Milton (see, e.g., Surprised by Sin); this eclipses some of Empson's insights and his intelligence, humanity and humour in reading the poem, and ignores the significance of the work as a presentation of one of the few instances of an effort to immunize the aesthetic achievements of the poem from those available only to individuals with certain doctrinaire religious commitments (see also the work of Balachandra Rajan). Although perhaps not as influential as, for example, Fish's work, Milton's God remains of great significance to any criticallyminded reader of Paradise Lost as a presentation of some reasons for the importance of the work. Empson portrays the work as the product of a poet of astonishingly powerful and imaginative sensibilities and great intellect who had invested much of himself in the poem. Indeed, despite its lack of influence, certain critics view Milton's God as by far the best (that is to say, the most valuable) sustained work of criticism on the poem by a 20th century critic. Harold Bloom includes it as one of the few critical works worthy of canonical status in his The Western Canon (and the only critical work focusing solely on a single piece of literature). Poetry Empson's poetry is clever, learned, dry, aethereal and technically virtuosic - not wholly dissimilar to his critical work: his high regard for the metaphysical poet John Donne is to be seen in many places within his work, tempered with his appreciation of Buddhist thinking, and his occasional tendency to satire. He wrote very few poems and stopped publishing poetry almost entirely after 1940. His Complete Poems [edited by John Haffenden, his biographer] is 512 pages long, with over 300 pages of notes. In reviewing this work, Frank Kermode commended him as a most noteworthy poet, and chose it as International Book of the Year at the TLS. Person & Character Empson was a charismatic personality, variously described as gruff, scornful, brusque, cold, and of immoderate appetites (sex and alcohol being the most obvious), partly because he was also a roundly paradoxical figure. His sophisticated and subtle intellectual refinement contrasted sharply with his rather lax attention to personal hygiene (the filthiness of his lodgings throughout his life is legendary) and grooming (in later years he affected a bizarre style of facial hair, shaving his chin, but allowing the hair around his neck to grow unimpeded, so that it resembled a shaggy, white cravat). He was deeply sympathetic to the cause of Maoist revolutionaries in China, but was brought up in the cavernous luxury of a rural estate in Yorkshire with all the attendant prerogatives of a member of the landed gentry. He was a scholar of singular imagination, erudition and insight specializing in the highly traditional domain of pre-modern English literature at the heart of the canon (Shakespeare, Milton, the Metaphysical Poets), but his work is marked by great humour, the indulgence of an eloquent and cavalier dismissiveness (reminiscent of Oscar Wilde's critical bon mots), and an astonishingly rich and varied erudition. He was esteemed the revolutionary forefather of modern literary criticism, but disavowed "theory" altogether and evinced a deep concern for distinctly psychological elements in literature: the emotions of desire and love, the sensibility and intentions of authors. He was an intellectual and scholar who spent a good portion of his early years inhabiting the persona of an imperial adventurer (more a Richard Francis Burton than a C.S. Lewis). Seven Types of Ambiguity

Seven Types of Ambiguity was first published in 1930 by William Empson. It was one of the most influential critical works of
the 20th century and was a key foundation work in the formation of the New Criticism school.[1] The book is organized around seven types of ambiguity that Empson finds in the poetry he criticises. The first printing in America was by New Directions in 1947.

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Seven Types of Ambiguity ushered forth New Criticism in the United States. The book is a guide to a style of literary
criticism practiced by Empson. An ambiguity is represented as a puzzle to Empson. We have ambiguity when "alternative views might be taken without sheer misreading." Empson reads poetry as an exploration of conflicts within the author. The Seven Types 1. The first type of ambiguity is the metaphor, that is, when two things are said to be alike which have different properties. This concept is similar to that of metaphysical conceit. 2. Two or more meanings are resolved into one. Empson characterizes this as using two different metaphors at once. 3. Two ideas that are connected through context can be given in one word simultaneously. 4. Two or more meanings that do not agree but combine to make clear a complicated state of mind in the author. 5. When the author discovers his idea in the act of writing. Empson describes a simile that lies halfway between two statements made by the author. 6. When a statement says nothing and the readers are forced to invent a statement of their own, most likely in conflict with that of the author. 7. Two words that within context are opposites that expose a fundamental division in the author's mind.[2] In Popular Culture Melbourne author Elliot Perlman's 2003 novel Seven Types of Ambiguity takes its title from Empson's first book. Empson is the intellectual hero of the book's protagonist, who names his dog accordingly.

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