234. (William Empson)

William Empson’s Seven Types of Ambiguity is an acknowledged classic of literary criticism, but it is also among the most difficult to approach and appreciate as a whole, as a coherent statement of intellectual intent, and not just as a bundle of brilliant analyses. The seven types of ambiguity, Empson tells us, are as follows: first, when words can have several possible meanings contributing to … Continue reading 234. (William Empson)

233. (Samuel Menashe)

  The poetry of Samuel Menashe is illuminated by the thought that, even the smallest lyric poem, when successful, will be like the focal point on an hour glass, through which so much experience and time passes, an entire future and entire past opening out on either side of it. It will also be a reminder that history might not come to a reader direct, … Continue reading 233. (Samuel Menashe)

231. (Erich Auerbach)

Not only can be it said that art happens in history, but that history happens within each work of art. Art is kindled when the possibilities for body in history are realized within a medium and form, situated within its own history; and history itself is change, ordered, conceptualized, projected forwards and backwards. To say that humans are historical creatures is no different from saying … Continue reading 231. (Erich Auerbach)

230. (William Empson)

In the blog posts lately, I’ve discussed literature as happening when an author gets a condition of judgment inside of a judgment about what is possible, given the contingencies of human bodily existence. That descriptions looks outwards: a judgment of what is possible is historically dependent, will depend, that is, on what meanings and understanding are available to an author, among which, centrally, will be … Continue reading 230. (William Empson)

229. (Erich Auerbach)

Is it possible to grow into a critic of literature? Immediately, the question ought to be revised: is it possible to grow into admiring another reader of literature? The answer is unequivocally yes, just as it is possible to grow into admiration for an author of imaginative literature. The difference lies in the means available for growth: we can learn to appreciate an author partly … Continue reading 229. (Erich Auerbach)

228. (John Donne)

Among the tissues of judgments that compose a poem will be a judgment about what a poem plays at doing (“Plays at” because poets, like novelists and playwrights, being concerned with what is possible in this bodily experience, write utterances that correspond to the fictions of narrative). The excitement of a poem can depend on the ambitions of its play, including what it judges itself … Continue reading 228. (John Donne)