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William Empson: Prophet Against Sacrifice (Critics of the by Paul H. Fry

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By Paul H. Fry

William Empson: Prophet opposed to Sacrifice offers the main coherent account of Empson's varied profession so far. whereas exploring the richness of Empson's comedian genius, Paul H. Fry serves to discredit the appropriation of his identify in fresh polemic by means of the conflicting events of deconstruction and politicized cultural feedback. He argues that Empson is a bigger, extra very important determine than the orthodox in both camp can recognize, deserving to be thought of along such flexible critics as Walter Benjamin, Kenneth Burke and Roland Barthes.

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Additional info for William Empson: Prophet Against Sacrifice (Critics of the Twentieth Century)

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It seems improbable to say the least; but the play could be acted this way (Empson explains how, very carefully); and read by this light it does indeed have an attractive speculative interest about it, and a good deal of the apparent silliness and hackwork usually ascribed to the “memorial reconstruction” of actors after Marlowe’s death does seem somewhat better motivated. Above all it is rich in suggestion and consolation for Empson himself. Faustus as he reads it celebrates Marlowe’s triumph over censorship, both in fact (the censorship of Edmund Tilney) and in theme (the censorship imposed on Christian faith, here and in the hereafter).

Wells: 18 As Martin Dodsworth and others have been at pains to remind us, Empson was a landed gentleman. 20 The fact that Shelley was a landed gentleman too (so described three years after the Tom Jones essay) is what accords that poet, still much derided in 1961, the complexity of attitude Empson requires in order to invoke his authority (cited from the “Preface” to Prometheus Unbound) for the qualified vindication of Milton’s Satan: 35 William Empson Shelley does not speak as an Underdog or Outsider, tormented to hysteria by his wrongs, but as the heir to an estate who may expect to do a good deal of administration himself; he takes for granted that he ought to learn to be a good judge, not that he is a victim.

Is there substance in primogeniture? How should the father be obeyed? — hitherto dispelled by the planting and harvest rituals which had seemed sufficiently scientific explanations. Milton’s God is known, rightly in the case of the last chapter, as Empson’s attack on Christianity; but what this view of the book distorts is the contrast, when Milton is at his best (“struggling to make his God less wicked”: Milton’s God, p. 11), between the history of Christianity and Milton’s revision of its cosmology.

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