PN Review Print and Online Poetry Magazine
News and Notes
Digital Access to PN Review
Access the latest issues, plus back issues of PN Review with Exact Editions For PN Review subscribers: access the PN Review digital archive via the Exact Editions app Exactly or the Exact Editions website, you will first need to know your PN Review ID number. read more
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Drew MilneTom Raworth’s Writing ‘present past improved’: Tom Raworth’s Writing
(PN Review 236)
Alejandro Fernandez-OsorioPomace (trans. James Womack)
(PN Review 236)
Kei MillerIn the Shadow of Derek Walcott 1930–2017
(PN Review 235)
Poems Articles Interviews Reports Reviews Contributors
Oxford University Press
Gratis Ad 1
Next Issue Kei Miller on poetry and volume control Parwana Fayyaz's Afghan poems Gabriel Josipovici bids farewell to Aharon Appelfeld Craig Raine plants a flag A.R. Ammons from two angles

This review is taken from PN Review 212, Volume 39 Number 6, July - August 2013.

Hits and Misses david stuart reid, Ambiguities: Conflict and Union of Opposites in Robert Graves, Laura Riding, William Empson and Yvor Winters (Academica Press) $82.95

‘Is all good poetry supposed to be ambiguous?’ asked Empson in the preface to the second edition of Seven Types of Ambiguity. His answer was yes, ‘I think that it is’. David Reid’s book Ambiguities certainly follows in Empson’s footsteps, seeing ambiguity as ‘a good way into what was happening in the early Twentieth Century’. Empson may have disagreed with Reid, however, writing in 1947 ‘I believe that rather little good poetry has been written in recent years’, adding ‘if I tried to rewrite the seventh chapter [of Seven Types] to take in contemporary poetry I should be writing another book’. Reid’s book could be that other book. He does not take the seven types as law and try four unsuspecting modern poet-critics. Instead Empson’s work on ambiguity is ‘boiled down to two main types, conflict and the union of opposites’. Reid’s aim – to put the topic of ambiguity back on the critical menu – is admirable and his discussion of it does particular service to Graves, Empson and Riding.
Yvor Winters is the sore thumb in this scholarly appraisal of ambiguity in twentieth-century poetry. Robert Graves and Laura Riding relied on it in their own poetry, and their analysis of Shakespeare’s Sonnet 129 ploughed the terrain for Empson’s Seven Types of Ambiguity. But Winters, as a critic, was unambiguous. He called his first book of collected criticism In Defense of Reason. David Reid’s means of assimilating him into his book is to separate Winters-the-critic ...

Searching, please wait... animated waiting image