![]() ![]() Hopkins) the fifth consists of what Empson calls ‘fortunate confusion’, with examples from Shelley and Swinburne, suggesting the possibility that 19th‐cent. The second occurs ‘when two or more meanings are resolved into one’ (as by ‘Double Grammar’ in Shakespeare) the third consists of two apparently disconnected meanings given simultaneously, as in a pun, or, by extension, in allegory or pastoral, where reference is made to more than one ‘universe of discourse’ the fourth occurs when ‘alternative meanings combine to make clear a complicated state of mind in the author’ (with examples from Shakespeare, Donne, and G. The first, or simplest, type of ambiguity he defines as simple metaphor, ‘a word or a grammatical construction effective in several ways at once’. Richards's experiments with practical criticism.Įmpson uses the term ambiguity ‘in an extended sense’, to refer to ‘any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language’. ![]() 1947, 1953 one of the most enjoyable and influential offshoots from I. ![]()
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