At the time of his death in 1984, the poet and critic William Empson was preparing and revising a collection of his essays on Shakespeare. This collection edited by David Pirie, is a book which the literary world has wanted for over half a century. Here, in a single volume, are major readings of Hamlet and Macbeth; a witty and sometimes impassioned defence of Falstaff, and a new piece on the architecture of the Globe theatre and other Renaissance playhouses, in which Empson explores the problems that the design of contemporary stages posed for a working playwright; there are also essays on the narrative poems, A Midsummer Night's Dream and the last plays. The essays demonstrate the subtlety and agility of Empson's mind, as well as his remarkable breadth of knowledge, while the almost racy wit of his informal prose style argues for a literary criticism which should never become solemn if it is to be truly serious.
Sir William Empson was an English literary critic and poet.
He was widely influential for his practice of closely reading literary works, fundamental to the New Critics. Jonathan Bate has said that the three greatest English Literary critics of the 18th, 19th and 20th centuries are Johnson, Hazlitt and Empson, "not least because they are the funniest".
Empson has been styled a "critic of genius" by Sir Frank Kermode, who qualified his praise by identifying willfully perverse readings of certain authors; and Harold Bloom has stated that Empson is among a handful of critics who matter most to him, because of their force and eccentricity. Empson's bluntness led to controversy both during his life and after his death, and a reputation in part also as a "licensed buffoon" (Empson's own phrase).