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“... Of books darkened by being posthumous, this one of Empson’s, Using Biography, is among the most illuminatingly vital. Every page is alive with his incomparable mind, his great heart, and his unique accents. Profoundly comic and yet incandescent with convictions, Using Biography is so rammed with life that it shall gather strength of life with being ...”

“... was an early version of Hamlet, possibly by Kyd; a prototype Henry V, starring Dick Tarlton and William Knell. And, a little later, there were the first ventures of Ben Jonson – Hot Anger Soon Cooled, written with Thomas Dekker and Henry Porter, and Robert II, with Henry Chettle – now just bodiless titles in an old theatrical ledger. The case of Marlowe ...”

“... One Saturday morning as I lay in bed, dying of flu, William Empson burst into my room, very sprightly, saying: ‘Now come along Jones, you must get up and come to Stonehenge.’ I croaked an apology and claimed an imminent, prior appointment with the Lord God Almighty. ‘Oh dear. I am sorry,’ he said. ‘But you would do much better to come to Stonehenge ...”

“... John Haffenden opens the proceedings with a long extract from one of Empson’s letters and goes on to provide a leisurely commentary on it, so, even if you hadn’t noticed the bulk of the book, you’d sense right away that you were in for the long haul. At the end of this first instalment the poet is still only 33 years old and has another 44 years to go; no doubt they will be less action-packed, more sedate – containable, one hopes, in only one more volume ...”

“... Empson has been dead these 16 years, and although his voice was often recorded it now seems difficult to describe it. John Haffenden says he had one voice for poetry and another for prose. Empson himself thought ‘the reader should throw himself into the verse, and not do it with “reserved” English good taste ...”

“... There is​ something very Far Eastern about this,’ William Empson says in Some Versions of Pastoral, meaning the manner of Marvell’s poem ‘The Garden’. The remark is mildly intriguing but pretty loose, and even if we think of Empson as having the thought while he lectured to his Japanese students before he wrote it down, the Orient still seems stereotyped and far away ...”

“... Calder, Doris Lessing, Michael Redgrave and Wolf Mankowitz, but also such distinguished figures as William Empson. ‘Events’ were held in the basement where various tendencies including ‘skiffle, trad jazz, performance art and radical politics collided, blending spontaneous giggling with poetry, banjo and washboard’. The sheer scale of the ...”

“... The story goes that, on the day when William Empson moved into Magdalene College, Cambridge, to take up a fellowship, his suitcases (as was the custom in those days) were unpacked by one of the college servants. The gyp was so shocked by the contents of Empson’s bags that he decided to report him to the college authorities ...”

“... In a power-rhyming slap-happy parody of Thirties doom-mongering published in 1938 William Empson famously had ‘Just a Smack at Auden’: What was said by Marx, boys, what did he perpend? No good being sparks, boys, waiting for the end. Treason of the clerks, boys, curtains that descend, Lights becoming darks, boys, waiting for the end ...”

“... spot him as a winner?’ Naomi Mitchison asked in one of the earliest reviews. A few months later William Empson wrote at some length about ‘Paid on Both Sides’. He was impressed by Auden’s ability to make ‘psychoanalysis, surrealism, and all that’, all the irrationalist tendencies ‘which are so essential a part of the machinery of ...”

“... In 1940 Empson was back in England, having spent much of the previous decade in Japan and China. His arrival in China had coincided with the Japanese invasion and the resulting southward migration of the National Peking University. He went along, rather enjoyed the hardships of the trek, relying on his excellent memory to teach English with little aid from books ...”

“... Frank Kermode belongs to no sect of literary criticism, and he has founded no school. Like William Empson, whom he praises as a ‘genius’ of criticism, Kermode has always been more interested in a poetic than in a theoretic approach to the study of literature. He thinks that literature itself – rather than theories about it – is our best guide to how to read critically, and he has devoted the better part of a long career to this conviction ...”

“... I thought I had best begin by expressing some old-buffer prejudices in general,’ Empson told the British Society of Aesthetics in 1961: ‘but now I will turn to English Literature, which it is my business to know about, and try to examine the fundamentals, the basic tools.’ As he turns to literature, he shelves the old-buffer prejudices and begins to display instead the rationalism which spoke habitually of the ‘basic tools’ of imagination, and the sensitivity to language which enabled him to examine and test those tools ...”

“... maps, full of trends and lines of force but most of the actual place-names missed out. I remember William Empson devising an Outline of Outlines, reduced in the end to a single sentence: ‘Everything is pretty all right because of science.’ Where are they now? Sunk back into the vast ocean of superannuated enlightenment. If we are to find the origins ...”

“... idea is being repeated, which brings out the change of tone in this verse.Madge is reading from William Empson’s first book, Seven Types of Ambiguity (1930), which she refers to only as ‘the horrible ambiguity book’. Paton Walsh read English at Oxford in the 1950s, and Goldengrove is in many ways a response to the experience. Madge wants to be a ...”