William Empson, in the book of Seven Types of Ambiguity, first makes a research in the ambiguity of semantics.
燕卜荪的《复义七型》是第一部将语义学中的“复义”问题专门提出来进行研究的著作。
At bottom, Empson doesn't really settle into the rigorous consideration of the author, the text, or the reader as if they were separate functions.
实际上，Empson并不会，仔细考虑作者，文本，读者这些因素，就好像他们各有功能一样。
The last chapter of Seven Types of Ambiguity, his seventh ambiguity, is actually, as Empson said, about "some fundamental division in the writer's mind."
在《朦胧的七种类型》的最后一章，第七种朦胧，Empson提到，“作者思维的本质区别
For Empson, there's a kind of a fluid and easy movement back and forth between what for hermeneutics are three very different phenomena: author, text, reader.
对Empson来说，在作者，文本，读者之间，诠释学里认为这是三种非常不同的现象：，在三者之间有一种流畅的反复的关联。
All right. So Empson is fascinated by this passage, and then he gives you, in the next few paragraphs, the amazing variety of grounds for his fascination.
好的，Empson对这段十分着迷，接下来的几段，他写了他为此着迷的，各种原因。
The mode of Empson in the literary criticism refers to the mode of choosing one word or sentence as the critical object to prove the rationality of a certain theoretic idea put forward by a critic.
燕卜荪模式，是指在文学批评中，以文本中一个字或一两段句子为批评对象，用来证明批评者提出的某一个理论观点的合理性。
The mode of Empson in the literary criticism refers to the mode of choosing one word or sentence as the critical object to prove the rationality of a certain theoretic idea put forward by a critic.
燕卜荪模式，是指在文学批评中，以文本中一个字或一两段句子为批评对象，用来证明批评者提出的某一个理论观点的合理性。
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