John Crowe Ransom’s “Blue Girls,” a four-stanza lyric in iambic meter, explores the traditional theme of the transitory nature of beauty. The final and now-standard version of the poem reflects Ransom’s attempts to perfect his poetry through revision. Although some phrases (“Practise your beauty, blue girls”) appear in both the original and the final versions, only the second line is identical in the two poems: “Under the towers of your seminary.” In fact, the final version of the poem is so significantly different from the original, especially in its shift from a somewhat sentimental to a detached, stoic tone that it is really a different poem and far superior to its predecessor.
In the first stanza, the speaker (generally assumed to be an elderly man, perhaps even a teacher at the seminary) watches a group of young women walking across the grounds of a private school and in a gently ironic tone mentally admonishes them to listen to their “old and contrary” teachers without believing anything they hear. Stanza 2 continues with another command that the speaker clearly expects the girls to heed even though he apparently never actually voices it. He urges them to concentrate on their appearance and to show no more concern for the future than bluebirds fluttering on the grass or through the air.
In the third stanza the tone becomes more serious and impassioned as the speaker implores the girls to practice their beauty. He also introduces for the first time a reason for his commands: the transitory nature of beauty. His focus then shifts from the girls to himself as he pledges what he will do if the girls obey his wishes. He, as speaker—as poet—will proclaim loudly, write about, and celebrate beauty. In the concluding stanza the speaker offers a specific example of beauty’s frailty by referring to a women he knows and perhaps lives with. Age has rapidly destroyed her beauty, but her loveliness once surpassed that of any of the young women he has been admiring.
Although the speaker is generally assumed to be an elderly male, the poem does not limit itself to that interpretation. The speaker could instead be a female, even the woman with the “terrible tongue.” Such a reading makes the conclusion even more poignant as the lost beauty is experienced personally, not merely observed.