First published: 1941

Type of work: Literary criticism

John Crowe Ransom's The New Criticism stands as a pivotal work in the realm of twentieth-century literary analysis. The book intricately evaluates the conceptual frameworks and intellectual contributions of influential literary figures such as I. A. Richards, T. S. Eliot, and Yvor Winters. Ransom's examination of their theories highlights the origins and evolution of what became known as the New Criticism movement.

Exploring I. A. Richards: The Pioneer

Ransom identifies I. A. Richards as the trailblazer who introduced a novel lens for interpreting language, emphasizing psychology and semantics over traditional aesthetic judgments. Richards' theories focus on key elements like Tone, Intention, and Dramatic Situation. Tone is described as the distinctive presence of a speaker and their intended listener, shaping the poem's character, context, and linguistic flair. Intention refers to the poem's central thesis, although Ransom notes Richards' occasional ambiguity in this area. He explains that a critic's interpretation of a play like HAMLET could vary widely—from seeing it as a commentary on incestuous love, supernatural faith, or Elizabethan politics—depending on their perspective.

William Empson’s Influence: Irony and Ambiguity

Ransom delves into the concepts of Irony and Ambiguity, building on Richards' foundation with insights from his student, William Empson. Empson's remarkable ability to uncover the rich, layered meanings within poetic language is acknowledged. Ransom provides a balanced review of Empson's work, praising his methods for their brilliance while cautioning that sometimes complexity and allusion might be perceived where they don't truly exist.

T. S. Eliot: Historical Critique and Tradition

T. S. Eliot is portrayed by Ransom as the epitome of the historical critic, using his deep appreciation of the past to enrich literary comprehension. Eliot's approach involves comparing poets across eras to explore how their unique beliefs and contexts shape their work. His SELECTED ESSAYS of 1932 underscore Eliot's mission to ground poetry in its historical roots, resisting a total departure from past forms and ideologies.

In analyzing Eliot's criticism, Ransom highlights his revaluation process, such as his reevaluation of Ben Jonson's work. Jonson, often overshadowed by nineteenth-century lyricists, is recognized by Eliot for possessing a depth of feeling and intellect that rivals his successors. Eliot's emphasis on wit and the rediscovery of poetic traditions demonstrates his dual role as both a modern poet and an advocate for the literary legacy.

Metaphysical Poets: Eliot and Ransom's Perspectives

Ransom discusses Eliot's celebrated analysis of the Metaphysical poets, offering both agreement and critique. While acknowledging the power of imagery in works like John Donne's "Valediction," he argues against the notion that imagery alone can justify a poem. Ransom believes that while intricate linguistic patterns contribute to a poem's texture, they shouldn't overshadow its overarching message. He warns that excessive focus on conceit can limit a poem's communicative reach.

Eliot's Religious Critique

Ransom examines Eliot's insistence on the importance of religious belief, marking him as a significant figure in both religious and historical modernist poetry. Eliot’s foundation in the Anglican tradition becomes evident in his debates with secular thinkers such as the followers of Irving Babbitt. Ransom critiques Eliot's skepticism of secular thought, suggesting that Eliot may underestimate the potential of modern intellectual currents.

Yvor Winters: Ethical Poetry and Structure

Yvor Winters is presented by Ransom as a critic with a keen eye for poetic structure, driven by a commitment to ethical poetry. While Winters places great value on the moral components of poetry, Ransom clarifies that his approach isn't a simplistic moralism but rather an exploration of the poet's personal engagement with experience. In "The Morality of Poetry," Winters argues that a poem's true meaning...