Summary
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...
(This entire section contains 945 words.)
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often surpasses the poet's initial intentions, manifesting through its ties to specific, tangible elements.
Ransom commends Winters for his focus on concreteness, contrasting him with poets like Hart Crane or Yeats, who often evade moral issues by retreating into abstract realms. Winters' strength lies in his engagement with reality and the moral choices it presents.
Conclusion: The Need for Ontological Criticism
The concluding section of THE NEW CRITICISM calls for an "Ontological Critic," one who can distinguish poetry from other forms of discourse. Ransom claims poetry’s revolutionary nature lies in its departure from conventional communication. Unlike scientific discourse, which handles singular values, poetry like HAMLET embraces complexities and nuances that defy straightforward definitions. Each interaction with Hamlet, for instance, reveals different facets, showcasing art's ability to deal with ever-changing qualities.
Ransom finishes by reflecting on how poetry diverges from everyday communication and scientific expression. Highlighting Andrew Marvell's "Coy Mistress," he argues that poetry thrives not on linear logic, but on imaginative exploration. Marvell's use of complex allusions exemplifies how poetry’s richness lies in its ability to weave abstract ideas with detailed imagery, thus creating a work that is both tangible and theoretical. Ransom concludes by affirming that a poem's texture and statement are inseparable, cementing this insight through practical illustration.
Bibliography
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