John Crowe Ransom
Biography of John Crowe Ransom
John Crowe Ransom was an American poet, essayist, magazine editor, and professor.
Ransom was the third of four children of a Methodist minister. His family was highly literate. As a child, he read his family's library and engaged his father in passionate discussions. He published five main books of poetry, four books of essays, and edited three anthologies. He also published one textbook on writing, A College Primer of Writing (1943).
Ransom was home schooled until age ten, and entered Vanderbilt University at fifteen, graduating first in his class in 1909. He interrupted his studies for two years to teach sixth and seventh grades in Taylorsville, Mississippi and Latin and Greek in Lewisburg, Tennessee.
After teaching one more year in Lewisburg, Ransom was selected as a Rhodes Scholar. He attended Oxford University's Christ Church, 1910–13, where he read "Greats", as the course in Greek and Latin classics is called.
After one year teaching Latin in the Hotchkiss School, Ransom was appointed to the English department at Vanderbilt University in 1914. During the First World War, he served as an artillery officer in France. After the war, he returned to Vanderbilt. In 1920, he married Robb Reavill; they raised three children.
In 1937, Ransom accepted a position at Kenyon College in Ohio. He was the founding editor of the Kenyon Review, and continued as editor until his retirement in 1959. In 1966, Ransom was elected to the American Academy of Arts and Letters. His ashes were buried behind the Chalmers Library at Kenyon College.
Ransom has few peers among 20th century American university teachers of humanities; his distinguished students included Donald Davidson, Randall Jarrell, Robert Lowell, Andrew Lytle, Allen Tate, Peter Taylor, Robie Macauley, Robert Penn Warren, E.L. Doctorow, Cleanth Brooks, Richard M. Weaver, and Constantinos Patrides (himself a Rhodes Scholar, who dedicated his monograph on John Milton's Lycidas to Ransom's memory).
At Vanderbilt, Ransom was a founding member of the Fugitives, a Southern literary group of 16 writers that functioned primarily as a kind of poetry workshop and included Donald Davidson, Allen Tate, and Robert Penn Warren. Under their influence, Ransom, whose first interest had been philosophy (specifically John Dewey and American pragmatism) began writing poetry. His first volume of poems, Poems about God (1919), was praised by Robert Frost and Robert Graves. The Fugitive Group had a special interest in Modernist poetry and, under Ransom's editorship, started a short-lived but highly influential magazine, called The Fugitive, which published American Modernist poets, mainly from the South (though they also published Northerners like Hart Crane). Out of all the Fugitive poets, Norton poetry editors Richard Ellmann and Robert O'Clair opined that, "[Ransom's poems were] among the most remarkable," characterizing his poetry as "quirky" and "at times eccentric."
Ransom's literary reputation is based chiefly on two collections of poetry, Chills and Fever (1924) and Two Gentlemen in Bonds (1927). Believing he had no new themes upon which to write, his subsequent poetic activity consisted almost entirely of revising ("tinkering", he called it) his earlier poems. Hence Ransom's reputation as a poet is based on the fewer than 160 poems he wrote and published between 1916 and 1927. In 1963, the poet/critic and former Ransom student Randall Jarrell published an essay in which he highly praised Ransom's poetry:
In John Crowe Ransom's best poems every part is subordinated to the whole, and the whole is accomplished with astonishing exactness and thoroughness. Their economy, precision, and restraint gives the poems, sometimes, an original yet impersonal perfection. . .And sometimes their phrasing is magical--light as air, soft as dew, the real old-fashioned enchantment. The poems satisfy our nostalgia for the past, yet themselves have none. They are reports . .of our world's old war between power and love, between those who efficiently and practically know and those who are "content to feel/ What others understand." And these reports of battles are, somehow, bewitching. . .Ransom's poems profess their limitations so candidly, almost as a principle of style, that it is hardly necessary to say they are not poems of the largest scope or the greatest intensity. But they are some of the most original poems ever written, just as Ransom is one of the best, most original, and most sympathetic poets alive; it is easy to see that his poetry will always be cared for, since he has written poems that are perfectly realized and occasionally almost perfect."
Despite the brevity of his poetic career and output, Ransom won the Bollingen Prize for Poetry in 1951. His 1963 Selected Poems received the National Book Award the following year.
Ransom primarily wrote short poems examining the ironic and unsentimental nature of life (with domestic life in the American South being a major theme). An example of his Southern style is his poem "Janet Waking", which "mixes modernist with old-fashioned country rhetoric."
Ransom was noted as a strict formalist, using both regular rhyme and meter in almost all of his poems. He also occasionally employed archaic diction. Ellman and O'Clair note that "[Ransom] defends formalism because he sees in it a check on bluntness, on brutality. Without formalism, he insists, poets simply rape or murder their subjects."
Ransom was a leading figure of the school of literary criticism known as the New Criticism, which gained its name from his 1941 volume of essays The New Criticism. The New Critical theory, which dominated American literary thought throughout the middle 20th century, emphasized close reading, and criticism based on the texts themselves rather than on non-textual bias or non-textual history.
In his seminal 1937 essay, "Criticism, Inc." Ransom laid out his ideal form of literary criticism stating that, "criticism must become more scientific, or precise and systematic." To this end, he argued that personal responses to literature, historical scholarship, linguistic scholarship, and what he termed "moral studies" should not influence literary criticism. He also argued that literary critics should regard a poem as an aesthetic object.
Many of the ideas that Ransom explained in this essay would become very important in the development of The New Criticism. "Criticism, Inc." and a number of Ransom's other theoretical essays set forth some of guiding principles that the New Critics would build upon. Still, Ransom's former students, specifically Allen Tate, Cleanth Brooks, and Robert Penn Warren, had a greater hand in developing many of the key concepts (like "close reading") that later came to define the New Criticism.
Ransom remained an active essayist until his death even though, by the 1970's, the popularity and influence of the New Critics had seriously diminished.
In 1930, Ransom along with 11 other Southern Agrarians published the conservative, Agrarian manifesto I'll Take My Stand: The South and the Agrarian Tradition, which assailed the tide of industrialism that appeared to be sweeping away traditional Southern culture. The Agrarians believed that the Southern tradition, rooted in the pre-Civil War agricultural model, was the answer to the South's economic and cultural problems.
Ransom's contribution to I'll Take My Stand is his essay "Reconstructed but Unregenerate" which starts the book and lays out the Southern Agrarians' basic argument. In various essays influenced by his Agrarian beliefs, Ransom defended the manifesto's assertion that modern industrial capitalism was a dehumanizing force that the South should reject in favor of an agrarian economic model. However, by the late 1930's he began to distance himself from the movement, and in 1945, he publicly criticized it.
John Crowe Ransom's Works:
A College Primer of Writing (1943)
I'll Take My Stand: The South and the Agrarian Tradition (1930)
The New Criticism (1941)
Chills and Fever (1924)
Two Gentlemen in Bonds (1927)
Selected Poems (1963)
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John Crowe Ransom Poems
Twirling your blue skirts, travelling the sward Under the towers of your seminary, Go listen to your teachers old and contrary Without believing a word.
Bells For John Whiteside's Daughter
There was such speed in her little body, And such lightness in her footfall, It is no wonder her brown study Astonishes us all
The friar had said his paternosters duly And scourged his limbs, and afterwards would have slept; But with much riddling his head became unruly, He arose, from the quiet monastery he crept.
Captain Carpenter rose up in his prime Put on his pistols and went riding out But had got wellnigh nowhere at that time Till he fell in with ladies in a rout.
-- I am a gentleman in a dustcoat trying To make you hear. Your ears are soft and small And listen to an old man not at all, They want the young men's whispering and sighing.
The little cousin is dead, by foul subtraction, A green bough from Virginia's aged tree, And none of the county kin like the transaction, Nor some of the world of outer dark, like me.
Full of her long white arms and milky skin He had a thousand times remembered sin. Alone in the press of people traveled he, Minding her jacinth, and myrrh, and ivory.
Prelude To An Evening
Do not enforce the tired wolf Dragging his infected wound homeward To sit tonight with the warm children Naming the pretty kings of France.
Two evils, monstrous either one apart, Possessed me, and were long and loath at going: A cry of Absence, Absence, in the heart, And in the wood the furious winter blowing.
Beautifully Janet slept Till it was deeply morning. She woke then And thought about her dainty-feathered hen, To see how it had kept.
By dark severance the apparition head Smiles from the air a capital on no Column or a Platonic perhaps head On a canvas sky depending from nothing;
Conrad In Twilight
Conrad, Conrad, aren't you old To sit so late in your mouldy garden? And I think Conrad knows it well, Nursing his knees, too rheumy and cold
An American Addresses Philomela
Procne, Philomela, and Itylus, Your names are liquid, your improbable tale Is recited in the classic numbers of the nightingale.
Emily Hardcastle, Spinster
We shall come tomorrow morning, who were not to have her love, We shall bring no face of envy but a gift of praise and lilies
Conrad In Twilight
Conrad, Conrad, aren't you old
To sit so late in your mouldy garden?
And I think Conrad knows it well,
Nursing his knees, too rheumy and cold
To warm the wraith of a Forest of Arden.
Neuralgia in the back of his neck,
His lungs filling with such miasma,
His feet dipping in leafage and muck: