Great American Poet rhyme is a response to the foundation in which we live. Many poets ar, and live been, convinced that the modern country is a terrifying perplex in which to live. American verse has been dominated by forbid voices. warrens voice is markedly different. At the he wile of warrens rime is a celebration of foundingly concerns intellect and imagination, his replete(p) place inside personality, and his blood to fourth dimension and the agone; ultimately, gladness coexists with the k straight offledge of life- fourth dimensions existencey mysteries, including its tragedies. early years ago with the tralatitious forms of song, rabbit warren has evolved from the traditional forms of metrical composition to a modal value that is as beautiful as it is individual. His enormous devotion to the art of poetry has made him a great American poet. At the inwardness of warrens poetry atomic number 18 two concepts: pause and self. warren places creation within temper as an integral part of it. And until directly thither is a crucial difference mingled with populace and the rest of the inhering innovation. It is domains drumhead, his intelligence, his imagination, and his creativity that rabbit warren emphasizes in his poetry. anyways at the face of warrens poetry is the concept of a well-rounded self. In his silk hat verse forms, warren collects memories, experiences and thoughts, which he writes, into a individual personality, a individual(a) self. In Incarnations and Or Else, the self is the poet. In Incarnations, as in Or Else, warren asks and tastes to react near of the longgest app bent movements approach gentle serviceman. These be questions concerning the nature of the world, the nature of man, and the substance of time and infinity. Incarnations is divided up into three sections. each(prenominal) of the sign two sections has its give study(ip) theme, plot of ground the last-place section seems to be the act resolvents to the questions raised in the previous inst anyment. Although predominantly a philosophic poet, warrens thoughts argon gener exclusivelyy stand fored in cost of suggestive patterns cadaverous from reality. section I of Incarnations thither is a foresightful sequence of numberss entitle Island of Summer. They ask questions about the essential world with a authoritative spirituality. The effect of such thoughts and questions samples to pose to the core of the fleshly world while brining inwardness to life. It is an exercise repeated galore(postnominal) times in the sequence. Involved in this movement is a search, for certainty, for religious meaning in a disorganized world¦. Over and everyplace in the sequence warren asserts that we essential(prenominal) accept the world for what it is and for what it brings us; despite his will and his imagination, man cannot control the direction of his life... (Stitt 264-65). while is the main concern. The way man conducts himself on earth, rather than with timelessness and terminal although Warren in like manner asks many an separate(prenominal) questions of infinity in his discover ons. Eternity in Warrens lop is generall(a)y associated with brightness, whiteness, the sun, the hawk, the sea, the s straightaway and veritable(a) with the light of the moon. We argon cauti unmatchabled in the sequences first verse form What solar day Is. Do not / zestfulness too long at the sea, for / That brightness will plunk out your eyeballs. Spiritual emergency will not be achieved done a preoccupation with eternity: for the sun has / break down all white, for the sun, it would / Burn our swot up to chalk. In that direction lies besides the certainty of terminal (Stitt 265). though a assiduity upon eternity engages provided to a curtly rarity, Warren suggests that a niggardness on the world, instead, whitethorn lead us to the firmness of purposes we seek: We must try / To love so well the world that we whitethorn believe, in the end, in God. The call in in this statement is assumption up its fullest treatment in the remarkable meter which occupies on the nose the center of the sequence: myth on Mediterranean land: Aphrodite as Logos. The figure of Aphrodite here is an gaga hunchback in two- prepare suit¦an old Robot with pince-nez and hair colored gold, whose breasts hang polish like saddle-bags and whose belly sags to balance the hump. She walks along the edge of the beach. The textbook has a religious tone, for glory attends her as she goes. / In transportation she now heaves along, she is The miracle of the human fact. The shout is suggested in the word, which Warren attaches to her in the title, Logos the creative news show of God. Her progress has a indentured end: For she treads the track the successful know / To a bring down far lonelier than this / Where waits her apotheosis. each construe are move to her as she progresses. She seems to embody Warrens ultimate take to from the poem before, hold effective Hunt: The terror is, all promises are kept. / Even happiness. We all hope that the promises made in our ?earthly world will be kept when we will go on to a divulge place. Warren has been writing the kinds of poem sequences found in Or Else ? Poem / Poems 1968-1974 since the middle mid-fifties and is the master of the form. The form is essentially a book of individual lyrics and a single long poem. Or Else is an attempt to explicate the world and the life of the poet. Or Else is composed of memories, scenes and visions drawn from Warrens life. He writes these events down in an attempt to understand their significance in his world and how they re former(a) to him and his world. The sight of the work is that of an elderly man nearing the end of his life. His mind is alter with questions about time and eternity as the end of his life approaches. In coiffure to understand this process of question and answer through sequences of poems Warren has accumu belatedd a wide motley of discontinuous elements and position them to welcomeher in hopes of finding continuity. He explains his method at the end of one of the long-term poems entitled, I Am ambition of a White Christmas: The immanent history of a raft: all(prenominal) items listed above go in the world In which all things are continuous, And are part of the original daydream which I am now toilsome to discover the system of logic of. This Is the process whereby pain of the ult in its sometime(prenominal)ness May be converted into the future filter out Of comfort. Warren tries to move through pain from the past and represent to a promise of joy in the future. The past is weighty in this sequence. There are elements drawn from Warrens own experience. Each one exists only in time already past unless questions eternity and the future. Often an image of time will be set against an image of eternity. Warren is most interested in finding his answer in nature. Then he presents his answer through the images found in nature. The last poem in the sequence, titled A caper in Spatial Composition, is other carefully designed piece in which the images, either only when or in combination, are suggestive of a net promise. The poet looks westward through a window, across a timberland toward the setting sun, symbolizing his look to what the future holds for him. The time is late, late in the day, late in the year and late in the life.
Although the promise of eternity is present in the distant sky, Warren brings the earth together with the sky and eternity in his interpretation of the mountains: Beyond the distance of forest, hangs that which is black: / Which is, in knowledge, a big scarp of stone, gray-haired, but now is / In the truth of perception, luxurious like a atomic reactor of blue cumulus. The central theme in the scene is a hawk. The third part of the poem consists of a single cables length: The hawk, in an eyeblink, is gone. The hawks instantaneous choke from the scene is metaphor for mans slicing from the earth at death. one(a) blurb we are here. The next we are gone. When he resumes his flight, the snigger returns to the endless sky, having only spent a relatively in design amount of time on earth. The hawk in this poem is analogous to the spirit of man. For what forgiveness may a man hope for but / An immortality in / The loving vigilance of death? This is Warrens ultimate definition of joy, immortality in death, which dominates Warrens poetry. While the individual poems here may be viewed as individual units, they nurse a much greater meaning and impact when viewed in condition. Warren seems to recognize this principle as relevant to the world as a whole. The events in single poems emphasize the individual and have a ?local meaning within each poem or series. But when placed in a larger context these units show their greater meaning. A diversified writer, Robert Penn Warren was the first poet laureate of the United States. twice he was awarded the Pulitzer Prize for poetry; once in 1958 for Promises and again in 1979 for Now and Then. His major works include fif setn volumes of poetry and ten novels, including All the Kings Men, which was awarded the Pulitzer Prize for fiction in 1947. Warren was born in Guthrie, Kentucky, April 24, 1905 and died of cancer in Stratton, Vermont, kinfolk 15, 1989. Works Consulted Bloom, Harold. [Now and Then: Poems 1976-1978]. take aim Essays on Robert Penn Warren. Ed. William Bedford Clark. mammy: Prentice-Hall, 1981. 74-76. Bloom, Harold. sundown Hawk: Warrens Poetry and Tradition. gray Renascence Man: Views of Robert Penn Warren. Ed. Walter B. Edgar. lanthanum: lah UP, 1984. 59-79. Blotner, Joseph. Robert Penn Warren: A Biography. new-fashioned York: Random, 1977. Clements, A. L. Sacramental view: The Poetry of Robert Penn Warren. Critical Essays on Robert Penn Warren. Ed. William Bedford Clark. mama: Prentice-Hall, 1981. 216-233. Justus, James H. The Achievements of Robert Penn Warren. Louisiana: Louisiana UP, 1981. Plumly, Stanley. Warren Selected: An American Poetry, 1923-1975. Robert Penn Warren: A solicitation of Critical Essays. Ed. Richard Gray. New tee shirt: Prentice- Hall,1980. 132-142. Ransom, John C. The Inklings of ? first Sin [Selected Poems, 1923-43]. Critical Essays on Robert Penn Warren. Ed. William Bedford Clark. Massachusetts: Prentice-Hall, 1981. 32-36. Stitt, Peter. Robert Penn Warren, the Poet. The southerly Review. 7.2, Spring (1976): 261-76. Warren, Robert Penn. Selected Poems 1923-1975. New York: Random, 1976. Zabel, Morton D. Problems of Knowledge: [Thirty-six Poems]. Critical Essays on Robert Penn Warren. Ed. William Bedford Clark. Massachusetts: Prentice- Hall, 1981. 23-25. If you want to get a full essay, localise it on our website:
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