By Lesa Carnes Corrigan
"When Robert Penn Warren asks, "what / Is guy yet his passion?" he exemplifies the kind of artist that the British Romantics celebrated. Poems of natural mind's eye lines the improvement of Warren's poetic craft as inspired by means of that movement's ideals."--BOOK JACKET. "Lesa Carnes Corrigan lays out sincerely the six-decades-long development in Warren's Romantic imaginative and prescient - a mix of Wordsworth's tempered aesthetics and Yeats's knowledge of old violence and sleek estrangement. She demonstrates how heavily the poet linked his such a lot deeply felt intuitions approximately paintings and existence with the overarching philosophies of the Romantics."--BOOK JACKET.
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Extra info for Poems of pure imagination: Robert Penn Warren and the romantic tradition
This knowledge, the power of imagination and the intuitive comprehension of "passion," would become obsolete as the individual divorced himself from one of the most vital means of exploring "the deep, dark inwardness of his nature and his fate" (DP, 31), a faculty Warren assigns to poetry. Warren's ideas about poetry (and literature in general) offer a reconciliation of the personal with the universal, the subjective with the objective. Out of his New Critical explorations emerged Warren's personal aesthetic that poetry, while possessing inherent meaning in and of itself, must also encourage the individual to seek active engagement with the world.
Page 23 I Romantic Confluences and Eliotic Strains Like many aspiring poets in the 1920S, Robert Penn Warren began his poetic career under the commanding influence of T. S. Eliot and the Modernists. "2 When new issues of the Nation or the Dial appeared with poems by Hart Crane, Yeats, or Eliot, the copies sold out immediately. The 1922 publication of The Waste Land sparked a passion for experimentation in poetic techniques, and Warren and many of his classmates not only emulated Eliot's style but could also recite the poem by heart.
George Bornstein (Pittsburgh: University of Pittsburgh Press, 1977), 208; Victor Strandberg, The (footnote continued on next page) Page 3 uralism in Warren's works allow that he does not rest easily with determinism or the notion of an external world devoid of meaning. Warren's progress toward his Romantic vision, however, is gradual and often tempered by the skepticism so evident in twentieth-century thought. His early poetry, highly imitative of Eliot and Pound and the Metaphysical poets of the seventeenth century, exhibits the careful attention to craft that John Crowe Ransom had encouraged among his students but little of the exuberance that characterizes Warren's later poems.