Robert Penn Warren
Robert Penn Warren
Robert Penn Warrenwas an American poet, novelist, and literary critic and was one of the founders of New Criticism. He was also a charter member of the Fellowship of Southern Writers. He founded the influential literary journal The Southern Review with Cleanth Brooks in 1935. He received the 1947 Pulitzer Prize for the Novel for his novel All the King's Menand the Pulitzer Prize for Poetry in 1958 and 1979. He is the only person to have won Pulitzer Prizes...
NationalityAmerican
ProfessionNovelist
Date of Birth24 April 1905
CountryUnited States of America
The end of man is knowledge, but there is one thing he can't know. He can't know whether knowledge will save him or kill him. He will be killed, all right, but he can't know whether he is killed because of the knowledge which he has got or because of the knowledge which he hasn't got and which if he had it, would save him.
The poem is a little myth of man's capacity of making life meaningful. And in the end, the poem is not a thing we see-it is, rather, a light by which we may see-and what we see is life.
Process as process is neither morally good nor morally bad. We may judge results but not process. The morally bad agent may perform the deed which is good. The morally good agent may perform the deed which is bad. Maybe a man has to sell his soul to get the power to do good.
Your business as a writer is not to illustrate virtue but to show how a fellow may move toward it or away from it.
What if angry vectors veer Round your sleeping head, and form. There's never need to fear Violence of the poor world's abstract storm.
Perhaps he had to be close in order to keep a reason for the things he did. To make the things he did be themselves Life. And not merely a delightful excercise of technical skill which man had been able to achieve because he, of all animals, had a fine thumb. Which is nonsense, for whatever you live is Life.
How do poems grow? They grow out of your life.
How life is strange and changeful, and the crystal is in the steel at the point of fracture, and the toad bears a jewel in its forehead, and the meaning of moments passes like the breeze that scarcely ruffles the leaf of the willow.
Poets, we know, are terribly sensitive people, and in my observation one of the things they are most sensitive about is money.
The poet is in the end probably more afraid of the dogmatist who wants to extract the message from the poem and throw the poem away than he is of the sentimentalist who says, Oh, just let me enjoy the poem.
You don’t choose a story, it chooses you.
There is no country but the heart.
The poem is not a thing we see; it is, rather, a light by which we may see.
We are the prisoners of history. Or are we?