الفهرس 
Chapter iOnly 14 pages are availabe for public view
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Abstract
Warren’s poetry is a response to the world in which man lives. Like many of his contemporaries, he is convinced that this world has become increasingly inhumane. The image of the self in that modern jworld and what may lead to its distortion or realization is depicted in his poetry. He finds the promise of something positive in linking the self rith Nature and with other selves so as to achieve the great osmosis of jing. He also finds this promise in man’s capabilities, awareness and ill knowledge of life’s tragedies and mysteries.
The image of the self is at the heart of Warren’s poetry. He is ich eager to place man in his rightful place in Nature as he is part and ;el of it, and to celebrate his actual potentialities without any excess, jeration or revulsion. This would enable man to understand the roild around him and to interact with it. Warren attributes to the self m inseparable dimensions, an awareness of time and a moral jonsibility. The self has a past and a present. It is also morally >onsible because it is capable of action which is worthy of either ise or blame.
Through his poetry in general and his Thirty-Six Poems (1935), Eleven Poems on the Same Theme (1942), Brother to Dragons: A Tale fin Verse and Voices (1979), and Audubon: A Vision (1969) in
r, Warren proposes a certain process for man to achieve
I. This process is four-fold: (a) an outward struggle of the self against the naturalistic annihilation, (b) an inward struggle of the shadow
self against the conscious ego and a separation from fellow man, (c) a magnification of the shadow self and recognition of complicity and communal guilt and (d) a return to Nature on much healthier terms and an acceptance of humanity.
The present study is divided into four chapters preceded by an introduction and followed by a conclusion. The introduction highlights ithe place of Robert Penn Warren as a major American poet, and the ;tors that influenced him and shaped his poetry. The concept of the jjf with its full implications is also dealt with in detail. The introduction presents a justification for choosing the subject of the image of the Fto fully examine in Warren’s poetry.
Chapter I, entitled ”Thirty-Six Poems (1935): The Self and ilistic Annihilation,” deals with the place of the self in a listic world where naturalism with its inhumane touch, reduces into a mere cog in a big, giant machine which governs and controls life’s deeds anal actions. Here, man is completely surrounded by tors of annihilation, that is, time and death.
Chapter II, ”Eleven Poems on the Same Theme (1942): Struggle of the Shadow Self against the Conscious Ego,” depicts the internal struggle of the shadow self against the conscious ego. The shadow self tries to reach the surface and get acknowledged, but the conscious self keeps it downward in, the darkness of the house of the psyche. The psychology of Carl Gustav Jung is used to better analyze the poems studied in this chapter.
Chapter III, ”Brother to Dragons: A Tale in Verse and Voices
(1979) and the Beast Image,” portrays the strength of the beast self through an analysis of the beast image that emerges several times to the main characters in the poem. Recognition of communal guilt and complicity, as well as an awareness of man’s real capabilities, is dealt with and shown as the best means of achieving reconciliation between man and his beast self on the one hand and man and his fellow man on the other.
Chapter IV, ”Audubon: A Vision (1969): The Self and Osmosis with Nature,” deals with the various attempts which the self makes so as to achieve an immersion in and a fusion with Nature. Audubon, the persona, is depicted as a penitent Adam who is seeking a re-admission into his paradise which is lost and the result is a world which is full with sordid and grim realities.
The conclusion presents an assessment of the analysis of Thirty-Six Poems (1935), Eleven Poems on the Same Theme (1942), Brother to Dragons: A Tale in Verse and Voices (1979), and Audubon: A Vision (1969) which constitute the four facets of the image of the self. The governing factor or the process that unites the four volumes in a way that best reflects the image of the self is also discussed in detail.