It is particularly ironic that Robinson, often labeled an old-fashioned writer for his adherence to traditional poetic forms, tackled subject matter as unconventional as any of his contemporaries. His poetry eschews the sentimentalism that marked much of nineteenth-century literature, presenting instead a more complex and nuanced perspective on human existence. Robinson’s work challenges the simplistic notion that divine intervention will invariably set all matters right in this world. He portrays human beings as inherently flawed, often oblivious to divine guidance, and thus prone to suffering. Yet, Robinson offers a glimmer of hope amid the darkness he depicts. He suggests that beyond the immediate turmoil and suffering, there lies a greater light. This optimism springs from the belief that, once past their ordeals, humans can grasp the overarching plan that God has in store for them.

The poems in The Children of the Night by Edwin Arlington Robinson weave intricate narratives around themes of misery, failure, and death. The characters that inhabit these verses often grapple with the bleak realities of existence, frequently without even realizing the emptiness of their lives. Among these individuals are materialists, captured vividly in the poem beginning with “To me the groaning of world-worshippers,” who remain oblivious to the void that wealth cannot fill.

One stark example of Robinson's exploration of human nature is the character of Aaron Stark. He epitomizes the worst facets of humanity, reveling in his notorious reputation for heartlessness. Stark's callous demeanor is so entrenched that the genuine pity of a kind-hearted soul, who perceives Stark’s isolation, only serves to amuse him. His indifference to compassion reflects a profound disconnection from humanity.

However, not all characters are as blind to their dissatisfaction. Richard Cory, another of Robinson's creations, stands as a glittering figure in stark contrast to his internal discontent. Despite his wealth and esteemed social position, Cory's life is not spared from the pangs of unhappiness. His story underscores the poignant reality that external success does not inherently equate to personal fulfillment.

In the realm of love and relationships, the transition from the nineteenth century's idealism to the twentieth century's realism reflects a profound shift in understanding human connections. A nineteenth-century sentimentalist might have crafted tales where characters found fulfillment in romantic love. However, the twentieth-century realist perspective, as exemplified by Robinson, reveals a more complex and often darker portrayal of love. In his view, what many deem love is frequently little more than an overpowering sexual obsession, akin to the relentless drive that consumes John Evereldown. Such love, imbued with obsession and possessiveness, appears to lead inevitably to disaster.

Robinson's narratives frequently explore the tragic dimensions of love, demonstrated in "The Story of the Ashes and the Flame." Here, a husband remains consumed by love for his wife even after her betrayal and abandonment, ultimately retreating into a life of longing for her return. This pattern of destructive love repeats itself when death claims the beloved, as seen in poems like "Luke Havergal," "Amaryllis," and "Reuben Bright." Those left behind are so overwhelmed by grief that their own lives are rendered virtually meaningless. In this world, friendship might offer solace, yet Robinson portrays it as flawed as well.

In "An Old Story," the speaker confronts the inherent human depravity that taints all relationships. Ironically, the more a friend proves his loyalty, earning the admiration of others, the stronger the speaker's aversion grows. It is only after the friend's death that the speaker becomes painfully aware of his profound loss. Robinson's poetry suggests that none of his characters truly know each other. This theme is poignantly captured in "On...