The Irony of Romance

World Enough and Time may carry the subtitle "A Romantic Novel," yet this label is laced with irony. The narrative plunges into the depths of a notorious series of tragic events that unfurled in early Kentucky, known ominously as "The Kentucky Tragedy." Its conclusion is indeed steeped in sorrow, as the story charts the descent and ultimate demise of its hero during the latter half.

The Passionate Descent

Borrowing its title from Andrew Marvell's timeless poem, "To His Coy Mistress To Make Much of Time," World Enough and Time unfolds the fervent lives of two lovers. Their intense blend of romantic idealism and fiery passion sets them on a path to ruin. In this sense, the novel is fittingly termed a "romantic novel," for its characters personify the very essence of romanticism itself.

Warren's novel opens with an epigraph drawn from Edmund Spenser's vivid portrayal of the knight Artegall, the valiant protagonist of Book V in The Faerie Queene. Artegall embodies the spirit of justice, navigating his quest alongside his stalwart squire, Talos, to enforce a fierce retribution upon those who dare violate the divine decrees of God and the majestic Gloriana, the Fairy Queen. In an intriguing twist of comparison, Warren once likened Willie Stark to Talos, subtly weaving a tapestry of connection between Artegall and Jeremiah Beaumont, the central figure of World Enough and Time. This thematic thread binds this narrative to the philosophical core of its predecessor, All the King's Men (1946; see separate entry).

Beaumont, the protagonist of World Enough and Time, shares intriguing parallels with characters from All the King's Men. Much like Cass Mastern, the tragic figure in the Civil War tale-within-a-tale, Beaumont is an idealist who spirals into despair due to his overwhelming romanticism. Similarly, he mirrors the enigmatic idealist Adam Stanton, who tragically assassinates Willie Stark in a desperate attempt to restore his family's honor through vengeance.

Beaumont's romantic idealism unfurls into a tapestry of tragedy, ensnaring not only himself and Rachel but also his mentor-turned-victim, Colonel Cassius Fort. His downfall echoes the relentless quests for honor and justice pursued by both Mastern and Stanton in All the King's Men. Thus, Robert Penn Warren explores the tragic currents of history through the lens of the idealist, or "man of idea," in World Enough and Time, juxtaposed with Willie Stark's pragmatic "man of fact" in All the King's Men.

Moreover, while Adam Stanton's perspective may have been overshadowed in All the King's Men—where he was primarily portrayed through his brooding, romantic piano sessions—World Enough and Time offers a contrasting illumination. Here, the narrative confines the reader to Beaumont's perspective, enriched by the narrator's sardonic critique, thus providing a richer understanding of the idealistic viewpoint.