Abstract
R. P.Warren's play about Huey Long,Proud Flesh(1937–39), is not a provisional draft ofAll the King's Men(1946) but a distinct work in its own right. Its conservative criticism of New Deal “common-man-ism” makes it unusual in the politicized literature of the 1930s. At the core of the play is a political symbolism of the flesh, which Warren derives from Shakespeare's representation of the Tudor doctrine of the king's two bodies. Governor Strong embodies the people through his second or immortal body, a dictatorial flesh that Warren resists by trying to articulate an existential “definition” of the self.
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