Poems List

Ghosts whooed like owls in the long nights when I dared not look over my shoulder;

Ghosts whooed like owls in the long nights when I dared not look over my shoulder;
animals lurked in the cubbyhole under the stairs and the gas meter ticked. And I
remember that we went singing carols once, when there wasn't the shaving of a moon
to light the flying streets. At the end of a long road was a drive that led to a large
house, and we stumbled up the darkness of the drive that night, each one of us afraid,
each one holding a stone in his hand in case, and all of us too brave to say a word. The
wind through the trees made noises as of old and unpleasant and maybe webfooted
men wheezing in caves. We reached the black bulk of the house. "What shall we give
them? Hark the Herald?"
"No," Jack said, "Good King Wencelas. I'll count three." One, two three, and we began
to sing, our voices high and seemingly distant in the snow-felted darkness round the
house that was occupied by nobody we knew. We stood close together, near the dark
door. Good King Wencelas looked out On the Feast of Stephen ... And then a small, dry
voice, like the voice of someone who has not spoken for a long time, joined our
singing: a small, dry, eggshell voice from the other side of the door: a small dry voice
through the keyhole. And when we stopped running we were outside our house; the
front room was lovely; balloons floated under the hot-water-bottle-gulping gas;
everything was good again and shone over the town.
"Perhaps it was a ghost," Jim said.
"Perhaps it was trolls," Dan said, who was always reading.
"Let's go in and see if there's any jelly left," Jack said. And we did that.

Always on Christmas night there was music. An uncle played the fiddle, a cousin sang
"Cherry Ripe," and another uncle sang "Drake's Drum." It was very warm in the little
house. Auntie Hannah, who had got on to the parsnip wine, sang a song about
Bleeding Hearts and Death, and then another in which she said her heart was like a
Bird's Nest; and then everybody laughed again; and then I went to bed. Looking
through my bedroom window, out into the moonlight and the unending smoke-colored
snow, I could see the lights in the windows of all the other houses on our hill and hear
the music rising from them up the long, steady falling night. I turned the gas down, I
got into bed. I said some words to the close and holy darkness, and then I slept.
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Identification and basic context

Dylan Marlais Thomas was a Welsh poet and writer. He is widely regarded as one of the most important poets of the 20th century, celebrated for his lyrical intensity, innovative use of language, and exploration of themes of life, death, love, and nature. He wrote primarily in English.

Childhood and education

Born and raised in Swansea, Wales, Thomas grew up in a predominantly Welsh-speaking household, though his father, a fluent Welsh speaker, also taught English literature. Thomas's formal education was somewhat limited, as he left school at sixteen. However, he was a voracious reader and possessed an exceptional natural talent for language and poetry from a young age. He was deeply influenced by the Bible, Welsh folklore, and the works of poets like Wilfred Owen and T.S. Eliot.

Literary trajectory

Thomas began writing poetry in his early teens, and his first collection, "18 Poems," was published in 1934, quickly earning him critical acclaim. This was followed by "20 Poems," "Deaths and Entrances" (1946), and "Collected Poems, 1934–1952" (1952). He also wrote short stories, radio plays (most famously "Under Milk Wood"), and film scripts. His career was marked by a prolific output of poetry, though his personal life was often turbulent, characterized by frequent travel and a struggle with alcoholism.

Works, style, and literary characteristics

Thomas's major works include "Do not go gentle into that good night," "Fern Hill," "The Force That Through the Green Fuse Drives the Flower," and "Death Shall Have No Dominion." His dominant themes include the life cycle, love, sexuality, death, the passage of time, childhood innocence, and the natural world, often imbued with a sense of Welsh landscape and myth. His style is characterized by its lush, sensuous imagery, powerful rhythms, and a unique, often ecstatic, use of language. He experimented with form, but often worked within or adapted traditional structures, infusing them with a modern sensibility. His poetic voice is often passionate, confessional, and incantatory, with a strong musicality that draws the reader in. His language is dense with metaphor, alliteration, and assonance, creating a rich and evocative texture.

Cultural and historical context

Thomas emerged as a poet in the interwar period and achieved prominence during and after World War II. He was part of a generation of writers grappling with the profound social and political changes of the time. While not formally aligned with any specific literary movement, his work shares certain affinities with modernism and surrealism in its exploration of the subconscious and its innovative use of language. His Welsh identity was a significant aspect of his life and work, though he wrote in English.

Personal life

Thomas's personal life was famously tumultuous, marked by his heavy drinking, financial struggles, and a passionate but often strained relationship with his wife, Caitlin Macnamara. His friendships and rivalries were intense, and his bohemian lifestyle often took a toll on his health and his creative output. His relationships and experiences undoubtedly fueled the emotional intensity and raw honesty found in his poetry.

Recognition and reception

Thomas gained international recognition during his lifetime, particularly following his successful reading tours in the United States. His powerful voice and charismatic stage presence made him a captivating performer. While some critics lauded his genius, others found his work overly ornate or self-indulgent. However, his posthumous reputation has grown significantly, solidifying his status as a major poet.

Influences and legacy

Thomas was influenced by the Bible, Welsh mythology, and poets such as Gerard Manley Hopkins, Walt Whitman, and the English Romantics. He, in turn, influenced a generation of poets with his distinctive voice, his lyrical power, and his innovative approach to language. His work continues to be studied and performed, and his poems remain among the most popular and enduring of the 20th century.

Interpretation and critical analysis

Thomas's poetry is often analyzed for its exploration of the tension between life and death, the sacred and the profane, and the individual's relationship with the universe. Critics have debated the extent to which his work is autobiographical, philosophical, or simply a masterful manipulation of language. His themes of mortality and the celebration of life's vitality continue to provoke discussion.

Curiosities and lesser-known aspects

Thomas was known for his public readings, which were often electrifying performances. His work on "Under Milk Wood" was a significant achievement in radio drama. Despite his fame, he often struggled financially, relying on patrons and performing to make ends meet.

Death and memory

Dylan Thomas died in New York City in 1953 at the age of 39, under circumstances often attributed to his heavy drinking and declining health. His death was a significant loss to the literary world. His "Collected Poems, 1934–1952" remains a seminal work, and his legacy as a poet of extraordinary talent and passionate voice continues to thrive.