Dylan Thomas

Dylan Thomas

1914–1953 · lived 39 years GB GB

Dylan Thomas was a celebrated Welsh poet whose vivid imagery, lyrical intensity, and unique use of language captivated readers worldwide. His work, often characterized by its passionate exploration of life, death, love, and nature, combined a deep connection to his Welsh heritage with a modernist sensibility. Despite a tragically short and often tumultuous life, his poems possess an enduring power and musicality that have secured his place as one of the 20th century's most important poets.

n. 1914-10-27, Swansea · m. 1953-11-09, Nova Iorque

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Do Not Go Gentle Into That Good Night

Do not go gentle into that good night, 
Old age should burn and rave at close of day; 
Rage, rage against the dying of the light. 

Though wise men at their end know dark is right, 
Because their words had forked no lightning they 
Do not go gentle into that good night. 

Good men, the last wave by, crying how bright 
Their frail deeds might have danced in a green bay, 
Rage, rage against the dying of the light. 

Wild men who caught and sang the sun in flight, 
And learn, too late, they grieved it on its way, 
Do not go gentle into that good night. 

Grave men, near death, who see with blinding sight 
Blind eyes could blaze like meteors and be gay, 
Rage, rage against the dying of the light. 

And you, my father, there on that sad height, 
Curse, bless, me now with your fierce tears, I pray. 
Do not go gentle into that good night. 
Rage, rage against the dying of the light.
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Bio

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.

Poems

51

If my head hurt a hair's foot

If my head hurt a hair's foot

'If my head hurt a hair's foot
Pack back the downed bone. If the unpricked ball of my breath
Bump on a spout let the bubbles jump out.
Sooner drop with the worm of the ropes round my throat
Than bully ill love in the clouted scene.


'All game phrases fit your ring of a cockfight:
I'll comb the snared woods with a glove on a lamp,
Peck, sprint, dance on fountains and duck time
Before I rush in a crouch the ghost with a hammer, air,
Strike light, and bloody a loud room.


'If my bunched, monkey coming is cruel
Rage me back to the making house. My hand unravel
When you sew the deep door. The bed is a cross place.
Bend, if my journey ache, direction like an arc or make
A limp and riderless shape to leap nine thinning months.'


'No. Not for Christ's dazzling bed
Or a nacreous sleep among soft particles and charms
My dear would I change my tears or your iron head.
Thrust, my daughter or son, to escape, there is none, none, none,
Nor when all ponderous heaven's host of waters breaks.


'Now to awake husked of gestures and my joy like a cave
To the anguish and carrion, to the infant forever unfree,
O my lost love bounced from a good home;
The grain that hurries this way from the rim of the grave
Has a voice and a house, and there and here you must couch and cry.


'Rest beyond choice in the dust-appointed grain,
At the breast stored with seas. No return
Through the waves of the fat streets nor the skeleton's thin ways.
The grave and my calm body are shut to your coming as stone,
And the endless beginning of prodigies suffers open.'
331

I Fellowed Sleep

I Fellowed Sleep

I fellowed sleep who kissed me in the brain,
Let fall the tear of time; the sleeper's eye,
Shifting to light, turned on me like a moon.
So, planning-heeled, I flew along my man
And dropped on dreaming and the upward sky.


I fled the earth and, naked, climbed the weather,
Reaching a second ground far from the stars;
And there we wept I and a ghostly other,
My mothers-eyed, upon the tops of trees;
I fled that ground as lightly as a feather.


'My fathers' globe knocks on its nave and sings.'
'This that we tread was, too, your father's land.'
'But this we tread bears the angelic gangs
Sweet are their fathered faces in their wings.'
'These are but dreaming men. Breathe, and they fade.'


Faded my elbow ghost, the mothers-eyed,
As, blowing on the angels, I was lost
On that cloud coast to each grave-grabbing shade;
I blew the dreaming fellows to their bed
Where still they sleep unknowing of their ghost.


Then all the matter of the living air
Raised up a voice, and, climbing on the words,
I spelt my vision with a hand and hair,
How light the sleeping on this soily star,
How deep the waking in the worlded clouds.


There grows the hours' ladder to the sun,
Each rung a love or losing to the last,
The inches monkeyed by the blood of man.
And old, mad man still climbing in his ghost,
My fathers' ghost is climbing in the rain.
285

I Make This In A Warring Absence

I Make This In A Warring Absence

I make this in a warring absence when
Each ancient, stone-necked minute of love's season
Harbours my anchored tongue, slips the quaystone,
When, praise is blessed, her pride in mast and fountain
Sailed and set dazzling by the handshaped ocean,
In that proud sailing tree with branches driven
Through the last vault and vegetable groyne,
And this weak house to marrow-columned heaven,


Is corner-cast, breath's rag, scrawled weed, a vain
And opium head, crow stalk, puffed, cut, and blown,
Or like the tide-looped breastknot reefed again
Or rent ancestrally the roped sea-hymen,
And, pride is last, is like a child alone
By magnet winds to her blind mother drawn,
Bread and milk mansion in a toothless town.


She makes for me a nettle's innocence
And a silk pigeon's guilt in her proud absence,
In the molested rocks the shell of virgins,
The frank, closed pearl, the sea-girls' lineaments
Glint in the staved and siren-printed caverns,
Is maiden in the shameful oak, omens
Whalebed and bulldance, the gold bush of lions,
Proud as a sucked stone and huge as sandgrains.


These are her contraries: the beast who follows
With priest's grave foot and hand of five assassins
Her molten flight up cinder-nesting columns,
Calls the starved fire herd, is cast in ice,
Lost in a limp-treed and uneating silence,
Who scales a hailing hill in her cold flintsteps
Falls on a ring of summers and locked noons.


I make a weapon of an ass's skeleton
And walk the warring sands by the dead town.
Cudgel great air, wreck east, and topple sundown,
Storm her sped heart, hang with beheaded veins
Its wringing shell, and let her eyelids fasten.
Destruction, picked by birds, brays through the jaw-bone,


And, for that murder's sake, dark with contagion
Like an approaching wave I sprawl to ruin.
Ruin, the room of errors, one rood dropped
Down the stacked sea and water-pillared shade,
Weighed in rock shroud, is my proud pyramid;
Where, wound in emerald linen and sharp wind,
The hero's head lies scraped of every legend,
Comes love's anatomist with sun-gloved hand
Who picks the live heart on a diamond.


'His mother's womb had a tongue that lapped up mud,'



Cried the topless, inchtaped lips from hank and hood
In that bright anchorground where I lay linened,
'A lizard darting with black venom's thread
Doubled, to fork him back, through the lockjaw bed
And the breath-white, curtained mouth of seed.'
'See,' drummed the taut masks, 'how the dead ascend:
In the groin's endless coil a man is tangled.'


These once-blind eyes have breathed a wind of visions,
The cauldron's root through this once-rindless hand
Fumed like a tree, and tossed a burning bird;
With loud, torn tooth and tail and cobweb drum
The crumpled packs fled past this ghost in bloom,
And, mild as pardon from a cloud of pride,
The terrible world my brother bares his skin.


Now in the cloud's big breast lie quiet countries,
Delivered seas my love from her proud place
Walks with no wound, nor lightning in her face,
A calm wind blows that raised the trees like hair
Once where the soft snow's blood was turned to ice.
And though my love pulls the pale, nippled air,
Prides of to-morrow suckling in her eyes,
Yet this I make in a forgiving presence.
262

Holy Spring

Holy Spring

O
Out of a bed of love
When that immortal hospital made one more moove to soothe
The curless counted body,
And ruin and his causes
Over the barbed and shooting sea assumed an army
And swept into our wounds and houses,
I climb to greet the war in which I have no heart but only
That one dark I owe my light,
Call for confessor and wiser mirror but there is none
To glow after the god stoning night
And I am struck as lonely as a holy marker by the sun

No
Praise that the spring time is all
Gabriel and radiant shrubbery as the morning grows joyful
Out of the woebegone pyre
And the multitude's sultry tear turns cool on the weeping wall,
My arising prodgidal
Sun the father his quiver full of the infants of pure fire,
But blessed be hail and upheaval
That uncalm still it is sure alone to stand and sing
Alone in the husk of man's home
And the mother and toppling house of the holy spring,
If only for a last time.
345

How Soon The Servant Sun

How Soon The Servant Sun

How soon the servant sun,
(Sir morrow mark),
Can time unriddle, and the cupboard stone,
(Fog has a bone
He'll trumpet into meat),
Unshelve that all my gristles have a gown
And the naked egg stand straight,


Sir morrow at his sponge,
(The wound records),
The nurse of giants by the cut sea basin,
(Fog by his spring
Soaks up the sewing tides),
Tells you and you, my masters, as his strange
Man morrow blows through food.


All nerves to serve the sun,
The rite of light,
A claw I question from the mouse's bone,
The long-tailed stone
Trap I with coil and sheet,
Let the soil squeal I am the biting man
And the velvet dead inch out.


How soon my level, lord,
(Sir morrow stamps
Two heels of water on the floor of seed),
Shall raise a lamp
Or spirit up a cloud,
Erect a walking centre in the shroud,
Invisible on the stump


A leg as long as trees,
This inward sir,
Mister and master, darkness for his eyes,
The womb-eyed, cries,
And all sweet hell, deaf as an hour's ear,
Blasts back the trumpet voice.
354

From Love's First Fever to Her Plague

From Love's First Fever to Her Plague

From love's first fever to her plague, from the soft second
And to the hollow minute of the womb,
From the unfolding to the scissored caul,
The time for breast and the green apron age
When no mouth stirred about the hanging famine,
All world was one, one windy nothing,
My world was christened in a stream of milk.
And earth and sky were as one airy hill.
The sun and mood shed one white light.


From the first print of the unshodden foot, the lifting
Hand, the breaking of the hair,
From the first scent of the heart, the warning ghost,
And to the first dumb wonder at the flesh,
The sun was red, the moon was grey,
The earth and sky were as two mountains meeting.


The body prospered, teeth in the marrowed gums,
The growing bones, the rumour of the manseed
Within the hallowed gland, blood blessed the heart,
And the four winds, that had long blown as one,
Shone in my ears the light of sound,
Called in my eyes the sound of light.
And yellow was the multiplying sand,
Each golden grain spat life into its fellow,
Green was the singing house.


The plum my mother picked matured slowly,
The boy she dropped from darkness at her side
Into the sided lap of light grew strong,
Was muscled, matted, wise to the crying thigh,
And to the voice that, like a voice of hunger,
Itched in the noise of wind and sun.


And from the first declension of the flesh
I learnt man's tongue, to twist the shapes of thoughts
Into the stony idiom of the brain,
To shade and knit anew the patch of words
Left by the dead who, in their moonless acre,
Need no word's warmth.
The root of tongues ends in a spentout cancer,
That but a name, where maggots have their X.


I learnt the verbs of will, and had my secret;
The code of night tapped on my tongue;
What had been one was many sounding minded.


One wound, one mind, spewed out the matter,
One breast gave suck the fever's issue;
From the divorcing sky I learnt the double,
The two-framed globe that spun into a score;
A million minds gave suck to such a bud



As forks my eye;
Youth did condense; the tears of spring
Dissolved in summer and the hundred seasons;
One sun, one manna, warmed and fed.
253

Here In This spring

Here In This spring

Here in this spring, stars float along the void;
Here in this ornamental winter
Down pelts the naked weather;
This summer buries a spring bird.


Symbols are selected from the years'
Slow rounding of four seasons' coasts,
In autumn teach three seasons' fires
And four birds' notes.


I should tell summer from the trees, the worms
Tell, if at all, the winter's storms
Or the funeral of the sun;
I should learn spring by the cuckooing,
And the slug should teach me destruction.


A worm tells summer better than the clock,
The slug's a living calendar of days;
What shall it tell me if a timeless insect
Says the world wears away?
361

Especially When the October Wind

Especially When the October Wind

Especially when the October wind
With frosty fingers punishes my hair,
Caught by the crabbing sun I walk on fire
And cast a shadow crab upon the land,
By the sea's side, hearing the noise of birds,
Hearing the raven cough in winter sticks,
My busy heart who shudders as she talks
Sheds the syllabic blood and drains her words.


Shut, too, in a tower of words, I mark
On the horizon walking like the trees
The wordy shapes of women, and the rows
Of the star-gestured children in the park.
Some let me make you of the vowelled beeches,
Some of the oaken voices, from the roots
Of many a thorny shire tell you notes,
Some let me make you of the water's speeches.


Behind a pot of ferns the wagging clock
Tells me the hour's word, the neural meaning
Flies on the shafted disk, declaims the morning
And tells the windy weather in the cock.
Some let me make you of the meadow's signs;
The signal grass that tells me all I know
Breaks with the wormy winter through the eye.
Some let me tell you of the raven's sins.


Especially when the October wind
(Some let me make you of autumnal spells,
The spider-tongued, and the loud hill of Wales)
With fists of turnips punishes the land,
Some let me make you of the heartless words.
The heart is drained that, spelling in the scurry
Of chemic blood, warned of the coming fury.
By the sea's side hear the dark-vowelled birds.
295

Find Meat On Bones

Find Meat On Bones

'Find meat on bones that soon have none,
And drink in the two milked crags,
The merriest marrow and the dregs
Before the ladies' breasts are hags
And the limbs are torn.
Disturb no winding-sheets, my son,
But when the ladies are cold as stone
Then hang a ram rose over the rags.


'Rebel against the binding moon
And the parliament of sky,
The kingcrafts of the wicked sea,
Autocracy of night and day,
Dictatorship of sun.
Rebel against the flesh and bone,
The word of the blood, the wily skin,
And the maggot no man can slay.'


'The thirst is quenched, the hunger gone,
And my heart is cracked across;
My face is haggard in the glass,
My lips are withered with a kiss,
My breasts are thin.
A merry girl took me for man,
I laid her down and told her sin,
And put beside her a ram rose.


'The maggot that no man can kill
And the man no rope can hang
Rebel against my father's dream
That out of a bower of red swine
Howls the foul fiend to heel.
I cannot murder, like a fool,
Season and sunshine, grace and girl,
Nor can I smother the sweet waking.'


Black night still ministers the moon,
And the sky lays down her laws,
The sea speaks in a kingly voice,
Light and dark are no enemies
But one companion.
'War on the spider and the wren!
War on the destiny of man!
Doom on the sun!'
Before death takes you, O take back this.
346

Clown in the Moon

Clown in the Moon

My tears are like the quiet drift
Of petals from some magic rose;
And all my grief flows from the rift
Of unremembered skies and snows.


I think, that if I touched the earth,
It would crumble;
It is so sad and beautiful,
So tremulously like a dream.
308

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