Dylan Thomas: His Life and WorkOxford University Press, 1964 - 201 páginas This study of the poems and prose works of Dylan Thomas traces his development as a writer, linking this for the first time with his Welsh background. The formative influence of Swansea on the young poet, his family roots in West Wales and the childhood visits to Fernhill farm and the nearby Blaen Cwm cottage are all included, together with the Boat House and Laugharne, the absorbing village life and the inspiration of its now famous land- and sea-scapes. The impact of Welsh nonconformity and the chapel, and the radical politics of Wales are also explored as important influences on the poet's career. The 1994 preface, together with the introduction, throws new light on later poems like 'Prologue', the poet's work in film, broadcasting, as reader and as lecturer, while his own newly-discovered words, sharp and witty and with a poet's eye highlight his life, times and craft. The kaleidoscope of his changing worlds is seen in his homes in Wales and England, and his need in each one for a separate place to write, whether the hillside shed in Laugharne or a gypsy caravan in Oxfordshire or Camden. |
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Página 65
... verse . As well as the seven- teenth - century influence in Thomas's religious verse there is an important racial strain . Stanford has commented upon this , taking his example from Thomas's prose writing : In the Portrait of the Artist ...
... verse . As well as the seven- teenth - century influence in Thomas's religious verse there is an important racial strain . Stanford has commented upon this , taking his example from Thomas's prose writing : In the Portrait of the Artist ...
Página 144
... verses— in my manuscript a verse to a page of 51 lines each . And the second verse rhymes backward with the first . The first and last lines of the poem rhyme ; the second and the last but one ; and so on and so on . Why I acrosticked ...
... verses— in my manuscript a verse to a page of 51 lines each . And the second verse rhymes backward with the first . The first and last lines of the poem rhyme ; the second and the last but one ; and so on and so on . Why I acrosticked ...
Página 199
... verse , 28 , 51 , 63-65 , 118-19 , 171 , 179 Puritanism , 3 , 10 , 31 , 34 , 40-42 , 48 Quite Early One Morning ... verse , 122 , 127 , 131 , 140 , 144 , 148 , 154-5 Rhys , Keidrych , 74 , 138 Rhythm , in T.'s verse , 7–9 , 55 , 116 ...
... verse , 28 , 51 , 63-65 , 118-19 , 171 , 179 Puritanism , 3 , 10 , 31 , 34 , 40-42 , 48 Quite Early One Morning ... verse , 122 , 127 , 131 , 140 , 144 , 148 , 154-5 Rhys , Keidrych , 74 , 138 Rhythm , in T.'s verse , 7–9 , 55 , 116 ...
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18 Poems A. G. Prys-Jones Artist attitude bardic birds birthday blood Caitlin Thomas Caradoc Evans chapel child childhood Christ Christian close Collected Poems comedy conflict Cwmdonkin Cwmdonkin Park cynghanedd dark dead death Donne Dylan Thomas Early One Morning early poems early stories echoes emotional English experience eyes feeling Fern Hill flesh Geoffrey Moore green Gwyn Jones heaven heron holy Ibid idea imagery important influence innocence J. M. Brinnin John Donne Karl Shapiro Laugharne Letters to Vernon literary living London Mabinogion Map of Love Margiad Evans Milk Wood move natural night Nonconformist obsession pattern phrase play poet poet's poetic Portrait Puritan refers religious rhymes Rhys scene sense sexual singing Sir John's hill sound stanza suggests surrealist Swansea symbol T. S. Eliot theme Thomas in America Thomas's poetry tion town tradition tree Vernon Watkins verse voice Welsh poetry wind womb word writing Young Dog