Dylan Thomas belongs to an exclusive group, the Anglo-Welsh poets, who, throughout most of English literary history, have either chosen or have been compelled to write in English rather than in Welsh. Literary critics have often dismissed Dylan Thomas’ poetry, and particularly his figurative language, as excessively esoteric and complex and obscure. But some critics have attested Thomas to the rolling vigour of his voice, its melodic subtlety, and its hypnotic power of incantation. Thomas was being hailed as the most spectacular of the surrealist poets. He acknowledged his debt to James Joyce and strewed his pages with invented words and fused puns. Thomas also acknowledged hid debt to Sigmund Freud, stating, “poetry is the rhythmic , inevitable narrative, movement from an over clothed blindness to nakedness of light more even of the hidden causes than Freud could realize” This study will, I hope, go some way to meet this criticism by examining in some detail the dynamics of Thomas’ modern chief themes like death, war, religion and other themes like psychic traumas and techniques like simile, metaphor, diction, metaphor, and symbolism, as necessary components of poetry that is both original and essential to the manifestation of a truly metaphysical vision. In this study I will attempt to identify the elements that characterize the modernity in themes and techniques in the poetry of Dylan Thomas in short and to establish why his poems are the way they are.
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