Appendix

The piece on Chelsea, in the form of ten captions for photographs of Chelsea taken by Bill Brandt, is given below. I wish to point out that the Dylan Thomas Trust kindly considered the captions in the light of my suggestions that they were by Dylan Thomas, but were not convinced of his authorship. I would like to thank them, and David Higham Associates, for their interest in and consideration of this matter. It seems to me, however, that there is strong circumstantial evidence, and stylistically there is good reason, for taking the view that the captions were written by Dylan Thomas, though no authorship is named in the Lilliput publication.

Not only, it seems, did Dylan Thomas enquire as to who might write the captions for Brandt's Chelsea photographs, but he received the following letter a few weeks after their publication from the publishers Peter Lunn:

PUA.71D.G.IM.H.

D.Thomas, Esq., ao Editorial Dept. Lilliput, 43, Shoe Lane, London, EC4.

Dear Sir,

15th September, 1944

Mr Bill Brandt with whom, we understand, you cooperated by writing the commentary for the pictures on Chelsea published in the August Number of Lilliput has suggested that we should contact you. We intend to publish a book of photographs in the near future and would like to hear from you if you would be interested to edit the book and write the commentary for it.

266

Appendix 267

Would you be good enough to telephone us for the purpose of making an appointment with the writer?

Yours faithfully, For and on behalf of Peter Lunn (Publishers) Ltd.

This letter, a copy of which is now in the Dylan Thomas archive in the National Library of Wales, Aberystwyth, was clearly forwarded from the Lilliput office to Majoda, New Quay, where Thomas had recently moved. He replied from Majoda on 20 September 1944 to Peter Lunn Ltd:

Thank you for your letter of the 15th. I am very interested indeed in the idea of editing, and writing the

commentary fOf, the book of photographs you mention ....

Yours faithfully, Dylan Thomas

In a footnote to this letter Paul Ferris confirms this, speaking of 'a small publishing firm (Peter Lunn Ltd) that wanted Thomas to write an illustrated book about the streets of London. It had been impressed by captions he wrote for a feature in the magazine Lilliput (Collected Letters, p. 523). Incidentally, this project got only so far as Thomas's three-page typescript of 'The Book of Streets'.

Dylan Thomas had previously written eight three-line verse captions for photographs, called 'A Dream of Winter', in the January 1942 issue of Lilliput, of which Brandt had taken two London winter scenes. The 1944 Chelsea photographs centre on that part of Chelsea between Dylan Thomas's Manresa Road home, just off the King's Road, and the river, and one of them is that of Dylan and Caitlin in this studio flat, the caption ending with the comment 'Dylan Thomas and his wife Caitlin look grave in Manresa Road'. It seems to me very likely that Dylan Thomas accompanied Brandt on this Chelsea tour, for the captions include reference to two of his favourite Chelsea pubs, the 'King's Head & Eight Bells' and the 'Black Lion'. Characteristic features of Thomas's style include the compilation of word lists usually with comic deflation in the detail ('two volumes of the history of Birmingham') and occasional sexual innuendo ('Etiquette for Young Ladies, the bound Quiver'); parody and satire especially at

268 Appendix

the expense of the poseurs and the puritanically glum (Carlyle); the gift for mimicry in snippets of conversation; and the poetic transformation of scene and atmosphere - as in the early morning view from Battersea bridge, Thomas exactly evoking 'a cold mist mazing' the river, the chimneys of Battersea power station 'commanding' out of the mist and the cries of the 'off-white gulls'. The sad fate of Carlyle's dog is the kind of comic tall-story Thomas loved, often beginning as a pub fantasy. In a letter nearly ten years later (15 February 1953) Dylan repeated his story of Carlyle's dog, embroidering the joke further on learning his friend Keidrych Rhys was writing to the Western Mail from the family farm near Llandilo: 'Keidrych is, I see from the correspondence column in the Western Mail, ranting in Llandilo now. I don't know what happened to him & our Dumb Friends. Do you think something similar happened to his little charges as did to Carlyle's dog? Carlyle used to talk to it for hours, week after week, year after year, and at last it could bear it no longer & threw itself out of the window. Have you read anywhere recently of a mass animal suicide?' His jibe that Carlyle was 'stern with the flowers' is a typical jest at the puritan's expense. Particularly characteristic of Dylan Thomas, too, is the structure of recollection on which the captions are based, 'you will remember' the key to these vignettes of Chelsea scenes and life. His later broadcast talk 'Living in Wales' was similarly structured through the word 'remember'. Remembrance, with a hint of nostalgia, was particularly apt for the wartime readership of LiIliput, many of them servicemen abroad. It seems to me this description of Chelsea not only stands on its own, but is an instance of Thomas's prose style at its best. Importantly, also, in 1944 it is an early example of his later mastery as an artist in comedy in his broadcasts and stories, yet with a restraint and seriousness, as in his references to the Chelsea Pensioners and the 'lean and hungry poets' in their garrets, that his later prose sometimes turned to more boisterous jesting. Not by chance, I suspect, does the remark that these poets are writing 'for a credulous posterity what the dubious present will not accept' occurs in the caption for the picture of Dylan in his top-floor Chelsea bedsitter flat. Throughout the piece there are literary references, here of course appropriate to the Chelsea streets and houses he writes of, and such material is a feature of Thomas's many later BBC talks on writers, whether he drew it from his own knowledge and research or literary chat with friends in pub or club or wherever.

The captions are here published as separate paragraphs. The first comments on the photograph of the Thames that includes a

Appendix 269

view of Battersea Bridge and power station; the second depicts the 'Black Lion' near Cheyne Row, the commentary mocking 'inarticu­late writers nostalgic for a past they never knew'. While for the t/:lird photograph of a painter in Flood Street, the caption mainly speaks of the nearby King's Road when it was a setting for painters and their canvases, and is gently humorous at their expense. Flood Street runs between the King's Road and Cheyne Walk, location of the fourth caption. This demonstrates Dylan Thomas's ability to parody artistic affectation and chi-chi posturing through snatches of conversation, as in his later 'How to be a Poet', and some 'fugitives from the Cheyne-gang' - perhaps the wittiest and Thomas's most characteristic verbal pun in this piece - are photograph in the 'Blue Cockatoo' on Cheyne Walk. The next paragraph humorously captures the variety of Chelsea life through the long, winding sentence of lists, while the sixth retrospectively evokes Chelsea evenings of talk and music, sophistication b<ilth hinted and mocked. Here reference is also made to Whistler and his house at 97 Cheyne Walk, shown in the photograph, and which faces the river at the far end of Cheyne Walk towards Chelsea Reach, the caption aptly closing with echoes of Spenser's famous line on the Thames, a device Eliot used in The Waste Land. Brandt's picture - of two Chelsea Pensioners chatting prompts further description of the narrow streets leading to the river, evidently a resident recording and delighting in their atmosphere and habi­tues. The next illustration features 125 Old Church Street -opposite which Thomas stayed in no. 84 in 1942 - and the house has a plaque commemorating William de Morgan who was a member of the Pre-Raphaelite circle, whom Dylan pokes gentle fun at, and mention of Chelsea gardens prompts evocation also of Rossetti, Swinburne and Carlyle, evocation characteristically edged with comedy. Likewise the picture of Dylan and Caitlin is supported by a caption of wider context, varied in tone and style. Finally the photograph of Cheyne Row is enlivened by comic fantasy, and also significantly refers to the Chelsea pub Thomas particularly favoured - though it is not quite in the picture. The vignettes of these 'riverward streets', their 'careful trees', and 'great rooms, like barns pretending to be Cathedrals' vividly evokes features of Chelsea that, like other instances in this 1944 description, are to be found today. It is not surprising that Dylan Thomas should have been invited to do a book of London streets. 'Streets' were a narrative device he favoured, employing it in film­scripts as well, of course, as Under Milk Wood. It seems Dylan lodged briefly in Oakley Street in 1942, near Cheyne Rowand the 'Blue Cockatoo'.

270 Appendix

CHELSEA WORD-PICTURES (1944)

You remember the river, perhaps at early morning with a cold mist mazing it, and the four tall famous chimneys of the Power House commanding out of the mist. You remember the bridges, the bits of boats, old river ribs, hulks in the sad mud, and the tugs puffing up river and bowing their funnels to the bridges; and the barges, and the loud, off-white gulls. Perhaps you remember Turner, and Whistler, who saw in the grey winter water, through river sunrise and sunset, an eternal lovely London.

Perhaps you remember Chelsea as a haven of hangers-on, an artistic dead-end cramped full with failures in painters' uniform, with inarticu­late writers nostalgic for a past they never knew. There were parties with unpleasant sherry and conversation conscientiously remembered from period novels. But now some life is noising back to the pub and the studio; painters have come to live here who really paint pictures; there are writers whose job it is to write. Here is John Davenport outside the Black Lion: erudite, argumentative film-writer, parodist, musician, and conversationalist.

If all the canvases in Chelsea were laid end to end, what a pity. Perhaps you remember how hard it was to walk down King's Road without meeting a painter of Cornish fishing-boats, or a shaggy man sitting on a shooting-stick and drawing Old Chelsea with supreme regard for the passers-by. 'Modern' was a term of abuse. Picasso was a 'decadent', and the man whose work was accepted by the Royal Academy wore to his envious contemporaries an oily halo. But now new painters have come to live and work here. Peter Rose-Pulham, who was a photographer, paints strong shapes in Flood Street.

In the Blue Cockatoo on Cheyne Walk they have left Dali ('he's a conventional draughtsman with a cultivated phobia') and the Marx brothers ('the only true Surrealists after Bosch'), and Education ('I want them to run about naked, unashamed.' 'In this weather, Nina?') and are talking about themselves. Here over coffee, they lay their problems bare. They are fugitives from the Cheyne-gang. And all over the Quarter (yes, the Quarter!) other emancipated couples in discreet cafes sit, sip, reconstruct society, and recognise in one another the Greatness that is Underneath.

But Chelsea, to many, is one large curiosity shop: prints, picture frames, canvases, vases, trinkets, Chinese china, furniture, secondhand books (Ouida, Principles of Topiary, two volumes of the History of Birmingham, Etiquette for Young Ladies, the bound Quiver), tapestries, chandeliers, birds in glass cases, candlesticks, Irish harps, seem to fill the sprawling, built-over village: and here in his workshop is Alfred Rorke, aged eighty-two, a cabinet-maker. He was apprenticed to his father in 1887, and has made beautiful furniture for Kensington Palace, St james's Palace, and Magdalen, Oxford.

Appendix 271

Chelsea might mean, in retrospect, to you, evenings of music in calm rooms, of readings by the firelight, of talk talk talk until early morning over black coffee (oh the hiss of the probably Turkish cigarette-end in the coffee cup!). Walk down a road and hear music. Perhaps it is Olga Hedegus with her cello in 96 Cheyne Walk, where Whistler lived, painted, destroyed reputations with a sentence, and experimented with the colour of his wallpaper. Oh, all the words that are written and spoken around and about here, the lines that are drawn, the notes that are played! Outside the sweet Thames runs softly.

Chelsea, perhaps, is its studios to you; its dilettantes, charlatans, cranks; it is the river, it is the dark interior of the curiosity shop, it is the narrow streets, the intimate houses; perhaps it is just another suburb. But to the Chelsea Pensioners it is the end of marching and fighting all over the world; it is a place where you can buy a bit of tobacco, remembering how much tobacco cost in the good days, and drink a pint of beer, remembering how good beer used to be, and where you can walk and talk with the other old, indomitable men in the gardens or in the quiet streets by the Thames.

Is it the gardens of Chelsea that you remember, gardens where once the decorative pre-Raphaelite poets chanted their drowsy verse to ladies with golden hair and goitres, or where young men in knickerbockers discussed the New Age and the air was masculine with strong tobacco? Think of the gardens. Over the lawns leapt Rossetti's wombat; Swinburne squeaked on the wall, as in Beerbohm's lovely drawing; Carlyle was stern with the flowers. This bird is de Morgan pottery. The young girl at the window is quite recent.

Or is Chelsea, to you, a bustling busy suburb of shops and cinemas and pubs, a place where the only peace is in the garrets of the lean and hungry poets who, by the light of a candle in a beer bottle, write for a credulous posterity what the dubious present will not accept? They are the salt of Chelsea's soil; because of them, hearts and eyes kindle, and girls mutter proudly 'I have a little room in Chelsea'. Yesterday a girl from a Government office, who woodcuts fish, saw two poets and a model, all together, at once. Dylan Thomas and his wife Caitlin look grave in Manresa Road.

Perhaps it is the face of Chelsea that you remember; and when you are away from it, you make in your mind the patterns of riverward streets again, the late Georgian houses, the plaques to the famous and the forgotten, the neat pretty boxes with bright doors, the careful trees in the narrow ways, the roof studios and the great rooms, like barns pretending to be Cathedrals. You see Cheyne Row, looking towards the Thames, where the 'Eight Bells' still stands and where Thomas Carlyle is said to have bored his dog so deeply that it committed suicide by jumping through the top floor window.

Notes

Notes to Part One: Dylan Thomas's Life

1. Dylan Thomas, 'Reminiscences of Childhood', Quite Early One Morning (London, 1954) p. 1.

2. Vernon Watkins, Collected Poems (Ipswich, 1986) p. 288. 3. Dylan Thomas, quoted by Geoffrey Moore in 'Dylan Tho­

mas', Dylan Thomas: The Legend and the Poet, ed. E. W. Tedlock (London, 1960) p. 251.

4. Edward Thomas, The Life and Letters of Edward Thomas, ed. John Moore (London, 1939) p. 156.

5. The Mabinogion, trans. Gwyn Jones and T. Jones (London, 1949) pp. 63-4.

6. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London, 1985) p. 25.

7. I am indebted for this information to Paul Ferris's Dylan Thomas (London, 1977) p. 25.

8. Caitlin Thomas, Leftover Life to Kill (London, 1957) p. 56. 9. J. M. Brinnin, Dylan Thomas in America (London, 1956) p. 92.

to. Thomas, Collected Letters, pp. 76-7. 11. Dylan Thomas, 'The Fight', Portrait of the Artist as a Young

Dog (London, 1940) p. 77. 12. Edward Thomas, Life and Letters, p. 168. 13. Thomas, 'Reminiscences of Childhood', p. 1. 14. Ibid., p. 5. 15. Thomas, 'Return Journey', Quite Early One Morning, p. 76. 16. Thomas, Collected Letters, p. 43. 17. Thomas, 'Reminiscences of Childhood', p. 1. 18. Ibid., p. 3. 19. Thomas, 'Reminiscences of Childhood' (Second Version),

Quite Early One Morning, p. 9. 20. Thomas, 'Reminiscences of Childhood', p. 4. 21. Dylan Thomas, 'Three Nursery Rhymes', Swansea Grammar

School Magazine, vol. 27, no. 3 (December 1930) p. 82.

272

Notes 273

22. Dylan Thomas, 'Modern Poetry', Swansea Grammar School Magazine, vol. 26, no. 3 (December 1929) pp. 83-4.

23. Swansea Grammar School Magazine, vol. 27, no. 3 (December 1930) p. 112.

24. Ibid., vol. 27, no. 1, p. 11. 25. Ibid., vol. 27, no. 4 (April 1931) pp. 128-30. 26. Dylan Thomas, 'Old Garbo', Portrait of the Artist as a Young

Dog, pp. 186-7. 27. Augustus John, 'The Monogamous Bohemian', Adam (Dylan

Thomas Memorial Number), no. 238 (December 1953) p. 10. 28. Brinnin, Dylan Thomas in America, p. 26. 29. Geoffrey Moore, 'Dylan Thomas', The Legend and the Poet,

p.254. 30. Thomas, Collected Letters, p. 735. 31. Caitlin Thomas, with George Tremlett, Caitlin (London,

1986) p. 44. 32. Thomas, Collected Letters, p. 85. 33. Ibid., p. 161. 34. Ibid., pp. 7-8. 35. Ibid., p. 84. 36. Ibid., p. 85. 37. Ibid., p. 60. 38. Ibid., pp. 54-5. 39. Ibid., p. 85. 40. Ibid., p. 62. 41. Ibid., p. 43. 42. Thomas, 'The Peaches', Portrait of the Artist as a Young Dog,

pp.13-14. 43. Ibid., pp. 29-30. 44. Quoted in Daniel Jones, My Friend Dylan Thomas (London,

1977) pp. 26-7. I am particularly indebted to Daniel jones's book here.

45. Thomas, 'Return Journey', pp. 75-6. 46. Thomas, Collected Letters, p. 172. 47. Dylan Thomas, in an address to the Scottish PEN centre on 4

September 1948 at the Scotia Hotel, Edinburgh, and pub­lished in Voices of Scotland, December 1948, p. 22.

48. Ibid., p. 22. 49. Dylan Thomas, quoted in Adam, no. 238, p. 68. 50. Gwyn Jones, 'Welsh Dylan', Adelphi, vol. 30, no. 2 (February

1954) p. 115.

274 Notes

51. Dylan Thomas, 'On Reading One's Own Poems', Quite Early One Morning, p. 130.

52. Dylan Thomas, 'A Painter's Studio', Texas Quarterly, vol. iv, no. 4 (Winter 1961) p. 56.

53. Thomas, Collected Letters, p. 177. 54. Vernon Watkins, 'Introduction' to Dylan Thomas: Letters to

Vernon Watkins (London, 1957) pp. 12-13. 55. Vernon Watkins, 'Introduction' to 'Poetry and the Poet', I

That Was Born in Wales, ed. Gwen Watkins and Ruth Pryor (Cardiff, 1976) p. 29. I am also here indebted particularly to Gwen Watkins's Portrait of a Friend (Llandysul, 1983).

56. Caitlin Thomas, Caitlin, pp. 5-6. 57. Thomas, Collected Letters, pp. 254-5. 58. Ibid., p. 261. 59. Ibid., pp. 296 and 304. 60. Caitlin Thomas, Caitlin, pp. 29, 37 and 59. 61. Vernon Watkins, in Gwen Watkins's Portrait of a Friend, p. 60. 62. Ibid., p. 33. 63. Thomas, Collected Letters, p. 344. 64. See Watkins, Portrait of a Friend, p. 92. 65. Ibid., p. 36. 66. Dylan Thomas, quoted by Constantine Fitzgibbon in his The

Life of Dylan Thomas (London, 1965) p. 281. 67. Caitlin Thomas, Caitlin, p. 83. 68. Thomas, Collected Letters, p. 502. 69. Nicolette Devas, Two Flamboyant Fathers (London, 1966)

p. 198. I am here particularly indebted to her book for information.

70. ·Watkins, Portrait of a Friend, p. 107. 71. Thomas, Collected Letters, p. 519. 72. Thomas, 'On Reading One's Own Poems', Quite Early One

Morning, p. 130. 73. Caitlin Thomas, Caitlin, pp. 92-3. 74. Thomas, Collected Letters, p. 631. 75. Paul Ferris, Dylan Thomas, p. 211. 76. Thomas, Collected Letters, p. 655. 77. Ibid., p. 792. 78. Dylan Thomas, from broadcast talk quoted in Fitzgibbon, Life

of Dylan Thomas, p. 341. 79. Dylan Thomas, 'Prologue', Collected Poems 1934-53 (London,

1988) p. 3. The Editors convincingly point out that

Notes 275

'Prologue' is preferable to the previous title ' A u thor's Prologue'.

BO. Dylan Thomas, 'Laugharne', Quite Early One Morning, p. 71. 81. Thomas, Collected Letters, pp. 689-90. 82. Thomas, 'Prologue', Collected Poems 1934-53, p. 1. 83. Thomas, Collected Letters, p. 707. 84. Dylan Thomas, 'Over Sir John's hill', Collected Poems. 85. Watkins, 'Introduction', Letters to Vernon Watkins, p. 19. 86. Thomas, Collected Letters, p. 844. 87. Ibid., p. 732. 88. I am indebted for this information to Paul Ferris, Dylan

Thomas, p. 223. 89. Thomas, Collected Letters, p. 723. 90. Thomas, 'Laugharne', p. 71. 91. Caitlin Thomas, Caitlin, p. 179. 92. Caitlin Thomas, Leftover Life to Kill, pp. 35 and 58-9. 93. Ibid., p. 36. 94. Caitlin Thomas, Caitlin, pp. 116 and 124. 95. Ibid., p. 120. 96. Caitlin Thomas, Leftover Life to Kill, p. 53. 97. Thomas, 'Laugharne', Quite Early One Morning, p. 71. 98. Watkins, 'Introduction', p. 19. 99. Thomas, quoted in Fitzgibbon, Life of Dylan Thomas, p. 341.

100. Fitzgibbon, Life of Dylan Thomas, p. 351. 101. Thomas, Collected Letters, p. 753. 102. Ibid., p. 753. 103. Ibid., p. 845. 104. Dylan Thomas, 'Poetic Manifesto' (1951), Dylan Thomas: Early

Prose Writings, ed. Walford Davies (London, 1971) p. 154. 105. Dylan Thomas, 'I Am Going to Read Aloud', The London

Magazine, vol. 3, no. 9 (September 1956) p. 16. 106. I am indebted for this information to Paul Ferris, Dylan

Thomas, p. 242. 107. Ibid., p. 242. 108. Caitlin Thomas, Leftover Life to Kill, p. 53. 109. See Poetry and Film (Gotham Book Mart, 1972). This booklet

includes Thomas's comments. 110. Dylan Thomas, quoted by Ferris in Dylan Thomas, p. 240. 111. Ibid., p. 241. 112. Dylan Thomas, 'I Am Going to Read Aloud', The London

Magazine, vol. 3, no. 9 (September 1956) p. 15.

276 Notes

113. Ibid., p. 17. 114. Quoted in Ferris, Dylan Thomas, p. 232. 115. Dylan Thomas, 'I am Going to Read Aloud', The London

Magazine, vol. 3, no. 9 (September 1956) p. 17. 116. Quoted in Ferris, Dylan Thomas, p. 235. 117. Quoted in Fitzgibbon, Life of Dylan Thomas, p. 409. 118. Dylan Thomas, 'A Visit to America', Quite Early One Morning,

p.63. 119. Ibid., pp. 64 and 67. 120. See Ferris, Dylan Thomas, p. 245. 121. Dylan Thomas, 'A Visit to America', Quite Early One Morning,

pp.64-5. 122. See Fitzgibbon, Life of Dylan Thomas, p. 374. 123. Thomas, Collected Letters, p. 784. 124. Ibid., p. 792. 125. Ibid., p. 701. 126. See Fitzgibbon, Life of Dylan Thomas, p. 344. 127. Ibid., p. 374. 128. Ibid., p. 226. 129. Ibid., p. 343. 130. Thomas, Collected Letters, p. 902. 131. Dylan Thomas, 'The Cost of Letters', Early Prose Writings,

p.152. 132. Thomas, Collected Letters, p. 819. 133. Quoted by Gwen Watkins in Portrait of a Friend, p. 143. 134. Thomas, Collected Letters, p. 757. 135. Ibid., p. 748. 136. Ibid., pp. 748-9. 137. Dylan Thomas, 'Festival of Spoken Poetry', Quite'Early One

Morning, pp. 128 and 129. 138. Caitlin Thomas, Leftover Life to Kill, p. 59. 139. Ibid., p. 58. 140. I am indebted for this information to Paul Ferris, Dylan

Thomas, p. 293. 141. Thomas, Collected Letters, p. 838. 142. Philip Toynbee in his review of Collected Poems, Observer, 9

November 1952. 143. Dylan Thomas, quoted in Gwen Watkins's Portrait of a Friend,

p. 139, and to which I am indebted for the account of this and Watkins's last visit.

144. Ibid., p. 139.

Notes 277

145. Ibid., p. 140. 146. Thomas, Collected Letters, p. 845. 147. Brinnin, Dylan Thomas in America, p. 211. 148. A. T. Davies in his 'Note' to the 'Laugharne' talk, Quite Early

One Morning, p. 176. 149. Brinnin, Dylan Thomas in America, p. 203. Gittins's Last Days of

Dylan Thomas also interestingly depicts these last episodes, as of course does Paul Ferris.

150. I am particularly indebted to Paul Ferris's accounts in the chapter 'Alcohol and Morphia', Dylan Thomas, pp. 299-309.

151. Thomas, 'Prologue', Collected Poems: 1934-53, p. 2. 152. See Ferris, Dylan Thomas, p. 224. 153. Quoted in Dylan Thomas: The Legend and the Poet, ed. E. W.

Tedlock (London, 1960) p. 64.

Notes to Part Two: The Poetry

The Early Notebooks and other Manuscript Verse 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 298. 2. Ibid., p. 310. 3. Quoted in Poet in the Making: The Notebooks of Dylan Thomas,

ed. R. Maud (London, 1968) p. 274. 4. Dylan Thomas: The Poems, ed. Daniel Jones (London, 1971)

p.222. 5. Thomas, Poet in the Making, p. 106. 6. Ibid., pp. 81-2. 7. Ibid., p. 94. 8. Ibid., pp. 158-9. 9. Ibid., pp. 191-2.

10. Dylan Thomas, Collected Poems: 1934-53 (London, 1988) p. 75. 11. Poet in the Makind, pp. 97-8. 12. Ibid., pp. 109-10. See the final version in Dylan Thomas:

Collected Poems 1934-53, pp. 72-3. 13. Thomas, Collected Letters, p. 281. 14. See Gwen Watkins's Portraitofa Friend (Llandysul, 1983) p. 33. 15. Thomas, Collected Letters, p. 134. 16. Ibid., p. 116. 17. Ibid., pp. 266-7. 18. Ibid., p. 17. 19. Dylan Thomas, 'I am Going to Read Aloud', London Magazine,

278 Notes

vol. 3, no. 9 (September 1956) p. 14. 20. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.68. 21. Thomas, Collected Letters, p. 80. 22. Poet in the Making, p. 180. 23. Thomas, Collected Letters, p. 38. 24. Ibid., p. 90. 25. Ibid., p. 98. 26. Ibid., pp. 89-90. 27. Thomas, The Poems, edited Daniel Jones, p. 176. 28. Daniel Jones, in The Poems, p. 272. 29. 'Paper and sticks' is included in Collected Poems: 1934-53,

p.97. 30. 'General Preface to the Notes', Collected Poems 1934-53, p. 160.

'18 Poems' 1. Dylan Thomas, 'On Poetry', Encounter, vol. III, no. v (1954)

p.23. 2. Dylan Thomas, 'On Reading One's Own Poems', Quite Early

One Morning (London, 1954) p. 137. 3. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 38. 4. John Keats, The Letters of John Keats, ed. H. B. Forman

(London, 1935) p. 384. 5. Dylan Thomas, 'Book Review', Adelphi, vol. 3 (September

1934) pp. 418-19. 6. Thomas, Collected Letters, p. 39. 7. Ibid., p. 90. 8. Ibid., p. 39. 9. Dylan Thomas, Poet in the Making: The Notebooks of Dylan

Thomas, ed. R. Maud (London, 1968) p. 249. 10. Thomas, Collected Letters, p. 93. 11. Thomas, 'Book Review', Adelphi, vol. 3 (September 1934)

pp.418-19. 12. Dylan Thomas, 'Poetic Manifesto', Early Prose Writings, ed.

Walford Davies (London, 1971) p. 158. 13. Martin Dodsworth, 'The Concept of Mind and the Poetry of

Dylan Thomas', Dylan Thomas: New Critical Essays, ed. Wal­ford Davies (London, 1972) p. 112.

14. Thomas, Collected Letters, p. 39.

Notes 279

15. William Blake, William Blake: Poetry and Prose, ed. G. Keynes (London, 1939) p. 187.

16. Ibid., p. 182. 17. Thomas, Collected Letters, p. 80. 18. Ibid., p. 75. 19. Ibid., p. 25. 20. Ibid., p. 487. 21. Arthur Rimbaud, Oeuvres Completes de Arthur Rimbaud, ed.

Rolland de Reneville et Jules Mouquet (Paris, 1951) p. 254. 22. Vernon Watkins, 'Introduction', Dylan Thomas: Letters to

Vernon Watkins, ed. Vernon Watkins (London, 1957) p. 13. 23. Ibid., p. 13. 24. W. B. Yeats, 'Sailing to Byzantium', The Collected Poems

(London, 1952) pp. 217-18. 25. Dylan Thomas, 'After the funeral', Collected Poems: 1934-53

(London, 1988) p. 74. 26. Yeats, 'Sailing to Byzantium', pp. 217-18. 27. Ibid. 28. Thomas, Poet in the Making, p. 186. 29. Ibid., p. 187. 30. Dylan Thomas, 'Poetic Manifesto', Early Prose Writings,

pp.157-8. 31. Caitlin Thomas, Leftover Life to Kill (London, 1957) p. 57. 32. Thomas, Col/ected Letters, p. 297.

'Twenty-five Poems' 1. Gwyn Jones, Introduction to Welsh Short Stories (London,

1956) p. xiii. 2. Dylan Thomas, Collected Poems: 1934-53 (London, 1952)

p.163. 3. In John o'London's Weekly, 5 May 1934. 4. I am indebted for this information to Poet in the Making: The

Notebooks of Dylan Thomas, ed. R. Maud (London, 1968) p. 317. 5. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 39.

'The Map of Love' 1. John Donne, Deaths Duell, Sermons of John Donne, vol. x, ed.

E. M. Simpson and G. R. Potter (Berkeley, Calif. 1961) pp. 232-3.

280 Notes

2. Dylan Thomas, 'On Reading One's Own Poems', Quite Early One Morning (London, 1954) p. 137.

3. Dyla~ Thomas, Poet in the Making: The Notebooks of Dylan Thomas, ed. R. Maud (London, 1968) p. 168.

4. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London, 1985) pp. 12-13.

5. Dylan Thomas, 'The Peaches', Portrait of the Artist as a Young Dog (London, 1940) pp. 23-4.

6. Thomas, Collected Letters, p. 288. 7. Donne, Deaths Duell, p. 234. 8. Dylan Thomas, 'In Country Sleep', Collected Poems: 1934-53

(London, 1988) p. 140.

'Deaths and Entrances' 1. John Donne, Deaths Duell, Sermons of John Donne, vol. x, ed.

Simpson and Potter (California, 1961) p. 231. 2. See the review of Our Country in Dylan Thomas in Print: A

Bibliographical History, ed. Ralph Maud (London, 1972) pp.138-9.

3. Dylan Thomas, Our Country, Wales, Autumn 1943, p. 76. 4. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 487. 5. Ibid., p. 518. 6. J. Maclaren-Ross, 'The Polestar Neighbour', London Magazine,

vol. 4, no. 8 (November 1964) p. 103. 7. Dylan Thomas, 'Wilfred Owen', Quite Early Gne Morning,

p. t02. 8. A. T. Davies, 'Preface', Quite Early Gne Morning (London,

1954) p. viii. 9. H. N, Fairchild, Religious Trends in English Poetry, vol. VI (New

York and London, 1968) p. 412. to. Walford Davies, 'Notes', Dylan Thomas: Selected Poems, ed. W.

Davies (London, 1974) p. 125. 11. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.110. 12. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 11. 13. Daniel Jones, 'Notes', Dylan Thomas: The Poems, ed. Daniel

Jones (London, 1971) p. 271. Dr Jones also confirms that the hunchback 'stayed from the moment the park opened until it closed'.

Notes 281

14. Dylan Thomas, 'Three Poems', Quite Early One Morning, p.157.

15. Thomas, Collected Letters, p. 518. 16. Ibid., p. 519. 17. Vernon Watkins, Dylan Thomas: Letters to Vernon Watkins, ed.

Vernon Watkins (London, 1957) p. 115. 18. In confirmation of the use of the word see Bill Bundy,

'Spreading the Net: Survey of the Lore and Language of Welsh Fisher Folk', Anglo-Welsh Review, no. 59 (Autumn 1977) p.70.

19. Henry Vaughan, 'The Retreat', The Works of Henry Vaughan, vol. I, ed. L. C. Martin (Oxford, 1957) p. 419.

20. Thomas's words to define mysticism, Collected Letters, p. 26. 21. William Wordsworth, 'Ode on Intimations of Immortality',

Poetical Works, ed. E. de Selincourt and H. Derbyshire, vol. 4 (Oxford, 1947) p. 280.

22. Thomas, Collected Letters, p. 689. 23. Thomas 'Three Poems', Quite Early One Morning, p. 154. 24. Dylan Thomas, quoted in Paul Ferris, Dylan Thomas (London,

1977) p. 45. 25. Watkins, 'Introduction', Letters to Vernon Watkins, p. 13. 26. Thomas, 'Three Poems', Quite Early One Morning. 27. Dylan Thomas, 'The Peaches', Portrait of the Artist as a Young

Dog (London, 1940) p. 16. 28. Thomas Traherne, Centuries of Meditations (London, 1908)

p.157. 29. Ibid., p. 157. 30. Thomas Traherne, The Poetical Works of Thomas Traherne, ed.

G. L. Wade (London, 1932) p. 198. 31. W. B. Yeats, in 'Letter to His Father', July 1913, The Letters of

W. B. Yeats, ed. A. Wade (London, 1954) p. 583. 32. Walford Davies, Dylan Thomas (Milton Keynes, 1986) p. 80. 33. T. S. Eliot, 'Dante', Selected Essays (London, 1934) p. 243. 34. Thomas, Collected Letters, p. 382. 35. S. T. Coleridge, Poetical Works, ed. E. H. Coleridge (London,

1978) p. 364. 36. Thomas, Collected Letters, p. 26. 37. Ibid., p. 26. 38. Derek Stanford, Dylan Thomas (London, 1954) p. 101. 39. T. S. Eliot, 'East Coker', Four Quartets (London, 1952) p. 16. 40. Dylan Thomas, Collected Poems: 1934-53 (London, 1988) p. 21.

282 Notes

41. W. B. Yeats, 'Leda and the Swan', Collected Poems (London, 1952) p. 241.

42. 'Introduction', The Penguin Book of English Pastoral Verse, introduced and edited by J. Barrell and J. Bull (London, 1974) p.2.

43. Davies, 'Notes', Dylan Thomas: Selected Poems, ed. W. Davies (London, 1974) p. 126.

44. Dylan Thomas, quoted in Harvey Breit, 'Talks with Dylan Thomas', A Casebook on Dylan Thomas, ed. J. M. Brinnin (New York, 1960) p. 197.

45. Dylan Thomas, The Collected Letters, p. 707.

'Collected Poems' 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 408. 2. Ibid., p. 757. 3. Ibid., p. 800. 4. Dylan Thomas, from notes on a page from a Basildon Bond

notepad in the National Library of Wales manuscript collec­tion.

5. Vernon Watkins, The Collected Poems, pp. 119-20. 6. Ibid., p. 116. 7. Ibid., p. 116. 8. Stuart Holroyd, 'Dylan Thomas and the Religion of the

Instinctive Life', A Casebook on Dylan Thomas, ed. J. M. Brinnin (New York, 1960) p. 143.

9. Thomas, Collected Letters, p. 39. 10. See David Holbrook, Dylan Thomas: The Code of Night (London,

1972) p. 127. 11. The familiar nursery rhyme '0 what have you got for dinner

Miss Bond?' is included in Songtime, ed. P. Dearmer and M. Shaw (London, 1915) p. 37.

12. I am indebted for this information to Ralph Maud, Entrances to Dylan Thomas' Poetry (Lowestoft, 1963) p. 116.

13. Ernest Renan, Poetry of the Celtic Races (London, 1896) p. 21. 14. Thomas, Collected Letters, p. 599. 15. This article, 'Tragedy of Swansea's Comic Genius', was

published in Herald of Wales, 25 June 1932. 16. Dylan Thomas, quoted in Paul Ferris, Dylan Thomas (London,

1977) p. 263.

Notes 283

17. Dylan Thomas, 'Three Poems', Quite Early One Morning (London, 1954) pp. 156-7.

18. Thomas, Collected Letters, p. 838. 19. Ibid., pp. 830-1. 20. Ibid., p. 838. 21. Ibid., p. 841. 22. Ibid., p. 838. 23. William Empson, quoted by Constantine Fitzgibbon in his The

Life of Dylan Thomas (London, 1965) p. 260. 24. Fitzgibbon records Vernon Watkins's comment on this on

p.262. 25. Thomas, 'Three Poems', pp. 156-7. 26. See 'Images from Childhood', Of Wolves and Men, B. H. Lopez

(London, 1978) pp. 263-4. 27. Aeronwy Thomas-Ellis, Christmas and Other Memories (Lon-

don, 1978) p. 14. 28. Thomas, Collected Letters, p. 39. 29. Ibid., p. 279. 30. Bearing in mind the complexity and structure in this poem we

may note Dylan Thomas's comment: 'I like things that are difficult to write and difficult to understand; I like "redeeming the contraries" with "secretive images'" (ibid., pp. 181-2). Cf. also Blake's 'without Contraries is no progression', in William Blake: Poetry and Prose, ed. G. Keynes (London, 1939) p. 181.

31. We may note Thomas's comment: 'Poetry ... should be as orgiastic and organic as copulation, dividing and unifying, personal but not private' (Collected Letters, p. 182).

32. Thomas, 'Three Poems', pp. 156-7. 33. W. T. Moynihan, 'In the white giant's thigh', The Explicator

Cyclopaedia, vol. 1: 'Modern Poetry', ed. C. Walcutt and J. Whitesell (Chicago, 1966) p. 315. '

34. Arthur Giardelli, in review of Nella Coscia Del Giganto Bianco, Anglo-Welsh Review, no. 64 (1979) p. 145.

35. R. Sanesi, quoted by Giardelli, ibid., p. 144. 36. Sanesi, ibid., p. 142.

Unfinished Poems 1. 'Notes' to 'In Country Heaven', Dylan Thomas: Collected Poems

1934-53, ed. Walford Davies and Ralph Maud (London, 1988) p. 259. The Editors' Notes to individual poems, single volu-

284 Notes

mes, and the unfinished verse are essential keys to Thomas's work.

2. Dylan Thomas: Collected Poems 1934-53, pp. 260-1. 3. 'Notes' to 'In Country Heaven', Dylan Thomas: Collected Poems

1934-53, p. 261. 4. Dylan Thomas: In Country Heaven - The Evolution of a Poem,

Caedmon TC 1281 (1971). 5. William T. Moynihan, The Craft and Art of Dylan Thomas

(London, 1966) p. 227. 6. Ibid., p. 273. 7. 'Notes' to 'In Country Heaven', Dylan Thomas: Collected Poems

1934-53, p. 262. 8. ~oynihan, The Craft and Art of Dylan Thomas, p. 271. 9. Dylan Thomas, 'On Poetry', Quite Early One Morning, p. 170.

10. Dylan Thomas, 'Three Poems', Quite Early One Morning, p.156.

11. Dylan Thomas: Collected Poems 1934-53, p. 260. 12. Ibid., p. 155. 13. Ralph Maud, Entrances to Dylan Thomas's Poetry (Lowestoft,

1963) p. 112. 14. Dylan Thomas: Collected Poems 1934-53, p. 155. 15. Ralph Maud, Entrances to Dylan Thomas's Poetry (Lowestoft,

1963) p. 112. 16. See 'Notes', 'In Country Heaven', Dylan Thomas: Collected

Poems 1934-53, p. 261. 17. William T. Moynihan, The Craft and Art of Dylan Thomas,

p.273. 18. Dylan Thomas: Collected Poems 1934-53, pp. 260-1. The text of

the early manuscript disussed here is taken from these pages. 19. Dylan Thomas, 'Three Poems', Quite Early One Morning,

p.156. 20. Ibid., p. 157. 21. 'Notes' to 'In Country Heaven', Dylan Thomas: Collected Poems

1934-53, p. 261. 22. Eric J. Sundquist, "'In Country Heaven": Dylan Thomas and

Rilke', Comparative Literature, 31 (Winter 1979) p. 77. 23. Dylan Thomas, 'Three Poems', Quile Early Olle Morning,

p.157. 24. See 'Notes' to 'Elegy', Dylan Thomas: Collected Poems 1934-53,

p.264.

Notes 285

25. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London, 1985) p. 798.

26. Dylan Thomas: Collected Poems 1934-53, p. 148. 27. Dylan Thomas, 'Over Sir John's hill', Dylan Thomas: Collected

Poems 1934-53, p. 143. 28. Dylan Thomas, quoted by J. M. Brinnin, Dylan Thomas in

America (London, 1956) p. 105. 29. Dylan Thomas, 'Interview with Dylan Thomas', Occident,

University of California (Spring 1952) pp. 5-6. 30. Edith Sitwell, Dylan Thomas: The Legend and the Poet, ed. E. W.

Tedlock (London, 1960) p. 149.

Notes to Part Three: The Prose

The Early Stories 1. Dylan Thomas, 'I am Going to Read Aloud', London Magazine,

September 1956, p. 15. 2. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 862. 3. Ibid., p. 127. 4. Ibid., p. 862. 5. Ibid., p. 136. 6. Ibid., p. 29. 7. Ibid., pp. 271 and 193. 8. Ibid., p. 363. 9. Ibid., p. 227.

10. Ibid., p. 136. 11. Ibid., p. 227. 12. Some manuscript pages are included in the 'Sib thorp' Archive

material, National Library of Wales.

'Portrait of the Artist as a Young Dog' 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) pp. 416-17. 2. Ibid., p. 286. 3. Ibid., pp. 276-7. 4. Ibid., p. 333. 5. Ibid., p. 17.

286 Notes

6. Ibid., p. 137. 7. Dylan Thomas, 'Poetic Manifesto', Dylan Thomas: Early Prose

Writings, ed. Walford Davies (London, 1971) p. 157. 8. Thomas, Collected Letters, p. 437. 9. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.59.

'Adventures in the Skin Trade' and 'Death of the King's Canary' 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 494. 2. Ibid., p. 485. 3. Ibid., p. 472.

Notes to Part Four: Film Scripts, Broadcasts, Last Stories, Letters and Under Milk Wood

Introduction 1. Vernon Watkins, quoted in Gwen Watkins's Portrait of a Friend

(Llandysul, 1983) p. 196. 2. Watkins, Portrait of a Friend, p. 134.

Film Scripts and other Prose Items 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 134. 2. Thomas Lovell Beddoes, quoted in 'Introduction' to Selected

Poems, ed. J. Higgens (Manchester, 1976) p. 9. 3. In a letter to Henry Treece, see Thomas, Collected Letters,

p.297. 4. Ibid., p. 184. 5. Ibid., p. 537. 6. The following quotations are from the typescript in the

National Library of Wales. 7. Ralph Maud, 'The London Model for Dylan Thomas's Under

Milk Wood', The Doctor and the Devils and Other Scripts (New York, 1970) p. 210.

8. Dylan Thomas, 'The Londoner', The Doctor and the Devils and Other Scripts, p. 220.

Notes 287

Broadcasts 1. See Gwen Watkins, Portrait of a Friend (Llandysul, 1983) p. 92. 2. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 862. 3. Dylan Thomas, '1 Am Going to Read Aloud', The London

Magazine, vol. 3, no. 9 (September 1956) p. 15. 4. See Watkins, Portrait of a Friend, p. 115.

Last Stories 1. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.67. 2. Nicolette Devas, Two Flamboyant Fathers (London, 1%6)

p.203. 3. Caitlin Thomas, Caitlin, p. 179; 4. See Paul Ferris, Dylan Thomas (London, 1977) p. 293. 5. These holograph worksheets, from which the following

quotations are taken, are in the National Library of Wales.

'The Collected Letters' 1. In interview with Mimi Josephson, 'Poet in the Boat House',

John o'London's Weekly, 7 August 1953, pp. 701-2. 2. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1985) p. 740. 3. Ibid., p. 844. 4. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.l72. 5. See Paul Ferris, in Thomas, Collected Letters, p. 5. 6. Thomas, Collected Letters, p. 732. 7. Ibid., p. 29. 8. Ibid., pp. 557, 560. 9. Ibid., p. 138.

10. Ibid., p. 29.

'Under Milk Wood' 1. Dylan Thomas, The Collected Letters, ed. Paul Ferris (London,

1986) p. 813. 2. Caitlin Thomas, with George Tremlett, Caitlin (London, 1986)

p.118.

288 Notes

3. Dylan Thomas, Under Milk Wood (London, 1954) p. 76. 4. Dylan Thomas, 'This Side of the Truth', Collected Poems 1934-

53 (London, 1988) p. 89. 5. Thomas, Collected Letters, p. 814. 6. Ibid., p. 848. 7. Ibid., p. 814. 8. Ibid., p. 558. 9. Ibid., p. 813.

10. Douglas Cleverdon, 'History of the Text', The Growth of Milk Wood (London, 1969) p. 19.

11. Dylan Thomas, 'Laugharne', Quite Early On,e Morning (Lon­don, 1954) p. 70.

12. Ibid., p. 72. 13. Quoted in Cleverdon, Growth of Milk Wood, p. 1, where this

incident is related. 14. Thomas, Collected Letters, p. 337. 15. Thomas, quoted in 'Preface' to Quite Early One Morning, p. vii. 16. Dylan Thomas, 'Dylan Thomas on Edgar Lee Masters',

Harper's Bazaar, June 1963, p. 115. 17. Ibid., p. 69. 18. Ibid., p. 68. 19. Ibid., p. 68. 20. Ibid., p. 115. 21. Dylan Thomas, Broadcast talk 'Living in Wales', in Constan­

tine Fitzgibbon, The Life of Dylan Thomas (London, 1965) pp.340-1.

22. Dylan Thomas, 'Poetic Manifesto', Dylan Thomas: Early PrOfZe Writings, ed. Walford Davies (London, 1971) p. 158.

23. This list is included in Cleverdon's Growth of Milk Wood, pp.36-7.

24. Thomas, Collected letters, p. 904. 25. I am indebted for this information to Paul Ferris, Dylan Thomas

(London, 1977) p. 368. 26. Thomas, Quite Early One Morning, pp. 156-7. 27. Ibid., pp. 156-7. 28. Thomas, Collected Letters, pp. 848 and 863. 29. Ibid., p. 668. 30. Thomas, 'Dylan Thomas on Edgar Lee Masters', Harper's

Bazaar (June 1963), p. 115.

A Dylan Thomas Companion 289

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290 A Dylan Thomas Companion

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3, Dylan Thomas's Laugharne,

A Dylan Thomas Companion 291

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292 A Dylan Thomas Companion

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A Dylan Thomas Companion 295

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296 A Dylan Thomas Companion

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Select Bibliography

Works by Dylan Thomas

(i) Poetry

18 Poems (London, 1934). Twenty-five Poems (London, 1936). The Map of Love (London, 1939). Deaths and Entrances (London, 1946). In Country Sleep (New York, 1952). Collected Poems (London, 1952). Poet in the Making: The Notebooks of Dylan Thomas, ed. R. Maud

(London, 1968). New edition: The Notebook Poems (London, 1989). Dylan Thomas: The Poems, ed. Daniel Jones (London, 1971). Dylan Thomas: Collected Poems 1934-53, ed. W. Davies and R. Maud

(London, 1988).

(ii) Prose

Portrait of the Artist as a Young Dog (London, 1940). Under Milk Wood (London, 1954). Quite Early One Morning (London, 1954). A Prospect of the Sea (London, 1955). Adventures in the Skin Trade (London, 1955). Dylan Thomas: Letters to Vernon Watkins, ed. Vernon Watkins

(London, 1957). Selected Letters of Dylan Thomas, ed. Constantine Fitzgibbon (Lon­

don, 1966). Dylan Thomas: Early Prose Writings, ed. Walford Davies (London,

1971). The Death of the King's Canary, with John Davenport (London, 1976). The Collected Stories (London, 1983). Dylan Thomas: The Collected Letters, ed. Paul Ferris (London, 1985). Douglas Cleverdon's The Growth of Milk Wood (London, 1969)

includes textual variants of Thomas's Under Milk Wood.

297

298 Select Bibliography

(iii) Film Scripts

The Doctor and the Devils (London, 1953). The Beach of Falesa (London, 1964). Twenty Years A-Growing (London, 1964). Rebecca's Daughters (London, 1965). Me and My Bike (London, 1965). The Doctor and the Devils and Other Scripts (New York, 1970). The other scripts include the verse captions 'A Dream of Winter'

and the BBC prose script 'The Londoner'. Dylan Thomas The Film Scripts ed. John Ackerman (with Intro­

duction) 1993.

Standard Bibliographies

J. Alexander Rolph, Dylan Thomas: A Bibliography (London, 1956). Ralph Maud (ed.), Dylan Thomas in Print: A Bibliographical History

(London, 1972). Georg M. A. Gaston, Dylan Thomas: A Reference Guide (Boston,

1987).

The largest collection of Dylan Thomas's manuscripts is at the University of Texas, including manuscripts of 'In Country Heaven' and 'Elegy'. The Notebooks are in the Poetry Collection of the State University of New York at Buffalo. The British Museum holds the letters to Vernon Watkins and some early poems of Dylan Thomas (c. 1931-3) presented by Trevor Hughes. The National Library of Wales, Aberystwyth, has some letters, some manuscript sheets of 'A Story' and of 'Elegy', presented by Emlyn Williams, and correspondence concerning the commissioned book Twelve Hours in the Streets, together with a three-page resume in typescript. There is also some Dylan Thomas material in the 'Sibthorp' Papers.

Books about Dylan Thomas (including part material, of particular interest)

Ackerman, John, Dylan Thomas: His Life and Work (London, 1964). __ , Welsh Dylan, Catalogue of Welsh Arts Council Exhibition

(Cardiff, 1973). __ , Welsh Dylan (Cardiff, 1979; revised paperback edn, London,

1980).

Select Bibliography 299

Brinnin, J. M., Dylan Thomas in America (London, 1956). Brinnin, J. M. (ed.), A Casebook on Dylan Thomas (New York, 1960). Cox, C. B. (ed.), Dylan Thomas: A Collection of Critical Essays (New

Jersey, 1966). Davies, A. T., Dylan: Druid of the Broken Body (London, 1964). Davies, James A., Dylan Thomas's Places (Swansea, 1987). Davies, Walford, Dylan Thomas (Cardiff, 1972). Revised and enlarged

1990. __ (ed.), Dylan Thomas: New Critical Essays (London, 1972). __ , Dylan Thomas (Milton Keynes, 1976). __ , Dylan Thomas (Milton Keynes, 1986). Devas, Nicolette, Two Flamboyant Fathers (London, 1966). Emery, Clark, The World of Dylan Thomas (London, 1971). Ferris, Paul, Dylan Thomas (London, 1977). Fitzgibbon, Constantine, The Life of Dylan Thomas, (London, 1965). Heppenstall, Rayner, My Bit of Dylan Thomas (London, 1957). __ , Four Absentees (London, 1960). Holbrook, David, Dylan Thomas: The Code of Night (London, 1972). Gittins, Rob, The Last Days of Dylan Thomas (London, 1986). Jones, Daniel, My Friend Dylan Thomas (London, 1977). Jones, T. H., Dylan Thomas (London, 1963). Kershner, R. B. Jr, Dylan Thomas: The Poet and his Critics (Chicago, 1976). Kidder, Rushworth M., Dylan Thomas: The Country of the Spirit

(Princeton, NJ., 1973). Korg, Jacob, Dylan Thomas (Indiana, 1965). Lewis, Min, Laugharne and Dylan Thomas (London, 1967). Maud, R. N., Entrances to Dylan Thomas's Poetry (Lowestoft, 1963). McKenna, Rollie, Portrait of Dylan (London, 1982). Moynihan, W. T., The Craft and Art of Dylan Thomas (London, 1966). Murdy, L. B., Sound and Sense in Dylan Thomas's Poetry (The Hague,

1966). Olson, Elder, The Poetry of Dylan Thomas (Chicago, 1954). Peach, Linden, The Prose Writing of Dylan Thomas (London, 1988). Pratt, Annis, Dylan Thomas's Early Prose (Pittsburgh, 1970). Read, Bill, The Days of Dylan Thomas (London, 1964). Sanesi, Roberto, Nella Coscia del Gigente Bianco (altro / La Nuova

Fogli Editrice). Sinclair, Andrew, Dylan Thomas: Poet of his People (London, 1975). Stanford, Derek, Dylan Thomas (London, 1954). Tedlock, E. W. (ed.), Dylan Thomas: Tile Legend and the Poet (London, 1960).

300 Select Bibliography

Thomas, Caitlin, Leftover Life to Kill (London, 1957). __ , Not Quite Posthumous Letter to my Daughter (London, 1963). __ , with George Tremlett, Caitlin (London, 1986). Thomas-Ellis, Aeronwy, Christmas and Other Memories (London,

1978). Tindall, W. Y., A Reader's Guide to Dylan Thomas (London, 1962). Treece, Henry, Dylan Thomas (London, 1949). Watkins, Gwen, Portrait of a Friend (Llandysul, 1983). Williams, R. c., A Concordance to the Collected Poems of Dylan Thomas

(Lincoln, 1967).

Other Books Cited

Blake, William, William Blake: Poetry and Prose, ed. G. Keynes (London, 1939).

Fairchild, H. N., Religious Trends in English Poetry, vol. VI (New York and London, 1968).

Mabinogion, The, translated by Gwyn Jones and T. Jones (London, 1949).

Moore, John, The Life and Letters of Edward Thomas (London, 1939). Renan, Ernest, The Poetry of the Celtic Races (London, 1896). Watkins, Vernon, The Collected Poems of Vernon Watkins (Ipswich,

1986). Watkins, Vernon, I That Was Born in Wales (Cardiff, 1976).

Index

Note: Works by Dylan Thomas appear under title; works by others appear under the author's name.

Adelphi ijournal), 22, 31, 76 Adventures in the Skin Trade (DT:

unfinished novel), 22, 107, 200-3 'After the Fair' (DT: short story),

166-8 'After the funeral' (DT: poem), 7;

sources, 28, 57; as elegy, 28, 101-4, 153, 186, 191; images, 67; qualities, 99-104; nostalgia in, 114

Agate, James, 165 'All all and all the dry worlds lever'

(DT: poem), 70 'Altarwise by owl-light' (DT:

poem),92 America, see United States of

America 'Among Those Killed in the Dawn

Raid was a Man Aged a Hundred' (DT: poem), 106

'And death shall have no dominion' (DT: poem), 69, 86-7, 91,170

Anglo-Iranian Oil Company, 34 47 atomic warfare, 156-8, 265 Auden, W. H., 43, 47,134; 'August

for the people', 221; 'Epitaph on a Tyrant', 91-2

'Ballad of the Long-legged Bait' (OT: poem), 88

Beach of Falesa, the (OT: film script), 29,165,208

Beddoes, Thomas Lovell, 66, 68, 208-9

Beerbohm, Max, 271 'Before I knocked' (DT: poem), 69

301

Bevan, Aneurin, 46 Bible, Holy: in OT's poetry, 88, 92-

3, 109-10, 115, 123, 154; in DT's short stories, 171, 173

Bishopston (Gower), 21, 25, 27, 33 Blaen Cwm (cottage), 28, 115, 174-

5,240,244 Blake, William, 71, 119, 216; 'The

Marriage of Heaven and Hell', 84; 'The Sick Rose', 80; 'Tyger', 114

'Book of Streets', see Twelve Hours ill the Streets

Borrow, George, 12 Botteghe Oscure (journal), 156, 239 Bottkol, Joseph MeG., 45 Brandt, Bill, 30, 266, 269 BretonJ Nicholas: 'Elizabethan

Day', 214 Bridges, Robert, 75 Brinnin, Malcom, 6, 11, 41, 48-9, 155 British Broadcasting Corporation

(BBC), 207, 215, 216 Burke, William and Hare, William,

208; see also Doctor and the Devils, The

'Burning Baby, The' (DT: short story), 166-7, 173-6, 178, 241

Burton, Richard, 207, 216 Butler, Samuel: Erewhon, 174

'Cabaret' (OT: poem), 60 Caedmon" records, 155 Caetani, Marguerite, Princess, 239,

241 Cameron, Norman, 22

302 Index

Carlyle, Thomas, 31-2, 268-9, 271 'Ceremony After a Fire Raid' (DT:

poem), 27, 32, 106-9, 156 Cerne Abbas giant, 25, 151 Chapman, Max, 24 Chaucer, Geoffrey: 'Pardoner's

Prologue', 135 Chelsea: DT lives in, 29-32;

captions for Brandt's photographs of, 266-71

Church, Richard, 17S-9 Cleverdon, Douglas, 155, 244 Coleridge, Samuel Taylor, 124 Collected Letters (DT), 165, 23S-40 Collected Poems (DT): sources, 2S;

published, 52; early poems in, 5S; contents, 73-4; themes, 130-54; prints version of 'In Country Heaven', 155; see also 'Prologue'

Collected Stories (DT), 165 'Conversation about Christmas'

(DT: imaginary dialogue), 230 'Conversation of Prayers, The' (DT:

poem),32 Cornford, John, 47 'Country' Magazine' (BBC radio

programme), 222 Criterion (journal), 22 Czechoslovak Writers' Union, 34,

47

Dafau-Labeyrie, Francis, 52 Daiches, David, 44 Davenport, John: DT stays with, 27;

DT collaborates on Death of the King's Canary with, 27, 202; in Chelsea with DT, 30, 270

Davies, Aneurin Talfan, 110 Davies, Sir Dai, 20 Davies, Idris, 224-5 Davies, Walford, 137, 154; co-edits

DT: Collected Poems, 155, 159 Davies, W. H.: Autobiography of a

Super-tramp, 224 de Morgan, William, 269, 271 death: as poetic theme in DT, 67-8,

SO, 86-7, 90, 100-1, 107-13, 135-7, 140-1, 149, 160-2; in DT's short stories, 170-1, 183

Death of the King's Canary (DT: novel, with John Davenport), 27, 165,202-3

Deaths and Entrances (DT: poems), 28, 34, 73, 106-29

Dent, Edward (publisher), 178-9 Devas, Nicolette, 29, 234 Dickens, Charles, 43, 207, 209, 216,

220 'Do not go gentle into that good

night' (DT: poem), 49, 52, 132-3, 162,265

Doctor and the Devils, The (DT: film script), 29, 165, 20S-14, 217

Doctor (The) and the Devils and Other Scripts (DT), 215

Donne, John, 71, 78, 100, 105, 106 Douglas, Norman, 30 dreams: in Under Milk Wood, 251-2 Dyer, John: 'Grongar Hill', 143 Dylan Thomas: Early Prose Writings,

165 Dylan Thomas: The Poems (ed. Daniel

Jones), 57-8

Earp, T. W., 29 'Ears in the turrets hear' (OT: poem;

earlier 'Dare 1'), 69, 91, 96-8 18 Poems (DT): published, 19,23,75;

originality, 57, 64, 71; images, 63; contents, 70; meaning, 75-6; themes, 77-90

'Elegy' (DT: unfinished poem), 49, 53, 77, 130, 160-2

elements (four), 135, 158-9 Eliot, T. 5.: DT on, 10; reading, 43;

and understanding poetry, 75;and nature, 78; assesory revelation, 85; on poetry of vision, 123; difficulty of 217; poetic drama, 261; 'East Coker', 127; The Waste Land, 269

Empson, William, 22, 146, 202 'Enemies, The' (DT: short story),

96, 169-70 'English Festival of Spoken Poetry,

The (DT: broadcast talk), 223 'Especially when the October wind'

(DT: poem), 70, 81-3

Index 303

Evans, Caradoc, 20,103,166,171-6, 207; My People, 20

'Extraordinary Little Cough' (DT: short story), 191-2

Fairchild, H.N.: Religious Trends ill English Poetry, 112

Fern Hill, 7, 17, 101-2, 113, 174, 185 'Fern Hill' (DT: poem): writing of,

27-8, 32, 39, 125; images in, 67, 120; and childhood vision, 77, 118-23, 188; rhythms, 113, 119, 251; on happiness, 119-21; structure, 125; and' A Prospect of the Sea', 176; and Ann Jones, 191

Ferris, Paul, 267 Festival of Britain (1951), 222 'Fight, The' (DT: short story), 18,

192 'Find meat on bones' (DT: poem),

69 'Fine Beginning, A', see Adventures

in the Skin Trade Fitzgibbon, Constatine, 30, 42, 46 Followers, The' (DT: short story),

50,231-2 'Force (The) that through the green

fuse drives the flower' (DT: poem), 69, 78-80, 82-3, 270

Freud, Sigmund: The Interpretation of Dreams, 251

'From love's first fever to her plague' (DT: poem), 69-70, 96

Fry, Christopher, 261

Garcia Lorca, Federico, 107 Gower, 16, 191 Grigson, Geoffrey, 22

'Hand that Signed a paper felled a city, The' (DT: poem), 69, 91-2

Hardy, Thomas, 28, 45, 120 Hedegus, Olga, 270-1 Henderson, Wyn, 24 Heppenstall, Rayner, 31 'Here in this spring' (DT: poem), 69 'Holiday Memory' (DT: broadcast

talk), 196-7, 216, 221-2 Holroyd, Stuart, 137

'Holy Six, The' (DT: short story), 18, 169

'Holy Spring' (DT: poem), 32 Hopkins, Gerard Manley, 10,66,75,

78, 137,216 Horizon (journal), 47, 202 'How to be a Poet' (DT: prose

piece), 31, 202, 232-4, 269 'How to begin a Story' (DT:

broadcast talk), 223 Howard, Brian, 30 Hughes, Richard, 27, 35, 184 Hughes, Ted: 'Crow', 94 Hughes, Trevor, 70, 184 'Hunchback in the Park, The' (DT:

poem), 27, 57, 74, 113-14

'I dreamed my genesis' (DT: poem), 70

'I fellowed sleep' (DT: poem), 70 'I have longed to move away' (DT:

poem), 69, 92, 94-5 'I, in my intricate image' (DT:

poem),27 'I make this in a warring absence'

(DT: poem), 99 'I see the boys of summer' (DT:

poem),70 'If I were tickled by the rub of love'

(DT: poem), 70, 88-90 'If my head hurt a hair's foot' (DT:

poem), 99-100 'Image' (DT: poem), 59 'In Country Heaven' (DT: poem):

influence of Paradise Lost on, 33; influence of Laugharne on, 39; writing of, 49; and nature, 52, 145-6; on happiness, 119; published in Collected Poems, 1934-53, 130; parts, 145-7; and remembering, 153; versions, 155-60; and Under Milk Wood, 261

'In Country Sleep' (DT: poem), 33, 77, 113, 133, 136, 145, 147-50, 156, 158-9, 263

'In my Craft or Sullen Art' (DT: poem),145

'In the beginning' (DT: poem), 69-70

304 Index

'In the white giant's thigh' (DT: poem), 33, 49, 53, 67, 85, 133, 151-4, 156, 161; as part of 'In Country Heaven', 145, 156

'Incarnate devil' (DT: poem; earlier 'Poem for Sunday'), 93

'International Eisteddfod, The' (DT: broadcast talk), 50, 222

Iran (Persia), 34, 46-7 Is Your Ernie Really Necessary (DT:

film script), 29 Italy, 34

Janes, Alfred, 12, 19, 21 Jesus Christ, 92-3, 95, 104, 168,

172-3 John, Augustus, 11, 24, 35 Johnson, Pamela Hansford, 5, 14-

17, 31, 70 Jones, Ann (nie Williams: DT's

aunt); marriage, 7; and Fern Hill, 7, 17; DT's elegy to ('After the funeral'),28, 101-4, 153,186,191; in 'The Peaches', 189, 191

Jones, Daniel: friendship with DT, 12-13, 18-19, 22-3; writes verse with DT, 19, 57; in wartime London, 30; and DT's fame, 34; edits Dylan Thomas: The Poems, 57 -8, 155; version of 'In Country Heaven', 155; in DT's 'The Fight', 192; My Friend Dylan Thomas, 18

Jones, David: In Parenthesis, 216 Jones, Glyn, 70, 173 Jones, Gwylim (DT's cousin), 189-

90 Jones, Gwyn, 95; 'A Prospect of

Wales', 256 Jones, Jim, 7 Joyce, James, 10, 207; Dubliners, 185;

Portrait of the Artist as a Young Man, 185

Keats, John, 68, 76, 121-2, 238, 240, 262; 'Ode on a Grecian Urn', 109

Kenyon College (USA), 42

'Lament' (DT: poem), 49, 74, 130-2, 261

Landor, Walter Savage, 12 Laugharne: influence on DT, 3, 17,

37-9, 113, 115-18, 133, 178; DT first lives in, 25-6; DT's permanent home in (Boat House), 27, 34-41, 50-1; portrayed in Under Milk Wood, 37, 40,239,241-5,263-4; DT buried in, 54; in DT's letters, 240

'Laugharne' (DT: broadcast talk), 50,53

Lawrence, D. H., 'The Ship of Death', 135

Levy, Mervyn, 12, 19, 21 Lewis, Alun, 40 Lewis, Wyndham, 22 'Light breaks where no sun shines'

(DT: poem), 70 Lilliput (magazine), 30, 266-8 Littlewood, Joan, 261 'Living in Wales' (DT: Broadcast

talk), 34, 249, 268 Llangain, 32-3 Llangollen, 51, 222-3 Llanina, 248 Llanstephan (Carnarthenshire),

180-3 'Llareggub' ('Llaregyb'; DT's

invented place): first use of, 19, 166, 174; in short stories, 169, 174; in Under Milk Wood, 229, 241, 243, 254-6

Lockwood Library, State University of New York, Buffalo, 57

London, 21-2; see also Chelsea Londoner, The' (DT: broadcast

script), 215 Lorca, Federico Garcia, see Garcia

Lorea, Frederico love: in Under Milk Wood, 262-3 LUlln, Peter (publisher), 266-7

Mabinogion, 4, 116, 144, 228, 255-6 Machen, Arthur, 256 Map of Love (DT: collection), 26; and

DT's early poems, 61, 71; images in, 63; publication, 75, 99; themes, 99-105; prose works in, 167, 173, 178-9

Index 305

MarIes, Gwilgm, see Thomas, William

Marshfield, Gloucestershire (house), 27, 202

Masters, Edga~ Lee, 265; Spoon River Anthology, 246-8, 258

Maud, Ralph: on word 'sedge'. 140; edits DT: Collected Poems (with Walford Davies), 155; and 'In Country Heaven', 155, 157, 159; and 'The Londoner', 215; Entrances to Dylan Thomas's Poetry, 157; Poet in the Making, 57

Mayhew, Henry, 209 Me and My Bike (DT: film script), 29,

165,208 'Memories of Christmas' (DT:

broadcast talk), 216, 219-20, 230 Miller, Arthur, 44 Miller, Henry, 130 Milton, John: Paradise Lost, 33, 144,

156,216 'Missing' (DT: poem), 58 Moore, Geoffrey, 12 Moore, Henry, 22 Morning Post (newspaper), 22 Moynihan, W. T.: The Craft and Art

0/ Dylan Thomas, 155-6 Muir, Edwin, 22 'My Hero bares his nerves' (DT:

poem), 69, 72-3 'My world is pyramid' (DT: poem), 70 mysticism, 124

nature: DT's feeling for, 18; in DT's poetry, 77-SO, 82-3, 86,108,112, 146, 151-2, 162; and lost Eden, 156; see also pantheism

New English Weekly, 22, 184 New Quay (Cardiganshire), 32-3,

227, 248, 264 'New Quay' (DT: poem), 33 New Verse Ooumal), 22 New York,48-9 Noah (biblical figure), 144 Notebook (DT): DT sells, 28, 106,

113; as source, 57-70, SO, 101-2, 114

'Old Garbo' (DT: short story), 11, 193-6

'On no work of words' (DT: poem), 99

'On Poetry' (DT: broadcast talk), 156

'Once Below a Time' (DT: poem), 73

'Once it was the colour of saying' (DT: poem), 99

'One Warm Saturday' (DT: short story), 183, 196-9, 232

Our Country (DT: film script), 106-7,109

'Our eunuch dreams' (DT: poem), 70

'Out of the sighs' (DT: poem), 64-5,91

'Over Sir John's hill' (DT: poem), 33, 52, 54, 133-4, 139-41, 145, 156, 160, 162

Owen, Wilfred, 59, 110, 224; 'Strange Meeting', 63

Oxford,33 Oxford Book o/Welsh Verse, 5

pantheism, 4, 50, 146, 162 'Paper and Sticks' (DT: poem) 73-4 Paraclete Congregational Church,

Newton, Mumbles, 7 'Peaches, The' (DT: short story), 7,

17, 102, 121, 183, 185-91, 236 Persia, see Iran 'Personally Speaking' (TV series),

236 Picture Post (magazine), 230 Poe, Edgar Allan, 67 'Poem in October' (DT), 27-8, 32,

39, 44, 81, 115-18 'Poem on his Birthday' (DT), 24, 49,

67, 77, 133-9, 141, 144, 158, 265 Ponting, Albert (DT pseudonym),

202-2 Portrait o/a Artist as a Young Dog (DT:

autobiography): and Welsh holidays, 17; writing, 26, ISO; translated into French, 52; humour in, 168, 180, 185; described, 180-99, 243; title, 184-5;

306 Index

Portrait of the Artist as a Young Dog­cont. and Adventures in the Skin Trade. 200; and DT's letters, 238

Prague, 34, 47 Price, Dr William, 166, 173 Prichard, Llewelyn: 'The Land

Beneath the Sea', 144 'Process in the weather of the heart,

A' (DT: poem), 70 process poems, 69-70 'Prologue' (DT: poem): depicts

Laugharne, 36-7, 39; writing of, 49,51-3; the man's unity with nature, 77, 141-3; nature in, 133-4, 143, 146, 1J77; and collected Poems, 145; and poetic method,

145 'Prologue to an Adventure' (DT:

prose piece), 25, 178 Prospect of the Sea, A (DT:

collection), 168, 179,230-1 'Prospect of the Sea, A' (DT: short

story), 168, 176-9, 180 Proust, Marcel, 114, 117

'Question Time' (BBC radio programme), 222

Quite Early One Morning (DT: collected broadcasts), 165, 168, 217,223

'Quite Early One Morning' (DT: broadcast talk), 32, 227, 248, 251, 264

Rebecca's Daughters (DT: film script), 29,165,208

Rees, Rev. David (DT's unde), 7 Rees, Dosie (DT's aunt), 32 Rees, Richard, 31 'Refusal to Mourn the Death, by

Fire, of a Child in London' (DT: poem), 27, 32,77,106-7,110-13, 150, 156, 161

'Reminiscence of childhood' (DT: broadcast talk), 216-18

Renan, Ernest, 143 'Return Journey' (DT: broadcast

talk), 19, 27, 216-7, 225-7 Rhossili, 17, 191-2

Rhys, Keidrych, 25, 178 Rimbaud, Arthur, 84-5, 121 Rorke, Alfred, 270 Rose-Pulham, Peter, 270 Rosenberg, Ethel and Julius, 47 Rossetti, Dante Gabriel, 31-2, 269,

271 Rota, Bertram, 57

'Saint about to Fall, A' (DT: poem), 99

Salt House Farm (Laugharne), 264 Sanesi, Roberto, 153 Sassoon, Siegfried, 224 senses (physical), 84-6 sexual love: as theme, 60-1, 72; and

DT's puritanism, 88-90 Shakespeare, William, 122; The

Winter's Tale, 128 'Shall gods be said to thump the

douds' (DT: poem), 69 Shelley, Percy Bysshe: 'Adona is',

112 Sir John's Hill (Laugharne), 36, 264;

see also 'Over Sir John's hill' Sitwell, Edith, 34, 162 'Song of the Mischievous Dog, The'

(DT: poem), 10 South Wales Daily Post (title changed

to SOllth Wales Evening Post), 10 SOllth Wales Evening Post, 183 Spanish Civil War, 12-13,47 Spender, Stephen, 202 Spenser, Edmund, 269 'Spire cranes, The' (DT: poem), 62-

4,69 Stevenson, Robert Louis, 208 'Story, A' (DT: TV broadcast), 50-I,

216,234-6 Strand magazine, 11 Stravinsky, Igor, 52, 160, 265 Sunday Referee (newspaper), 22, 79 Surrealist Exhibition, 1936, 22 Swansea: described, 3-4, 7-9;

cultural life, 12; bombed, 27-8, 217; in DT's short stories, 184, 187,191-5,231-2; DT's broadcasts on 217-18, 225

Swallsea Grammar School Magazi/w,

Index

57-8, 166 Swansea Little Theatre, 13-14 Swinburne, Algernon Charles, 31-

2,269,271

Talsarn (Cardiganshire), 29 Taylor, A. J. P., 33 Taylor, Donald, 29 Taylor, Margaret, 33-5, 155 Teheran, 46 'This bread I break' (DT: poem), 70,

91-2, 95-6 'This Side of the Truth' (DT: poem),

32 Thomas, Aeronwy (DT's daughter),

29, 32, 51, 147-9, 158, 292 Thomas, Caitlin (nee Macnamara;

DT's wife): on DT's father, 6; on DT's friendship with Bert Trick, 11; DT meets and marries, 24-6, 178; children, 27, 29, 41; in Chelsea, 30, 32, 269, 271; life in Laugharne, 36-9, 50, 241-2; on DT's intuitive knowledge, 39; and Drs composing of poetry, 40; and DT in USA, 42, 48-50; marriage tensions, 50-2; with DT in Llangollen, 51; and DT's death, 53; on DT's view of poet as rebel, 68; on DT's puritanism, 88; DT's love poem to, 99; on DT's need for West Wales, 113; on DT and Ivy Williams, 195; on DT'& conventionality, 230; on DT's late achievements, 236

Thomas, Colm (DT's son), 41 Thomas, D. J. (DT's father): and

DT's name, 4; background and career, 4-6; influence on DT, 6, 8; retires to Bishopston, 21; and DT's marriage, 24; moves to Blaen Cwm, 28; death, 53; throat cancer, 80,132; DT writes 'Do not go gentle' for, 132; DT's unfinished 'Elegy' for, 160-1

Thomas, Dylan Marlais: Swansea home, 3, 8-9; pantheism, 4, 50, 146, 162; born, 4; name, 4-5, 116, 228; influence of father on, 6, 8;

307

early reading, 6; and Welsh nonconformity and puritism, 7, 12, 20, 88-9, 95, 130-1, 175-6, 201, 227, 244, 253; TB symptoms, 9, 80, 174; schooling, 9-10; early writing, 9-10; acting, 10, 13-14; works as reporter, 10-12, 178, 183; political sympathies and views, 11-13, 15-16, 46-8; hostility to Welsh Nationalism, 11-12; poetic craftsmanship, 12, 19, 23, 40, 52-3, 63-4, 84, 124-5, 145; frequency pubs, 13-14, 30, 33, 36, 50, 195; relations with Pamela Hansford Johnson, 14-16; walks and excursions, 16-18; self-description, 19; on Wales, 20-1,34, 113-15, 223-4,249; first lives in London, 21-2; Vernon Watkins describes, 23; rhyming lists and 'Doomsday Book', 24; meets and marries Caitlin, 24-6, 178; conversation, 24, 34; writing routine, 26, 50; children, 27, 29, 41; influence of war on, 27; sources of poetry, 28; sells Notebooks, 28, 106, 113; works on documentary films, 28-9,208-15; in wartime Chelsea, 30-2, 266-71; in New Quay, 32-3; drinking, 33-4, 44, 51; broadcasts, 33-4, 216-39, 234; fame, 34; visits Italy, 34; travels, 34, 47; settles at Boat House, Laugharne, 34-41, 178, 241-2; nostalgia, 34, 187-90; intuitive knowledge, 39; composing, 40; dislike of intellectualism, 41, 44; financial difficulties, 41, 51, 146; tours in USA, 41-5, 48-50, 53; reading of own works, 43-4, 49, 109-10; resists explication of poems, 44-5; creativity, 50; letters, 50, 238-40; blackouts and collapse, 50; marriage tensions, 50-2; death, 53-4, 265; early influences on, 66-8, 71; concern with death, 67-8, 71; themes, 70-1, 77; body consciousness and

308 Index

Thomas, Dylan Marlais - eonl. meaning in poetry, 75-7; and senses, 84-5; religious imagery, 92-3; as civilian war poet, 106, 109, 113, 156; on vision and mysticism, 123-4; reads part of Satan for BBC broadcast, 144, 156, 216; and atomic warfare, 156-8, 265; autobiographical elements in stories, 184-8; religious/sexual mixture in stories, 189; parodies, 202; conventionality, 230; and human condition, 265; see also individual works under title

Thomas, Edward, 4, 7, 12, 35, 224-5 Thomas, Florence (DT's mother),

6-7, 9, 25, 32, 54 Thomas, Llewelyn (DT's son), 27,

99 Thomas, Nancy (OT's sister), 7 Thomas, R. S., 94, 137, 154 Thomas, William ('Gwilym

Maries'), 5 Thompson, Francis, 66-8 Thomson, James: 'City of Dreadful

Night', 68 'Today, this insect' (DT: poem), 86 Traherne, Thomas, 122 'Tree, The' (OT: short story), 69,

166, 168, 171 Treece, Henry, 57, 66 Trick, Bert, 12, 19, 22, 69, 91 Turner, J. M. W., 270 Twelve Hours in the Streets (OT:

projected: also known as 'A Book of Streets'), 213-15, 267

Twenty-five poems (OT', 63-4, 68-9, 71,75,91-8

'Twenty-four years' (OT: poem), 105,161

Twenty Years A-Growing (OT: film script), 165, 208

Under Milk Wood (DT: radio drama): New Quay in, 32; Laughame in, 3~40,239,241-5,263-4;[Yf reads in USA, 44; writing and revision of, 49, 51-2, 132, 236;

success and popularity, 52, 165, 216-7, 245; humour and parody in, 58; adjectival style, 107; publication, 165, 239; memory and past time in, 177, 217, 256-7; compassion in, 185, 189; and 'Old Garbo', 194; and The Doctor and the Devils, 209, 212; and communal street life, 214; dramatic monologue in, 215, 246; and OT's broadcasts, 227-9; and OT's letters, 238, 240; described, 241-65; influenced by Spoon Hiver Anthology, 246-8; language, 250-1; projected extension, 257-8; use of song, 258-60; sexual frankness, 260-1; title, 261; love in, 262-3; OT twice loses manuscript, 264-5

United States of America: OT tours in, 41-4, 48-50, 53

Vaughan, Henry, 117, 122,224 Vaughan Thomas, Wynford, 19 'Vision and Prayer' (OT: poem), 32,

108 'Visit to America, A' (OT: broadcast

talk), 30-1, 42, 45, 50, 216 'Visit to Grandpa'S, A' (OT: short·

story), 17, 178, 180-4 'Visitor, The' (OT: short story),

170-1

Wales (journal), 25, 103, 178 Wales: OT on, 20-1, 34, 113-15,

223-4, 249; OT's projected book on, 179

'Wales and the Artist' COT: broadcast talk), 223-4

Walters, Evan, 20 Watkins, Gwen, 27, 30, 207, 222 Watkins, Vernon: friendship with

OT, 12-13, 18-19,23,25-7; describes OT, 23; poetic ideas, 23-4; and [Yf's marriage, 24; DT fails to attend wedding of, 25, 239; in wartime London, 30; and DT's home in New Quay, 32; and OT's fame, 34; on Laugharne, 37,

Index 309

Watkins, Vernon - cont. 41; and DT's technical craft, 40, 52-3; visits DT in Laugharne, 52-3; and DT's Twenty-five Poems, 63; on death and birth, 67; and DT's 'After the funeral', 103; and DT's adjectives, 107, and DT's 'Poem in October', 115-16; on DT's 'Fern Hill', 119; and DT's wholeness, 123-4; parallels with DT's lines, 134-5; and DT's 'Over Sir John's hill', 141; on DT's pantheism, 146; on DT's prose works, 207; 'Fidelity to the Living', 135; 'Grief of the Sea', 24; 'Rhossili', 134-5; 'A True Picture Restored', 41; 'We lying by seasand', 69

Webster, John, 66, 211-12; The Duchess of Malfi, 212

Wednesday Story (BBC radio programme), 215

Weekend Telegraph Magazine, 155 Welsh Nationalism, 11-12 'When all my five and country

senses see' (DT: poem), 84-5 'When I Woke' (DT: poem), 73 'When, like a running grave' (DT:

poem),70 'When once the twilight looks no

longer' (DT: poem), 70 'Where once the waters of your

face' (DT: poem), 70, 90 Whistler, James Abbot McNeill, 31,

269-71 'Who Do You Wish With Us' (DT:

short story), 191 'Why east winds chill' (DT: poem),

69 Williams, Ivy, 130, 195, 242 Wilson, J. Dover, 214 'Winter's Tale, A' (DT: poem), 32,

108, 125-8, 158 Wordsworth, William, 117, 119,

124, 243; 'A slumber did my spirit seal', 111-12

Worm's Head (Gower), 191 'Written for a Personal Epitaph'

(DT: poem), 65-6

Yeats, William Butler: DT parodies, 9; growing old, 28, 39, 133;) oratorical style, 43; and nature, 78; and 'sensual music', 86; on blasphemy, 92; on meaning by vision, 123; difficulty of, 217; on sex and the dead, 246; 'led a and the Swan', 128; 'A Prayer for my Daughter', 147; 'Sailing to Byzantium', 135; 'The Second Coming', 160; 'The Tower', 133

'Your breath was shed', (DT: poem),71-3