Only through an unfortunate turn of events was Dylan Thomas able to embark this weight of darkness into his work. Intellectually, it could be said, Thomas derived his conclusions from his own experiences, which in turn led to dimensional poems. With a brief life span of 39 years, from 1914-1952, Dylan Thomas, from Swansea, South Whales, lived a life as a victim of neurosis and alcoholism. His poetic journey sprung from his love of rhythm and words, and his job as a journalist. With his newly acquired taste of success grew a taste for alcohol, and a tempestuous future lay before him with a marriage full of affairs, and WWII, emotion was indicated in his poems accordingly. “Tomas describes his technique in a letter: ‘…I let, perhaps, an image be ‘made” emotionally in me and the apply to it what intellectual & critical forces I possess-let in breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict” (American Academy of Poets).
As for Thomas’s poems themselves, three concepts are magnified. With time the focus of “The Almanac of Time”, death the focus of “Do Not Go Gentle into that Good Night”, and memory the main focus of “This...
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...ust for effect. They are influenced from Dylan Thomas’s sufferings that led him to develop a relationship with the world around him. Nature comes to life through his imagery and his demand for humanity to push forward against the abstract concepts that life drowns people with: time, death, and the fading memory. Thomas knows this darkness is hungry on its journey to end life. Since he unveiling these ideas uniquely as well, Thomas turns into less of a man from his own time, and more into a man stuck in a corridor of Romanticism (Nagaraju, Seshaiah).
Although it may seem to gentle release the hold on time and space, and let age overwhelm the body, there is something so horrible and consuming about the death that will end all that has ever been known. Because of its monstrosity, Thomas has effortlessly affirmed that we must “rage, rage against the dying of the light”.
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