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Influences of Wales on Dylan Thomas and His Literary Works

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Influences of Wales on Dylan Thomas and His Literary Works Influences of Wales on Dylan Thomas and His Literary Works Lin XU College of Foreign Studies, Guilin University of Electronic Technology Abstract: Dylan Thomas (1914-1953) was one of great Welsh poets and writers with productive poems and works in the 20th century, who has a dramatic and enduring impact in the English language. He is well-known for his “play for voices” “Under Milk Wood”; the poems such as “Do Not Go Gentle into that Good Night” and “And Death Shall Have No Dominion”; and short stories and radio broadcasts such as “Portrait of the Artist as a Young Dog” and “A Child’s Christmas in Wales”. Thomas’s romantic, affirmative, rhetorical style was both fresh and influential. Thomas became popular in his lifetime far and wide; and remained his international fame after his premature death in 1953. He knew little Welsh and wrote literary works in English, but almost his literary works mirror his relationship to Wales. He spent most of his life time in Wales and almost his works were finished in Wales; therefore, he was influenced by Wales including Welshness/Welsh culture and his own experiences in the outskirt of Swansea and rural villages in West Wales. Welsh contexts have been strongly embodied in his literary works, in which he wrote about Wales and the experience of being a Welsh. Keywords: Dylan Thomas; Wales; Dylan Thomas’s Literary Works; Welsh Contexts; Deep Approach DOI: 10.47297/wspciWSP2516-252711.20200408 About the author: Lin XU, English teacher at College of Foreign Studies, Guilin Univer- sity of Electronic Technology, Guilin, China. MTI from Southwest University, China; MA in Social Work Studies with Merit, Durham University, UK. Research Direction: British Literature and Cross-cultural Communication. Email: [email protected]. Fund Project: “On the MTI Deep Education in Electronic Information Colleges and Uni- versities” (MTIJZW201915) by China National Committee for Translation & Interpreting Education. 105 Creativity and Innovation Vol.4 No.8 2020 1. Introduction mong the rolling hills and stone cottages, Wales is one of nations in the UK, Awhere her inhabitants speak “an ancient and peculiar” language-Welsh, along with rich culture of Wales - Welshness (Borrow, 2009, p.15). Born in Swansea, South Wales, Dylan Thomas is one of famous Anglo-Welsh writers who had major achievements in the English language and is almost the most famous Anglo-Welsh writer in the 20th century (Lloyd, 1992, p. 435; Nagraju and Seshaiah, 2012, p.6). Dylan Thomas Birthplace (n.d.) states that “At 21, he (Thomas) was the leading Anglo-Welsh poet of the time.” Thomas is equally famous for writing the “play for voices” “Under Milk Wood” ; the poems such as “Do Not Go Gentle into that Good Night” and “And Death Shall Have No Dominion”; and short stories and radio broadcasts such as “Portrait of the Artist as a Young Dog” and “A Child’s Christmas in Wales” (Dylan Thomas, 2016). His prose works have a strong poetic element, especially “Under Milk Wood” and “Portrait of the Artist as a Young Dog” (Ross, 2010, p.243). Thomas’s romantic, affirmative, rhetorical style was both new and influential (Birch and Hooper, 2012, p.711). His poems are “expressive and often lush in their phrasing, with a vibrant vitality” (Ross, 2010, p. 243). Thomas became popular in his lifetime far and wide; and remained his international fame after his premature death at the age of 39 in New York City, US (Dylan Thomas, 2016). Literature, including poems, as well as being texts, has contexts (Davies, 1986, p.87). As to Thomas, the periods in which he wrote combined the places out of which he wrote. Thomas once made a comment on the influence of his places he lived on his life and works, especially in Wales, “I never thought that localities meant so much, nor the genius of places, nor anything like that.” (as cited in Ferris, 2000, p.224) Davies (1986, p.1) also verified Thomas’s words and made a comment on his whole life, “The thinner the eventfulness of a life, the larger do places loom as contexts for poems and stories.” Also, “Thomas was very much a poet of place in literally scenic ways” (Davies, 1986, p. 94). Suburban Swansea and even more unknown villages with impressive landscape in West Wales provided him with a fundamentally regional context. And using the word “regional” along with the word “rural” is that it arouses a relationship-to-the-centre that is not simply a matter of rural-versus-urban (Davies, 1986, pp. 87-88). Welsh contexts in Thomas’s literary works are regional contexts, which were influenced and evoked by Thomas’s own experiences and time no matter in rural Welsh villages or the outskirt of Swansea. Besides, some of his literary works are mixed with Welshness and Welsh identity, from which he tried to escape their influence but he always return to (Lycett, 2004, p.48). 106 Influences of Wales on Dylan Thomas and His Literary Works 2. Dylan Thomas Thomas was born on 27 October, 1914, in Swansea, Wales, UK. “Many of his works appeared in print while he was still a teenager” (Dylan Thomas, 2016). His first volume of verse, “18 Poems”, appeared in 1934, in which “Light Breaks Where No Sun Shines” attracted attention of the literary world in the UK (Birch and Hooper, 2012, p.711). Thomas met his future wife Caitlin Macnamara whom he married in 1937, when he was living in London. In the early time of their marriage, Thomas and his family settled in a Welsh fishing village-Laugharne, Carmarthenshire, West Wales. Thomas became to be admired as a popular poet in his lifetime; however, he found it difficult to make a living as a writer. Therefore, he then “embarked on a Grub Street career of journalism, broadcasting, and film- making, and rapidly acquire a reputation for exuberance and flamboyance” (Birch and Hooper, 2012, p.711). His radio recordings for the BBC during the late 1940s brought about public attention to him, and his voice was frequently used by the BBC as “a populist voice of the literacy scene” as well (Dylan Thomas, 2016). Thomas first traveled to the United States in the 1950s, where his readings earned international fame. Therefore, his time in America enhanced his legend. When he went on the fourth trip to New York in 1953, Thomas became severely ill and fell into a faint, from which he never recovered. Finally, he died on 9 November, 1953. His body was returned to Wales where he was buried at the village churchyard in Laugharne, where he used to live with his family, on 25 November, 1953 (Dylan Thomas, 2016). 3. Welshness Welshness is the culture of Wales. Welsh nationalism (Welsh: Cenedlaetholdeb Cymreig) focuses on “the distinctiveness of Welsh language, culture, and history, and calls for more self-determination for Wales, which might include more devolved powers for the Welsh Assembly or full independence from the United Kingdom” (Culture of Wales, 2016). However, Thomas disliked being considered as a provincial poet, and denied any notion of Welshness in his poetry. In spite of this, his works were rooted in the geography of Wales. Thomas admitted that he returned to Wales when he had difficulty writing, and John Ackerman (as cited in Dylan Thomas, 2016) emphasizes that “his inspiration and imagination were rooted in his Welsh background”. (1) Anglo-Welsh Language and Literature Wales had an independent history, an expressive language, as well as a distinguished literature which is actually older than English. As two total different languages, “Welsh” and “English” are “perceived and used to symbolize the total opposition between the two culture” (Trosset, 1986, p.171). Unfortunately, teaching 107 Creativity and Innovation Vol.4 No.8 2020 in Welsh had been banned by the Blue Books in 1847, apparently to counter poor standards in Welsh-speaking schools in Wales (Ross, 2010, p.197). This conspicuous piece of cultural colonialism had been reversed years later; however, “universal English-medium education finally destroyed the monoglot Welsh- speaking community” (Morgan, 1988, p. 248). “Learning languages in action…will imply cross-cultural pragmatics and a critical reflection on values and linguistic capital. ” (Tochon,2014, p.23) A majority of the one and a half million population still spoke Welsh, but they were mainly from countryside in desperate agricultural jobs. The emerging middle-class spoke English, and the political challenge to this linguistic dominance would not come for another two decades (Ross, 2010, p.198). Welsh-language literature became outstanding in Wales through the 19th century; by the early decades of the 20th century, Welsh people were writing in English, especially in the South of Wales, to give birth to a new literature - Anglo- Welsh literature (Lloyd, 1992, p.435). Anglo-Welsh writing, including Anglo-Welsh poetry, is the literature written in English by those who “either had indissoluble connections with the Wales of the past or see themselves as part of the Welsh literary scene in the present” (Collins, 1989, p. 56). From Thomas’s works, the readers can find that Thomas was also influenced by Anglo-Welsh literature as well as Angle-Welsh language, not the pure Welsh language. For instance, in his “play for voices” -“Under Milk Wood”, the readers might consider that the “voices” are Welsh voices. However, Daniel Jones (as cited in Hawkes, 1960, p. 346) argues that the language in “Under Milk Wood” is not “orthodox” Welsh but Anglo-Welsh, that is, “a South Wales dialect composed of the imposition of a highly idiomatic Welsh lexicon on an English base”. (2) Welsh Bardic Poetry and Welsh Identity Ben Gwalchami (2014) addresses that there is a great bardic tradition in Wales.
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