标题: Dylan Thomas: The force that through the green fuse drives the flower [打印本页] 作者: 怀抱花朵的孩子 时间: 2006-6-17 19:14 标题: Dylan Thomas: The force that through the green fuse drives the flower The Force That Through The Green Fuse Drives The Flower
by: Dylan Thomas
The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.
The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman's lime.
The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather's wind
How time has ticked a heaven round the stars.
And I am dumb to tell the lover's tomb
How at my sheet goes the same crooked worm.
Leon Malinofsky paraphrased this poem for us here
You can find Bei Dao's comment on Dylan Thomas here
[ 本帖最后由 怀抱花朵的孩子 于 2006-6-19 00:25 编辑 ]作者: 怀抱花朵的孩子 时间: 2006-6-17 19:30 标题: Dylan Thomas (1914-1953) Dylan Thomas (1914-1953)
Welsh poet and prose writer whose works are known for musical quality of the language, comic or visionary scenes and sensual images. Dylan Thomas died in the United States on a tour on November 9, 1953. His death resulted much from his alcoholism, which have gained mythic proportions. The Dylan Thomas Centre in Swansea even serves pints of Dylan's smooth ale. It has been claimed that the famous American famous songwriter and musician Bob Dylan named himself after the Welsh poet, but Dylan himself had denied it.
"The hand that signet the paper felled a city;
Five sovereign fingers taxed the breath,
Doubled the globe of dead and halved a country;
These five kings did a king to death."
(from 'The Hand That Signed the Paper', 1936)
Dylan Thomas was born in the seaport town Swansea, West Glamorgan. His father, David John Thomas, was the senior English master at Swansea Grammar School, where Thomas was educated. His parents had a Welsh-speaking country background from Carmarthhenshire, but they adopted English language and culture. Although Thomas could not read Welsh, he picked up the rhytms of the language, and started to write poetry while still at school.
Thomas received little formal education. When he was twelve, his poem was published in the Western Mail. Actually the work was copied from the Boy's Own Paper. Other poems, original without any doubts, he wrote for the Grammar School magazine. Ignoring his father's advice to attend university, he left his studies and worked as a trainee newspaper reporter on the South Wales Evening Post. His first book, dreamlike and sensuous 18 POEMS (1934), marked the appearance of an energetic voice in English poetry. Thomas wrote the poems when he was nineteen and twenty years old. In 'I see the boys of summer' Thomas identifies himself with doomed Welshmen, victims of time. "Awake, my sleepers, to the sun, / A worker in the morning town, / And leave the poppied pickthank where he lies; / The fences of the light are down, / All but the briskest riders thrown, / And worlds hang on the trees." The work was followed by TWENTY-FIVE POEMS (1936), which established his reputation. Thomas moved to London where he worked as a broadcaster, prose writer, poet, and lecturer. With the writer Pamela Hansford Johnson, he started correspondence an a love affair. "Charming, very young looking with the most enchanting voice," she write in her diary when they met. Later she married Lord (C.P.) Snow. In 1937 Thomas married Caitlin Macnamara, whom he called in a letter "Betty Boop". For a while the couple settled at Laugharne in Wales, returning there permanently after many wanderings in 1949. The marriage was stormy; Thomas was a natural bohemian and eventually Caitlin become tired in her husband's frecklessness. Thomas's earnings were irregular, his money just melted away, and he had to borrow money from his friends.
By the end of the 1930s, Thomas had gained fame in the literary circles, but he also suffered from depression and was afraid of losing inspiration. He became later a highly public figure due to his radio work and readings. His romantic, rhetorical style won a large following. Some writers, among them Philip Larkin, rejected his work as too subjective.
During World War II Thomas worked sporadically for the BBC, where his melodic voice made him a great favorite. After the German planes had firebombed London Thomas wrote the lines: "Deep with the first dead lies London's daughter, Robed in the long friends, / The grains beyond age, the dark veins of her mother, / Of the riding Thames. / After the first death, there is no other." (from 'A Refusal to Mourn the Death, by Fire, of a Child in London', 1946) In the 1940s Thomas wrote some of his best works. PORTRAIT OF AN ARTIST AS A YOUNG DOG (1940) was a collection of largely autobiographical short stories, paying homage to James Joyce. DEATHS AND ENTRANCES (1946) used religious imagery and took its subjects among others from the bombing of London, or from the loss of childhood world as in the poem 'Fern Hill'. Another pastoral ode, 'Poems in October,' expressed Thomas's nostalgia for lost youth.
In 1947, when Thomas contributed to more than 50 features for the BBC, he suffered a mental breakdown, and moved to Oxford. He returned to Wales in 1949 and made his first American tour next year, mostly because of financial pressures. In 1950, 1952, and 1953 Thomas continued his popular reading tours on American college campuses, managing to hide that he did not like reading his own work. Before a reading at Pomona College, Claremont, he lost his books and notes. In New York, he spent a lot of time at the Chelsea Hotel Bar. The tours were financially profitable and he met such celebrities as Greta Garbo, Marilyn Monroe, and Charlie Chaplin. At Chaplin's, he was seen urinating on a plant. Thomas died at St. Vincent's Hospital, after spending four days in a coma. In spite of Thomas's heavy drinking, the autopsy revealed that he did not suffer from serious cirrhosis of the liver.
His last four years Thomas spent at the Boat House in Laugharne, where he later was buried. Caitlin Macnamara Thomas died in 1994. Shortly before his death in New York, Thomas took part in a reading of what was to be his most famous single work. UNDER MILK WOOD (1954) was a return to the Welsh landscape, and a celebration of domestic life and dreams of ordinary people. It was published posthumously as his reminiscence A CHILD'S CHRISTMAS IN WALES (1955). His NOTEBOOKS appeared in 1968. A new edition of THE POEMS OF DYLAN THOMAS (1971) included personal comments by his friend and early collaborator, the composer Daniel Jones. The musician John Cale has set several of Thomas's poems to music. "As to the Thomas heritage industry: ouch!" Cale has said.
Thomas's poetry is marked by vivid metaphors, the use of Christian and Freudian imagery, and celebration of the wonder of growth and death. "My poetry," Thomas once said, "is the record of my individual struggle from darkness toward some measure of light." Although Thomas's poems appear to be freely flowing, his work sheets reveal much work behind his mixture of the vernacular and literary. To Pamela Hansford Johnson he once said in the 1930s, that he wrote at the rate of two lines an hour. Among his best-known individual poems are 'And death shall have no dominion,' 'Altarwise by owllight' (a sonnet sequence), 'A Refusal to Mourn the Death, by Fire, of a Child in London,' 'Do not go gentle into that good night,' 'In My Craft and Sullen Art,' and 'Fern Hill.' His own role and gift as a poet Thomas paralleled with the forces of nature: "Oh as I was young and easy in the mercy of his means, / time held me green and dying / though I sang in my chains like the sea." (from 'Fern Hill')
Thomas also wrote short stories, essays, and a roman à clef, ADVENTURES IN THE SKIN TRADE (1955), which was left unfinished. Thomas's radio play Under the Milk Wood portrayed a small Welsh coastal town and was made in 1971 into a film starring Richard Burton and Elizabet Taylor. His film scripts concerned less personal subjects. THE DOCTOR AND THE DEVILS (1953), set in the late eighteenth century Edinburgh, examined the theme of 'the ends justify the means'. It was based on the case of the murderers Burke and Hare. In the story a surgeon starts to pay for bodies, which he uses as cadavers for dissection. The trial also touched foundations of the whole society: "SECOND PROFESSOR: ... and if a member of the royal family is accused of a commoner's crime, then it is the whole family that is accused. An elaborate smile - but you see my point?"
[ 本帖最后由 怀抱花朵的孩子 于 2006-6-17 19:45 编辑 ]作者: 怀抱花朵的孩子 时间: 2006-6-18 23:42
Comment on 'The Force that Through the Green Fuse Drives the Flower' (1934) Dylan Thomas
'The Force that Through the Green Fuse Drives the Flower' is a lyrical meditation on the paradox that the very life-force that gives life also brings inevitable death. It reveals in a melancholic tone the beauty in Nature and in living and the fact that the persona cannot explain life ('I am dumb') and that death is the only certainty in life.
The poem examines this central paradox (and each stanza follows this structure) by giving one image of nature that captures the energy and vitality of life, compares it to his own life before giving another image that shows the death and decay of the natural world and himself, before moving on to a personal reflection that life is a mystery and that such a force is responsibility for both life and death.
The poem is centrally concerned with the wonder of life. Images of nature are used throughout to show the beauty of the natural world ('green fuse drives the flower' ... 'drives the water through the rocks') and this is compared to the youth and vitality of the speaker, but it also reveals that all things must die: the force that gives beauty to the flower is the same force that 'blasts the roots of trees', or the water of streams that dries up. The persona constantly reiterates his dismay that a force that brings life, vitality and beauty is also responsible for age and death. He sees the beauty of the flower turn to a 'crooked rose' and knows that his youth, his 'green age', will also be 'bent by the same wintry fever'.
Images of nature are associated with movement, vitality and the source of life, repeated in the verb 'drives', before showing its antithesis in images of destruction ('blasts'), dryness ('dries the mouthing streams') and stagnation ('Stirs the quicksand'). It is exactly this paradox that stands as the mystery of life and depresses the speaker. If there is an initial beauty in life it cannot help but move to death and it is this realisation, one that makes the speaker feel as if there is no security or meaning, or at least a way of controlling life, that drives the persona to meditate on the nature of death.
The third stanza is full of images of death. The force that drives the wind is also the same that will eventually send him on his metaphorical boat of death - the 'shroud sail' capturing the journey of death in the boating meatphor where the sail that would normally take him on journeys is now his burial wrapping. These images of death are continued with references to the 'hanging man' and the biblical allusion to man being made from clay ('How of my clay is made the hangman's lime'), showing that the source of life already contains the seeds of death.
Time cannot be stopped, a theme present in poetry for centuries, and as love has often been an antidote or way of overcoming this, Thomas moves to an examination of love, though it seems it can only 'calm her (time) sores' rather than being the answer. After opening lines that contain a verb of action and movement (whirls, drives) the rhythms slows down, with the verb 'leech' which shows a slow gradual seepage rather than wild movement and the slow sound of the monosyllable also shows the shift as if the poem itself is growing old and slowing in its movements. Love 'drips and agthers' rather than being a wild spontaneous action and though it helps it in only in the 'fallen blood' perhaps representing memoey of past that some solace is found.
The poem then concludes with an image of love and death in the 'lover's tomb', which shows that loves too dies and the persona id left in his meditation in poetry ('How at my sheet') knowing that death is inevitable in the image of the worm that eats the decaying body. This hollowness is captured in the half rhyme and assonace of 'tombs' and 'worms', ending in a note of resignation.
The image of the shroud sail is a metaphor for death. The sail of the boat is a shroud, the garment wrapped around a dead body as it is placed in the grave, and shows the inevitable journey to death that all life leads to.
The rhythms are quick and reflect this life, then shifts to show how this ame force is responsible for death and he cannot explain why this is so.
