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PINAR KILIÇ ŞULE ASLAN DYLAN THOMAS

PINAR KILIÇ ŞULE ASLAN

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DYLAN THOMAS. PINAR KILIÇ ŞULE ASLAN. Early life. Dylan Thomas was born in the Uplands area of Swansea, South Wales, on 27 October 1914. His father, David John Thomas, was an English master who taught English literature at the local grammar school. - PowerPoint PPT Presentation

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Page 1: PINAR KILIÇ ŞULE ASLAN

PINAR KILIÇŞULE ASLAN

DYLAN THOMAS

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Dylan Thomas

Dylan Marlais Thomas

Born 27 October 1914Swansea, Wales, UK

Died 9 November 1953 (aged 39)New York, USA

Occupation Poet

Literary movement ModernismRomanticism

Spouse(s) Caitlin Macnamara (1937-1953)

Children

Llewelyn Edouard Thomas (1939-2000)Aeronwy Bryn Thomas (b. 1943)Colm Garan Hart Thomas (b. 1949)

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Early life• Dylan Thomas was born in the Uplands area

of Swansea, South Wales, on 27 October 1914. • His father, David John Thomas, was an English

master who taught English literature at the local grammar school.

• His mother, Florence Hannah Thomas (née Williams), was a seamstress born in Swansea.

• Dylan had a sister, Nancy, eight years older than him.

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Early life• His childhood was spent largely in Swansea,

with regular summer trips to visit his maternal aunt's Carmarthenshire dairy farm. These rural sojourns and the contrast with the town life of Swansea provided inspiration for much of his work, notably many short stories, radio essays and the poem Fern Hill. Thomas was known to be a sickly child who shied away from school and preferred reading on his own

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Education• Thomas's formal education began at Mrs. Hole's 'Dame

School', a private school, which was situated a few streets away on Mirador Crescent.

• In October 1925, Thomas attended the single-sex Swansea Grammar School, in the Mount Pleasant district of the city.

• Thomas's first poem was published in the school's magazine, of which he later became an editor. He left school at 16 to become a reporter for the local newspaper, the South Wales Daily Post only to leave the job under pressure 18 months later in 1932. He then joined an amateur dramatic group in Mumbles, but still continued to work as a freelance journalist for a few more years.

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Career• Thomas wrote half of his poems

and many short stories while living at his Cwmdonkin home, “And death shall have no dominion” is one of his best known works written at this address.

• His highly acclaimed first poetry volume, 18 Poems, was published on 18 December 1934, the same year he moved to London.

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Career

• The publication of Deaths and Entrances in 1946 was a major turning point in his career.

• Thomas was well known for being a versatile and dynamic speaker, best known for his poetry readings.

• His powerful voice would captivate American audiences during his speaking tours of the early 1950s. He made over 200 broadcasts for the BBC.

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Marriage and children

• In the spring of 1936, Dylan Thomas met Caitlin MacNamara, a dancer. They met in the Wheatsheaf public house, in the Fitzrovia area of London's West End. A drunken Thomas proposed marriage on the spot, and the two began a courtship.

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Addiction • Thomas liked to boast about his addiction, saying;

“An alcoholic is someone you don't like, who drinks as much as you do.”

• Thomas "liked the taste of whisky," and he did quite his fair share of drinking, although the amount he is supposed to have drunk may have been an exaggeration.

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Style

• Thomas's verbal style played against strict verse forms, such as the villanelle ("Do Not Go Gentle into That Good Night").

• His images were carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death and new life that linked the generations.

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• Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry he sought a poetic ritual to celebrate this unity.

• He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life again. Therefore, each image engenders its opposite.

• Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore and preaching, and Freud.

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Poetry• Thomas's poetry is famous for its musicality,

most notable in poems such as Fern Hill, In the White Giant's Thigh, In Country Sleep and Ballad of the Long-legged Bait. Do not go gentle into that good night, possibly his most popular poem, is unrepresentative of his usual poetic style.

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• Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child. He did not understand all of their contents, but he loved their sounds, and the acoustic qualities of the English language became his focus in his work later.

• He claimed that the meanings of a poem were of "very secondary nature" to him.

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Bibliography

• Poetry• 18 Poems (1934)• The Map of Love (1939) • Twenty-Five Poems (1936) • New Poems (1943) • Deaths and Entrances (1946) • Twenty-Six Poems (1950) • In Country Sleep (1952) • Collected Poems, 1934-1952 (1952)

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Death

• Dylan Thomas died in New York on 9 November 1953. The first rumours were of a brain haemorrhage, followed by reports that he had been mugged. Soon came the stories about alcohol, that he had drunk himself to death. Later, there were speculations about drugs and diabetes.

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Impact on other cultural figures• Musician Bob Dylan once said the work of Dylan

Thomas influenced the change of his name from Zimmerman to Dylan

• Welsh musician John Cale has been highly influenced by the work of Dylan Thomas, even setting several of his poems (There Was a Saviour, On a Wedding Anniversary, Lie Still, Sleep Becalmed and Do Not Go Gentle Into That Good Night) to orchestral music on his 1989 album Words for the Dying, as well as a musical setting of A Child's Christmas in Wales on his album Paris 1919.

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• American author Shirley Jackson met Thomas once briefly in her family home and wrote several short stories dedicated to and loosely based around Thomas.

• American band Brave Saint Saturn quoted a portion of the poem "And death shall have no dominion" in the song "Here is the News" from the album Anti-Meridian.

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DO NOT GO GENTLE INTO THAT GOOD NIGHT

Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.

Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light.

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Wild men who caught and sang the sun in flight,And learn, too late, they grieved it on its way, Do not go gentle into that good night.

Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay,Rage, rage against the dying of the light. And you, my father, there on the sad height,

Curse, bless me now with your fierce tears, I pray.Do not go gentle into that good night. Rage, rage against the dying of the light.

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DO NOT GO GENTLE INTO THAT GOOD NIGHT

• Do not go gentle into that good night, a villanelle composed in 1952, is considered to be among the finest works by Dylan Thomas . Originally published in the journal Botteghe Oscure in 1951, it also appeared as part of the collection "In Country Sleep."

• Written for his dying father, it is one of Thomas's most-quoted works.

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Subject

• Dylan Thomas’ father had been a robust, militant man most of his life, and when in his eighties, he became blind and weak, his son was disturbed seeing his father become “soft” or “gentle.” In this poem, Thomas is rousing his father to continue being the fierce man he had previously been.

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• Thomas watched his father, formerly in the Army, grow weak and frail with old age. Thus, the speaker in his poem tries to convince his father to fight against imminent death.

• The speaker addresses his father using wise men, good men, wild men, or grave men as examples to illustrate the same message: that no matter how they have lived their lives or what they feel at the end they should die fighting. He implies that one should not die without fighting for one's life, or after life.

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• Stanza 1: The first line is a command, “Do not go gentle into that good night.” Don’t give up easily.

• The second line” Old age should burn and rave at close of day” offers the speaker’s belief that even when old and infirm, the man should stay energetic and complain if necessary as long as he does not give in to death easily.

• Then line three again is a command, “Rage, rage against the dying of the light”: Fight, complain, rail against the oncoming of death.

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Stanza 2

Though wise men at their end know dark is right,

Because their words had forked no lightning they

Do not go gentle into that good night.

fork: v. branch out, split, separate, divide; make into the shape of a fork

• Even though wise men know that they cannot keep death away forever and especially if they have not accomplished their goals in life, they don’t accept death easily; they “Do not go gentle . . . .”

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Stanza 3

Good men, the last wave by, crying how bright

Their frail deeds might have danced in a green bay,

Rage, rage against the dying of the light.

frail: adj. fragile; flimsy; weak, slight, thin;

bay: n. small arm of the sea where the shore curves inward

• Good men exclaim what might

have been, their “frail deed” might

have shone like the sun reflecting

off the waters of a “green bay,”

and they, therefore, “Rage, rage”

against the oncoming of death.

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Stanza 4

Wild men who caught and sang the sun in flight,

And learn, too late, they grieve it on its way,

Do not go gentle into that good night.

• Wild men whose antics seemed to shine as brightly as the sun and who thought they were so optimistic, but later realized they spent much of their life in grief, still they “Do not go gentle . . . .”

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Stanza 5

Grave men, near death, who see with blinding sight

Blind eyes could blaze like meteors and be gay,

Rage, rage against the dying of the light.

gay: adj. happy, cheerful;

• Grave men whose eyes are fading fast can still flash life’s happiness, as they “Rage, rage . .

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Stanza 6

And you, my father, there on the sad height,

Curse, bless, me now with your fierce tears, I pray.

Do not go gentle into that good night.

Rage, rage against the dying of the light.

• The speaker addresses his father. “And so my father you are nearing death—yell at me, scream at me, cry out; to see you do that would be a blessing for me and I beg you to show me that militant man you once were: Do not go gentle . . . . ”

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Other explanations…• Another explication is that the speaker admits that death is unavoidable,

but encourages all men to fight death. This is not for their own sake, but

to give closure and hope to the kin that they will leave behind. To

support this, he gives examples of wise men, good men, wild men, and

grave men to his father, who was dying at the time this poem was

written. There is little textual evidence for this interpretation, however,

except the words "curse, bless me now with your fierce tears, I pray." Also,

it has been historically stated that Thomas never showed this poem to his

father; if so, it would seem that Thomas composed it more for his own

benefit than his father's.

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Literary devices:

• The form on the poem is a villanelle, with a rime

scheme alternating “night” and “day.”

• “Good night” is a metaphor.

• “Dying of the light” is a metaphor.

• “Old age should burn and rave” in line 2 is a

combination of rhetoric and personification.

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Literary devices:

• “Burn” in that same line is used metaphorically, as is

“dark” in line 4.

• In line 5 “their words had forked no lightning” is

metaphorical.

• Line 8 “Their frail deeds might have danced in a

green bay” employs personification and metaphor.

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Literary devices:

• Line 10 “Wild men who sang the sun in flight” is

exaggeration and metaphor.

• Line 11 “they grieved it on its way” is also exaggeration

and metaphor.

• Line 14 “Blind eyes could blaze like meteors” is a simile.

• Line 17 “Curse, bless, me now with your fierce tears, I

pray” is a paradox.

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THE FORCE THAT THROUGH THE GREEN FUSE DRIVES THE FLOWER

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.

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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.

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THE FORCE THAT THROUGH THE GREEN FUSE DRIVES THE FLOWER

• ‘The force that through the green fuse drives the flower’ is a poem by Dylan Thomas written in the 1930s. It is a most beautiful poem full of wistfulness and sorrow, and tinged with a sense of helplessness.

• In the poem Thomas handles all of the literary elements with dexterity with possible interpretations. But the general theme, the cycle of life, is evident through his skillful use of imagery, symbolism, and connotation.

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Theme

• The main theme of this poem is the connection between all of nature and life. Thomas speaks of a mysterious and unstoppable force that controls both mankind and nature, forever linking them together, as his ‘youth is bent by the same wintry fever’ as the ‘crooked rose’, and he believes that the lives of mankind and nature are not separate.

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Theme

• Thomas talks about a power, “the force”, which pushes the flower up through the earth and the water through the rocks; makes the water swirl in a circle and sends the sailboat moving through the water; and moves the quicksand downward taking everything with it that got caught in its spin.

• There is a theme of regeneration in all stanzas.

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Analysis of the Poem

The force that through the green fuse drives the flowerDrives my green age; that blasts the roots of treesIs my destroyer.And I am dumb to tell the crooked roseMy youth is bent by the same wintry fever. (1-5)

Stanza 1 • The “green fuse” represents the stem of the flower, but through connotation “fuse” is thought of as something explosive, contrary to a gentle flower.

• The word “green” implies youth and growth as he describes his age. In the second and third lines the force that produced life in the flower and himself is described as the same force that destroys life.

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Analysis of the Poem

The force that through the green fuse drives the flowerDrives my green age; that blasts the roots of treesIs my destroyer.And I am dumb to tell the crooked roseMy youth is bent by the same wintry fever. (1-5)

Stanza 1• The fourth line shatters the

beautiful image of a rose, a symbol of healthiness and vigor, when it is described as crooked, inviting negative connotations. Just as the rose is feeble, he is also weakened and the seasons of his life change from springtime liveliness to “wintry fever.” The image of a frail, hunched over old man comes to mind.

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Analysis of the Poem

The force that drives the water through the rocksDrives my red blood; that dries the mouthing streamsTurns mine to wax.And I am dumb to mouth unto my veinsHow at the mountain spring the same mouth sucks. (6-10)

Stanza 2• The “force” here extends the

flow of the stream as it drives it along, similar to the first stanza in which the force extended the growth of the flower.

• “Red blood” is homogenous to “green age” from the first stanza – they both represent life and vivacity. In lines seven and eight “the force” becomes destructive again as in the first stanza.

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Analysis of the Poem

The force that drives the water through the rocksDrives my red blood; that dries the mouthing streamsTurns mine to wax.And I am dumb to mouth unto my veinsHow at the mountain spring the same mouth sucks. (6-10)

Stanza 2• The force that pushed life

along becomes the very force that takes away life as it “dries” the stream and turns the speaker’s blood to “wax,” which represents the speaker’s stiff corpse after embalming.

• As in the first stanza he is unable to communicate his feelings. An attempt to explain the situation to his body would be futile, since it is already lifeless.

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Analysis of the Poem

The hand that whirls the water in the poolStirs the quicksand; that ropes the blowing windHauls my shroud sail.And I am dumb to tell the hanging manHow of my clay is made the hangman’s lime. (11-15)

Stanza 3 • The “hand” agitates the normally calm waters of the pool and the generally motionless quicksand, and it is so powerful that it also controls the wind.

• The third line of this stanza is a double entendre. The speaker can be referring to a ship where the “shroud” is one of the ropes that support a ship’s mast; in this case the “hand’s” power is demonstrated as it controls the ship’s course.

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Analysis of the Poem

The hand that whirls the water in the poolStirs the quicksand; that ropes the blowing windHauls my shroud sail.And I am dumb to tell the hanging manHow of my clay is made the hangman’s lime. (11-15)

Stanza 3 • The “shroud” would be the sheet used to wrap a dead body for burial.

• In the fourth and fifth lines the speaker find it senseless to communicate his feelings with the “hanging man” since they both share the same fate. The speaker’s body, his “clay,” will be in the hangman’s pit, which is doused in “lime” to nullify the smell of rotting corpses.

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Analysis of the Poem

The lips of time leech to the fountain head;Love drips and gathers, but the fallen bloodShall calm her sores.And I am dumb to tell a weather’s windHow time has ticked a heaven round the stars. (16-20)

Stanza 4• The denotation of

“fountainhead” is an original source, where life begins, time leeches the fountain head just as age exhausts life.

• The next line leans towards the reoccurring theme of death where “fallen blood” represents a dead person.

• The speaker brings another life into being through reproduction in line one and in lines two and three.

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Analysis of the Poem

The lips of time leech to the fountain head;Love drips and gathers, but the fallen bloodShall calm her sores.And I am dumb to tell a weather’s windHow time has ticked a heaven round the stars. (16-20)

Stanza 4

• Time is referred to as “her” and the burden on society is represented by “sores.” He is incapable of explaining to the wind how time works because the wind already knows the nature of time. The “weather’s wind” has been to the heavens and the stars and has seen all possible weathers.

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Other explanations…

• He describes this force as linking life and death in an eternal cycle; ‘of my clay is made the hangman’s lime’. Thomas suggests late in the poem the name of the force that he is talking about: ‘(the lips of) time’, emphasising his point that this force is powerful and central to all.

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Literary devices:

• Structurally the poem follows a certain rhythm: Each stanza beginning with the word ‘the’, and the

first two stanzas beginning with the same words altogether: ‘The force that drives’, which reflects the regularity of this cycle and its continuance.

• The poet doesn’t use rhymes, but sometimes uses words that sound similar such as the ending:

‘tomb’ and ‘worm’, to give a sense of comfort and regularity when read out.

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Literary devices:

• The organisations of ideas in the first three stanzas are very similar:

The first part concerns (in the first two stanzas) comparing mankind with nature in terms of life and creation, and after the semi-colon is the mention of destruction. Then comes a short line showing how the force will cause the death of the poet. The last two lines show how the poet is unable to articulate the wonders of the power.

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Literary devices:

• Word order is sometimes emphatic: ‘The force’ starting a line makes it clear that that

is the major theme of the poem, and the second line of many of the stanzas begin with a verb that emphasises power.

Often a verb is used to start the line, such as ‘drives’ and ‘stirs’, to reinforce the importance of the actions the themed force performs.

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Literary devices:

• The use of imagery and contrast in language: Thomas uses many colours in terms of imagery, which adds

depth and meaning to the poem, as colours can symbolise numerous things. ‘green’ stresses life and youth, and also the fact that the same word is used to describe the age of a human and the life of a flower. The use of ‘red blood’ also adds to this, as red is a very healthy and lively colour. His imagery is often extremely interesting and original. The ‘shroud sail’ reminds the reader of perhaps a Viking funeral, which draws many connections with the sea and the wind.

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