The poem also gives us an accurate description of the front parlour of the house. It's like the farm is alive and is walking away in the night. 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. Past a farm on your left, and after about 500 yards, there are a pair of cottages on the right. It's also about how awesome the farm is when the speaker was young. Another great performance by Richard Burton.
It's easy for our speaker to feel the wonders of youth as everlasting, but all along he was doomed to be yanked irreversibly into adulthood, just like the rest of us. As we read, we, too, are constantly circling back, which conveniently mimics the speaker's obsession with his own past. In fact, Thomas peppers every stanza in the poem with these qualities, so keep an eye or ear out as you read. But then time becomes the one who yanks our young and carefree speaker out of his graceful youth and into ugly adulthood. But also, something like treasure that needs to be recovered.
He read all of 's poetry, impressed by vivid descriptions of the natural world. The patterns established in the first two stanzas—the syntax, the indentations of the lines, have shifted. A pity there are about a dozen-odd words missing in the last three lines of the first stanza, as a result whereof the last but one line is completely missing. In fact, it's a tool poets like to use called enjambment, and this poem's chock full of it. Selected Bibliography Poetry Poems 1971 Collected Poems 1952 In Country Sleep, And Other Poems 1952 Deaths and Entrances 1946 New Poems 1943 The Map of Love 1939 The World I Breath 1939 Twenty-Five Poems 1936 18 Poems The Fortune press, 1934 Prose Early Prose Writings 1971 Collected Prose 1969 The Beach of Falesá 1964 Letters to Vernon Watkins 1957 Adventures in the Skin Trade, and Other Stories 1955 A Prospect of the Sea 1955 A Child's Christmas in Wales 1954 Quite Early One Morning 1954 The Doctor and the Devils 1953 The Portrait of the Artist as a Young Dog 1940 Notebooks 1934 Drama Under Milk Wood 1954 Now as I was young and easy under the apple boughs About the lilting house and happy as the grass was green, The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, And honoured among wagons I was prince of the apple towns And once below a time I lordly had the trees and leaves Trail with daisies and barley Down the rivers of the windfall light. Line 2 indicates that the child is 'happy as the grass was green.
Fascinated by language, he excelled in English and reading but neglected other subjects. But it's not exactly free verse, either. His nostalgia really shines through, all in that one word. All the sun long it was running, it was lovely, the hay Fields high as the house, the tunes from the chimneys, it was air And playing, lovely and watery And fire green as grass. The later poems arise out of personality. He's not hugging the trees and he's not holding solo drum circles. The poem presents a child experiencing a happy, innocent time before the knowledge of death that comes with adulthood destroys this innocence.
You're only young once, and all those other clichés. He dreams of owls, night jars, and horses on the farm. Lesson Summary 'Fern Hill' by Dylan Thomas depicts the poet's idyllic childhood on a farm. It seems like the speaker is as concerned with the sounds of words as he is with what he's describing. They both have nine lines, and each of those lines has a certain number of syllables, depending on where it falls in the stanza. By December of 1932, he left his job at the Post and decided to concentrate on his poetry full-time. The book drew from a collection of poetry notebooks that Thomas had written years earlier, as would many of his most popular books.
In Christianity, grace is the love and mercy of God, who gives it to sinners freely for salvation. Here he's saying that the farm in the morning is like God's creation itself. Or something your life depends upon. The speaker is describing long, pleasant, exciting days, and the line is a long, pleasantly rhythmic, excited line. This gives the poem, which has no traditional poetic form, a structure all its own. But it also suggests that Time is happy to see the speaker so young and carefree. Most works on this site are read by the author, using embedded audio-files which require Adobe Flash Player.
We mean, it practically sings itself. Acknowledgements: Constantine FitzGibbon, The Life Of Dylan Thomas © 1965; Annis Pratt, Dylan Thomas' Early Prose: A Study In Creative Mythology © 1970; Andrew Sinclair, Dylan Thomas © 1975; Paul Ferris, Dylan Thomas - A Biography © 1977; John Ackerman, Welsh Dylan © 1979; Susan Richardson, The Legacy Of Dylan Thomas In Wales © 2000; Joan Gooding, Britain's Last Romantic Poet: Dylan Thomas © 2000. The vivid description and figurative language of the poem have made Fern Hill come alive on the page. At least, in this case, he's using his power for good by allowing the kid to play. That means that our oh so nostalgic speaker fills in plenty of details about what Fern Hill looked like. Unlike his contemporaries, and , Thomas was not concerned with exhibiting themes of social and intellectual issues, and his writing, with its intense lyricism and highly charged emotion, has more in common with the Romantic tradition.
And he doesn't stop there. The Life And Work Of Dylan Thomas written, designed, and copyright except where otherwise noted © by Willem Jonkman. These are works of absolute literary and social genius, reminding us of a time, and a place that few of us ever really knew. Time and knowledge, however, eventually change everything. What this tells us is that Thomas isn't just about creating unity within stanzas—he's all about creating unity between stanzas, too.
Possibly because there were fires in the evening, but also because fire is a source of energy and light and warmth. Now that we've reached the end of the second stanza, we're starting to realize it looks an awful lot like the first. So far, the poem's been all about the land, and suddenly the sea's singing. The speaker talks about the landscape with such reverence, he believes it to be sacred. This poem could be considered a coming of age poem, because it depicts the transition from childhood to adulthood.