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This bread I break

This bread I break was once the oat,
This wine upon a foreign tree
Plunged in its fruit;
Man in the day or wind at night
Laid the crops low, broke the grape's joy.

 Once in this wine the summer blood 
 Knocked in the flesh that decked the vine, 
 Once in this bread 
 The oat was merry in the wind; 
 Man broke the sun, pulled the wind down. 
  
 This flesh you break, this blood you let 
 Make desolation in the vein, 
 Were oat and grape 
 Born of the sensual root and sap; 
 My wine you drink, my bread you snap. 
  
 

This bread I break was once wheat
this wine on a tree by its fruits foreign
was immersed;
man by day or night
bent in the wind on the ground made, and broke the joy of the grape.

In this wine, at one time, the blood pounding in the summer
meat dressed in the vine;
a time, in this bread, wheat
was cheerful in the midst of the wind;
man broke and the sun overthrew the wind.

This flesh you break, this blood that leaves
devastate the veins, were once
wheat and grapes, born from the root and sap
sensual.
It 's my wine you drink, it's my bread to gnaw.

( Translation of Ariodante Marianni )

Dated December 24, 1933 in Notebooks, was collected in the volume Poems 18. This poem Geoffrey Leech wrote an interesting essay, "This bread I break - Language and Interpretation" (in A Review of Literature Inglese, VI, 1965, 66-75), in which the theme of the poem or, as he says Francesco Binni, the transformation of the Christian dogma of the Eucharist in a symbol of the destructiveness of man on nature and life force that gave birth to the poet himself ("my wine you drink, my bread you snap") emerges only through a detailed analysis of the text to a point sight vocabulary and grammar. Leech mainly highlights the lexical cohesion of poetry, given by the repetition of key terms such as bread , break , oat, but also by the presence of well-defined semantic fields (wine - tree - fruit - grape - vine - drink, day - night - summer - sun, blood - flesh - vein - joy - merry - desolation). But even more characteristic are the somewhat unusual choice of words, alienating, unexpected, those that defines Leech "deviant lexical collocations" , combinations that have the effect of stress or to uncover new meanings and complex. Terms that their use is not common are not together, are deliberately juxtaposed by Thomas and acquire the strength, the thickness of the sound and poetry. Leech identifies "This bread I break" two main types of couples vocabulary: there are those who associate inanimate objects to psychological states, such as grape's joy , the oat Was merry , sensual root , and those that involve the use of verbs in contexts that suggest violent actions "inappropriate" as plunged In Its fruit, knocked in the flesh, the sun broke , pulled down the wind, this flesh you break, my bread you snap .

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[El Mundo] are many and varied reasons why Silvio Berlusconi provokes a strong interest. Here are some: I am 15 years dominating the Italian political scene, was elected in April for the third time prime minister with a landslide victory that gave it an absolute majority, is one of the richest men in the world by being the owner of a media empire which includes three of the four private television channels that exist in Italy, has had numerous problems with the law, enjoys huge popularity, and owner of AC Milan, one of the football teams that have won more international titles, has not shown its minimally 72 years of age ... The 'Knight' experiencing a golden moment. With the opposition center-left in agony and the support of over 60% of Italians have little reason not to get excited.

Question. - Faced with the grave crisis, still believe that capitalism is the best economic system or believes that it should be reformed?

Response. - Capitalism is still the best when compared with those based collectivist ideology that condemned entire populations to poverty and lack of freedom. But some rules, especially in the financial field, must be changed. [...] It is capitalism to be in the dock, but the degeneration of certain aspects of the free market.

D. - She has swept the parliamentary elections and its popularity is now at stratospheric levels. Because the Italians love it so much?

R. - With the current crisis, enjoy a popularity among the 64% and 73% seems to me quite frankly embarrassing. Can only diminish! [...] The Italians have always known me. They trust me because I was the most popular and coveted Italian businessman and I dropped everything to make available to my country and my fellow citizens of my experience and my abilities. They were tired of the talk of the Left, demanded action.

D. - How do you interpret her right man, the crisis of the Italian left? He is happy to govern practically without opposition?

R. - I regret having to correct. I'm not a man of the right. The reason for the broad consensus of which I enjoy in Italy is due to the fact that the old ideologies no longer matter. Anyone who insists to serve as ambassadors, shall be punished by a vote. [...] The left is still under the blackmail of environmental fanaticism. If he won he would continue to lose precious time before tackling the country's energy policy. Under the blackmail of local authorities, could never solve the problem of waste. Under the union hostage by the minority would never have agreed to apply the criteria of meritocracy in public administration and education. However, the [...] crisis, the opposition can not please anyone. Indeed, it is worrying. The role of the minority in a democracy is essential and must be able to engage in a constructive manner. Unfortunately, the crisis of the Italian opposition seems destined to last long.

D. - Changing the subject, because his government is committed to prevent the death of Eluana, the woman who had spent 17 years in a coma and died on February 9 after that, in compliance with a ruling of the Supreme Court, I am artificial nutrition and hydration withdrawn?

R. - A democratically elected government has the right and duty to make decisions. Morality can be subjective, the law no. Especially on key issues, such as that which concerns life and death, we can not leave regulatory gaps, because of these shortcomings problems arise. The judiciary, unlike the Parliament has no power to make laws, but has the honor to apply them. If there are gaps, the task of filling it to Parliament. And given that in Italy there was no law on living wills and on interruption of life, quite naturally we brought our proposals in Parliament, giving freedom to our MPs to vote according to their conscience. Let me remind you that in the case of Eluana no treatment was discontinued, did not put an end to aggressive treatment. He simply wanted to deny food, water and a sick woman, and hence the need and urgency of a bill of the government so that Parliament could adopt or reject, and that judges could apply.

D. - One of the first laws passed by his government was the Lodo Alfano, a rule of law that grants immunity to the four main offices of the Italian State and that has been labeled by the opposition center-left as a law ad personam ", created for avoid problems with the judiciary. Do you think that as prime minister should set an example and be the first to submit to Justice?

R. - The law to which it relates is born from a need precisely indicated by the Italian Constitutional Court: the need to allow the highest office in the State to perform its mandate fully and peacefully. In Italy, the principle of "due process" requires the full participation of the accused at the hearing. In a process that takes two or three years, with two or three hearings per week, it is virtually impossible for those engaged in high and important institutional functions participate and defend themselves. The mechanism of immunity is well known in other countries, including Spain, which also extends to members of parliament and is much stronger that in Italy, where the process is simply outstanding. [...] Unfortunately, part of the Italian judiciary is politicized, has used and continues to use his power as a weapon of political struggle against his opponents, especially against the only politician that can be imposed on the left. The politicized courts have also tried to alter the outcome of the democratic vote, succeeding in 1994 with a charge from which I of course was later acquitted after a trial of 10 years. The recall only some of the data: between 1994 and 2006, 789 judges have dealt with Silvio Berlusconi, with investigations and prosecutions that led to 587 visits by police and the Guardia di Finanza and 2500 hearings, a world record! Conclusion: I have always been declared innocent because, fortunately, the impartial judges are still the majority.

D. - The Italian anti-immigration policy has been much criticized, even by some members of the English Government. Some, in fact, have accused his government of xenophobia, particularly against immigrants Romanian gypsies. How do you respond to these criticisms?

R. - Our policy on immigration is not "against," she says. It is not against immigration altogether. We have the utmost respect for those who come to Italy to improve their lives and their families with an honest job, a thousand sacrifices and within the law. On the contrary, we maintain a firm stance against those who enter Italy illegally and live crime or small tricks and show no willingness to integrate. [...] As for the Romanians, who are European citizens, France has expelled thousands in 2008 alone. At the same time, Italy is only 40.

D. - But you, who claims to be a man-made man, do not try to enter Italy as an illegal immigrant if born in a third world country and be poor?

R. - I, like I said, I appreciate those who honestly try to build a future for themselves and their children integrated in another country. But I still most estimates of those who decide not to abandon their land and, in doing so, contribute with their work and their initiative to make it grow, by serving their community. I'm not left for the United States to work as an entrepreneur, I have been here.

D. - Enel is at this moment, which owns 92% of Endesa, the largest English electricity company. However, each time a English company has tried to invest in Italy is not failed. He does not believe that in this sense there is a large imbalance between the two countries? Do you not think that Italy sins of excessive protectionism?

R. - Our government has never intervened or intervene in the affairs of private companies. So, for our part, there is no protectionist behavior. In contrast, investment and firms in other countries, particularly Spain, are welcome in Italy.

[Original article by Irene Hdez. Velasco]

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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 destroy er .
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.

The force that dri ves 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 w hirls 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 l ips of tim e l eech to t he fo untain head;
Love drips and g a th ers, but the fallen blood
Shall calm her sores.
And I am dum b to tell a weather's wind
How time ha s 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.

urgendo The force which drives the flower in the green quill,
drives my green age; impetus that shakes the roots of trees
is my destruction.
and dumb I can not say to the rose withered
this winter fever fold anc h my youth.

The force that drives the water through the rocks,
driving my red blood, the same that dries sources who cry,
my cakes, and I am dumb to cry
my veins
that quell'alpestre polla sucks the same mouth.

The hand that whirls the water in the pool
sommuove the bottom silt, that between the winds, now the shroud
of my sail.
And I am dumb to tell the hanging
How much of my clay who hangs himself.

The lips of time leech to the fountain head;
drop love, swollen, but the fallen blood
soften her sorrows.
And I am dumb to tell the wind that rises
paradise that is marked by time around stars:

dumb to tell the lover's tomb
that appears on my bed the same wrinkled worm.

(translation of E Ugenio Montale)

[Dated September 3, 1933 in Notebooks ; collection 18 Poems in .]

At first to read much of Thomas, in many Index Q lmost instinctively theme of death as one of the dominant themes in the imagination of the Welsh poet, but risking d the improper or at least give a partial view of the whole universe poetic. Death in Thomas, in fact, you configure as part of an indestructible and perpetual cycle, which inexorably leads to life, rebirth. It 's that cycle of birth-death present in many of his poems ( A process in the weather of the heart , Before I knocked , I dreamed my genesis , I, my intricate image, And Death Shall Have No Dominion , Twenty-four years ) and stories youth the conflict between forces pancreatic and destructive forces that is part of the rhythm and unity of the cosmos, so that not only the life implies death and vice versa, but both share the same essence. Thomas is in fact a vision of death just as when required, ensuring the validity of that natural cycle and that each time a prelude to a rebirth. The synthesis of continuity is the resolution of the conflict between creation and destruction, so that in the end nothing is created and nothing really is destroyed. So Peter, the protagonist of the story "The Visitor" , finding himself at night in the valley of Jarvis, exult before the breakup of death in which you are ago Cendo way a new life. The transformation of the landscape is fierce and grim, like a lot of imagination to Thomas, but the hard work of her death prelude to a complex and vigorous renewal.

This should not suggest a positive connotation at all: Thomas man is chased by death from birth, according to quell'equivalenza womb and tomb , borrowed from John Donne, which is the key to most of his poetic imagination. For Thomas the body, illness, death, decomposition, fan no part nature of the reality of not less than one tree, which has its roots in the land, and it is this " earthiness" of the man who joins her in the cycle of nature: "The greatest description of Our 'earthiness 'is to be found in John Donne's' Devotions,' When He Describes man as earth of the earth, His body earth, Is His h air a wild shrub growing out of the land. " writes the same Dylan in a letter to Pamela Hansford Johnson on May 5, 1933. All the sexual symbolism, animal and plant that we find throughout the early work is due precisely thomasiana to this vision and magmatic units ria of reality - as when the story " The Lemon" , the arm of Nant protagonist turns into a tree branch.
But it is not mere metaphor, since the power of language g Thurs Thomas is just to go further: the images go beyond the symbolic meaning , p Erdonio their function allusion, and the similarity is configured as a true metamorphosis FOSI, in which an object becomes its equivalent subjective literally transformed by the gaze of the protagonist's inner to a story or the poetic. Co me notes Francesco Binni , reducing the world to the human representation of it is the world, the only possible world: what may seem like a half is really boring a finding. For this reason much of the early work of Thomas is particularly obscure "all-inclusive in a language that speaks everything - mind, body, world - is a simultaneous talk, not a metaphorical rimandaredall'un pious no other, an explanation in terms of one other. "So clearly Korg : " The chief source of obscurity In These stories is the fact imagined That Things Are Expressed in the language of factual statement INSTEAD of the language of metaphor. "

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Love in the asylum


A Stranger Has Come To share my room in the house not right in the head,
A girl mad as birds

Bolting the night of the door with her arm her plume.
Strait in the mazed bed
She deludes the heaven-proof house with entering clouds

Yet she deludes with walking the nightmarish room,
At large as the dead,
Or rides the imagined oceans of the male wards.

She has come possessed
Who admits the delusive light through the bouncing wall,
Possessed by the skies

She sleeps in the narrow trough yet she walks the dust
Yet raves at her will
On the madhouse boards worn thin by my walking tears.

And taken by light in her arms at long and dear last
I may without fail
Suffer the first vision that set fire to the stars.

stranger came with me to share my room in the house moody,
a girl mad as birds

That bar the night of the door with his arm down in bed delirious

narrow escapes Home proof of sky with clouds intrusive

And the room with his nightmares eludes
walk up and down like the dead, or riding the oceans
imagined by male lanes.

was invaded,
who enters the deceptive light bouncing off the wall, invade the sky


troguolo sleeps in close and yet walk in the dust

raves and his pleasure over the worn planks of the asylum walking by my tears.

and kidnapped at the end (expensive end) into his arms by the light
I can endure without failing
the first vision that set fire to the stars.

( Translation of Ariodante Marianni )

Written between May and June of 1941, the poem had appeared for the first time on "Poetry" , London, VI, and was then gathered in "Death and Entrances ". In
asylum was set also the story "The Mouse and the woman" , in the collection The map of love. "Or rides the imagined oceans of the wrong wards" is a metaphor that alludes to the possibility that the woman dreams other men ( rides, ride, has an obvious sexual meaning), and on this subject and it aroused jealousy in Thomas, pushed up to investigate the size of the unconscious and dreams of his wife, focuses all the poetry "Into her lying down head" in May 1940.

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Portrait of the artist as a young dog

So wrote Dylan Thomas in September 1939:

"Now I'm Trying to complete by December a book of short stories, mostly potboilers, Temporarily Called 'Portrait of the Artist as a Young Dog , 'Towards a provincial stories autobiography. They May Be amusing Eventually, But The writing of a number of means-Them poems less. They are all about Swansea life: the pubs, clubs, billiard rooms, promenades, adolescence and the suburban nights, Friendships, tempers, and the humiliations. "

The choice of the title of the collection, inspired by A Portrait of the Artist as a Young Man Joyce of , is therefore justified in a letter to Vernon Watkins: "I've Kept the flippant title for - as the publishers Advised - money making reason." We are tempted to suppose, as suggested Annis Pratt , which primarily economic reasons is not only due to the recall Joyce, but the whole turning point in his way of narrating "Thomas , Who Was penniless, jobless, and About to Become a father, Was impelled by a motivation as realistic as His new style. " It is a fact that Thomas was increasingly pressed by economic difficulties, the outbreak of war and birth of their first son should certainly not have improved its financial situation.

Around 1937, Thomas brings together most of his early stories in a collection entitled The Burning Baby , but the Europa Press will refuse to publish it at the last minute for some content deemed obscene. Two years later, The Map of Love , as we have seen, do not understand that part of his first production in prose and also will not be enthusiastically received by critics or not by the public. The exclusion of certain stories from the collection, just those stories that Thomas considered among the best he had written, I hurt deeply, as emerges from his letters, repeatedly stressing the incident: "Did I tell you the book includes seven stories as well. All unviolent ones. Church refused to pass the best, 'A Prospect of the Sea' Because of ITS 'unwarrantable moments of sensuality' - the fish. " In another letter he writes: " There Was not Any need for us after all To Have gone through stories for the fish-like Church did the Simplest Thing by cutting all the best stories out [...] One story HAD 'ITS moments of sensuality', I know it Went Out. " to see published in volume almost all the early tales of Thomas we must wait for the 1955, with the posthumous collection that will be called just A Prospect of the Sea, where the material, warns the editor, had been chosen by the author before his death.

Consider, therefore, reserves from the publishers and the poor reception from the audience who received the stories of the early dark and unaccountable, and instead got the success that those in the Portrait, it is possible that Thomas has opted for a different narrative style in accordance with its economic needs. In any case, the change there was, and whatever was the real reason, after the eruption of the "sense of fun, irony, of disenchantment, his prose will never return to the first.
Although the protagonists are still children or adolescents at most, and through their eyes the reader see the reality breaks down into every detail, following the rhythm of the inner time and not objective one, Thomas splits himself. The adventures of the child are told through the quiet chatter of the adult writer, as if to underline how the world of childhood is still filtered structures and mental mechanisms of adults

"The theme of the initiation into the mysteries of love, madness, and death is the Same as in the early tales, But Thomas WHERE HAD Been Involved in the struggles Of His boyhood hero he now Creates a mask through Which he can observe others. "
( A. Pratt, Dylan Thomas' Early Prose)

The autobiography of the Portrait is therefore not a pure return to childhood, the one on poetry and stories of the first uncontrolled, since it is dominated by the language and humor good-natured adult author, whose field of vision also embraces the existence the other, the funny characters that populate the Welsh countryside, is no longer focused only on the ego. All you could see the children or experiment or poets of the first stories always took place within their exaggerated subjectivity, was the result of projections of their mind to the outside world. The sense of total alienation that informed the earlier prose gives way to a serene and clear, although bizarre portrait of a provincial reality.
But we must not think that it is a pure realism or pure objectivity, however, unthinkable for a poet like Thomas who loved to explore any possibility of language and images: the view is always the innocent and visionary of a child and the story, while appearing as a memory with a registered adult language, the action seems to unfold at the same time, these are the immediacy of perception and attention placed on the events, the people, landscape, devoid of any consideration or review.

The language has since changed the Portrait in daily speech, realistic and detailed descriptions become part of the stories, although the word still retains its evocative power and its spectrum of meanings unconventional. The dialogue, the characterizations of the characters, almost entirely absent in the stories above, here are ample space, colors of subtle humor, the clarity that arises, as we have seen from the fact that Thomas has distanced himself from the adult child Thomas, said in retrospect. The linguistic revolution of Thomas dates back to poetry and prose from the early years, and we could say that the key to all its uniqueness lies in his power that is able to invest the word beyond any content of each image, There is already a force in the approach of poetic phrases, words, syllables, individual letters.

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The first story: The Map of Love Do not go gentle

Four of the ten stories included in "Red Notebook" form the nucleus of The Map of Love (1939) : "The Tree" , "The Enemies" , "The Dress" , "The Visitors" (later "The Visitor") and "Anagram" , abridged version of "The Orchards" . Three others, "Martha" (which will be titled "The True Story"), "The Vest" and "The Burning Baby" will appear in the collection Adventures in the Skin Trade , also containing the first three chapters of the novel unfinished. "After the Fair" appear in the posthumous collection A Prospect of the Sea while "Gaspar, Melchior, Balthasar" will be published in 1971 in volume Early Prose Writings . But beyond the individual publishing history and the differences between these earlier versions and the latest draft, this group of stories can be identified with a first core of the narrative thomasiana, critics generally agree that in contrast to a second group, that of Portrait of the Artist as a Young Dog (1940) . Although, in fact, the publication dates of the two collections-key, The Map of Love and Portrait are very close, we see the "Notebooks" that the genesis of first stories came many years earlier, it is far, then, that evolution of writing from Thomas, whose key to his friend and poet Vernon Watkins identifies 1939, the year is also crucial because of the birth of their first Llewelyn and his son for the outbreak of war "In Which the year he abandoned the struggling, symbol-charged prose of the early stories and intensely subjective Began to write stories about Human Beings living and behaving Exactly As They used to live and behave When He Was A Child ".

The subjectivity that characterizes the early work in prose is a force capable of deforming the surrounding reality, that Valley Jarvis that embodies the Welsh folklore and tradition as well as calls for the visionary thrust of the protagonists, an interior landscape that is a key to Thomas himself, his mind and sensibility of a poet. We know from a letter of 1934 to Pamela Hansford Johnson that Thomas even designed a novel about Valley Jarvis, was probably made by some of these stories, who retain their common element is the setting: "My novel - I ' ve done the first chapter - will be, When and if I finish it, no more Than The Hotch-potch of a poet strayed, or the linking together of Several short story sequence. Shall I scrap it in a Few Days. " He writes a few days later: "My novel is Valley of the Jarvis Slower Than Ever. Already I have scrapped two chapters of it. " In a subsequent letter, Thomas adds: " My novel, tentatively, very tentatively, titled 'A Doom on the Sun' is progressing, three chapters of it Already completed. "
In these stories there is, however, something more than the subjectivity of the projection of external reality: the fervor of the imagination of the characters, who are children, madmen and poets, and already the" elected "with of a feeling out of the ordinary, becomes a vision, and vision sometimes becomes pure hallucination. So observes Korg : "Almost Every story of this period perceives actuality through the screen of an irrational mind. The main characters are Madmen, simple tons, fanatics, lechers, and poets in love: people enslaved by the Dictates of feeling. "

What is missing in these stories is undoubtedly humor, lucidity disillusioned and ironic that we find later in the Portrait. The first stories were dominated by a funeral atmosphere, dream, from this conflict of opposites - bosom and death, creation and destruction - that is the core of the poetry of Dylan Thomas, and stories are so closely linked the poems of those years because they are themselves poetry. It's only as poet Thomas can go both ways extraordinarily, that of magic and that of the comic, in a journey that takes him from the dark prose of the "Red Notebook" to those of the Portrait.

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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.

Wild men who caught and sang the sun in flight,
And learned, 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.

Non andartene docile in quella buona notte,
vecchiaia dovrebbe
burn and rage when it falls on the day;
Rage, rage against the dying of the light.

Though the essays finally know that the dark is right,
because their words had forked no lightning,
Do not go gentle into that good night. Good

which prey to the last great wave
proclaimed their dim companies
might have danced in a green bay,
Rage, rage against the dying of the light.

The Indians, who took flight to the sun and sang,
later learn they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, with blinding sight
can see the blind eyes could blaze like meteors and be gay
;
Rage, rage against the dying of the light.

And you, my father, I pray there on the sad height, Curse
, Hurt me with your fierce tears,
not go gentle into that good night.
Rage, rage against the dying of the light.

( Translation of Ariodante Marianni )

Written in May 1951, this poem was sent to Thomas with a letter, dated May 28, the Princess Caetani, who had met in Rome and became his mentor. In a postscript of the letter reads: "The only person that I can do is read the poem, Of course, my father, who does not know who is dying. " The princess below published some of the later poems and perhaps the most beautiful in the journal of Thomas " Dark Shops ", where it also appeared in November 1951. Fu collection in "Death and Entrances." The poet's father, David J. Thomas , in which the poem was really dedicated, died just over a year later, December 15, 1952.
The form taken by Thomas and is strictly followed that of the villanelle , which featured an Refrain ( Do Not Go Gentle Into That Good Night and rage, rage, Against the Dying of the Light ) which also forms the final couplet, and two only sounds that rhyme at the end of each line (-ight and -ay).
The effect of the chain of mostly monosyllabic words, many of alliteration and repetition is extremely musical, and not by chance reading of this poem, Thomas is one of the most intense, so much so that he remembers almost like a song: you can listen in this post.