38 pages • 1 hour read
Dylan ThomasUnder Milk Wood
Fiction | Play | Adult | Published in 1954A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Background
Authorial Context: Dylan Thomas
Dylan Thomas, born on October 27, 1914, in Swansea, Wales, was a prolific and influential poet and writer known for his vivid and imaginative verse. His brief life was marked by a profound connection to his Welsh heritage, which greatly influenced his work. From an early age, Thomas showed an aptitude for language and a love for poetry. His father, David John Thomas, was an English teacher, and his mother, Florence Hannah, encouraged his literary pursuits. Dylan attended Swansea Grammar School, where his teachers recognized his talent and passion for writing. At the age of 20, Thomas moved to London, where he began his career as a poet and writer. He became associated with the bohemian literary circles of the time, gaining recognition for his performances of poetry in pubs and literary gatherings. His first collection of poems, Eighteen Poems, was published in 1934, showcasing his intense and emotive style.
Thomas’s affinity for Wales was rooted in the landscapes, people, and folklore of his homeland. Wales served as a wellspring of inspiration for his creative endeavors, and his poetic imagery often drew from the natural beauty and mythic elements of Wales, painting vibrant and evocative scenes in his verses. However, while he cherished the country’s landscape, traditions, and language, he also grappled with the economic hardships and industrial changes that affected Wales during his time. His writing often reflected a nostalgic longing for the Wales of his youth, a place steeped in myth and memory. Despite his move to London and later travels, Thomas remained deeply connected to Wales.
His relationship with Wales was further exemplified through his use of the Welsh language in his poetry, incorporating Welsh words and phrases, and honoring the linguistic heritage of his country. This linguistic connection served as a testament to his cultural roots and an homage to the Welsh identity that shaped his artistry. Thomas’s complicated relationship with his homeland is mirrored in his relationship with the Welsh language. Thomas did not speak Welsh, though his parents did. During Thomas’s lifetime, speaking the Welsh language was discouraged in schools, and children could be beaten for speaking anything other than English.
Thomas’s personal life was marked by alcohol addiction and tumultuous relationships. In particular, his marriage to Caitlin Macnamara was characterized by intense highs and lows. Despite the challenges they faced, Macnamara remained a significant influence on Thomas’s life and work. Thomas passed away in New York on November 9, 1953, at the age of 39 due to alcohol-related complications. In the aftermath of his death, Thomas’s legacy endured, and his contributions to literature were celebrated. His evocative and richly textured verses, infused with the essence of Wales, continue to captivate audiences, ensuring his place among the most revered poets of the 20th century.
Historical Context: Welsh Life in the 1950s
Under Milk Wood depicts life in a small Welsh village in the middle of the 20th century. The period from the 1940s to the 1960s marked a time of significant change for Wales, blending tradition with industrial transformation and societal shifts. Economically, Wales underwent a profound transition during this period. Known historically for its coal mining, steel production, and heavy industry, Wales witnessed the decline of these sectors in the mid-20th century. The coal industry, which had been the backbone of the Welsh economy for generations, began to wane, leading to widespread unemployment and economic challenges in mining communities. This decline, coupled with the aftermath of World War II, created hardships for many Welsh families.
The societal fabric of Wales was deeply rooted in its traditions, language, and close-knit communities. The Welsh language, Cymraeg, was institutionally marginalized in schools and government offices, while English was increasingly prevalent, particularly in urban areas. However, Welsh remained a vital part of daily life, especially in rural regions where it thrived as a living language.
Community life in Wales in the 1950s was characterized by a strong sense of camaraderie and communal spirit. Villages and towns were tightly knit, and traditional festivals like eisteddfodau played a significant role in preserving Welsh culture while showcasing the talents of local poets, musicians, and storytellers.
Religion also played a central role in Welsh life. The majority of the population identified as Christian, with Nonconformist denominations, such as Methodism, holding considerable influence. Chapels were not merely places of worship but also served as community centers where social activities and gatherings took place, fostering a sense of unity.
At the same time, urbanization and the growth of industries beyond coal mining began to reshape the country. Cities like Cardiff saw a shift toward service-based industries and became centers of commerce and administration. This period also marked a time of political awakening and activism in Wales. The Welsh nationalist movement gained momentum, advocating for greater recognition of Welsh identity, autonomy, and the preservation of the Welsh language. Efforts were made to promote Welsh culture and language through initiatives like the establishment of S4C, the Welsh-language television channel.
Life in Wales during the middle of the 20th century was a period of transition. The Welsh people held steadfast to their cultural heritage while adapting to the challenges and opportunities brought about by industrial decline, modernization, and a shifting socio-political landscape.
Historical Context: Under Milk Wood’s Production History
Under Milk Wood is one of Dylan Thomas’s most celebrated works, and the play’s production history showcases the evolution of Thomas’s vision from its conception to its enduring legacy. The origin of Under Milk Wood can be traced back to the early 1950s, when Thomas was commissioned by the British Broadcasting Corporation (BBC) to create a radio drama. Initially titled The Town That Was Mad, the piece underwent several iterations before culminating in the final version, known as Under Milk Wood. Thomas envisioned his project as a “play for voices,” a lyrical exploration of the inner thoughts, dreams, and daily routines of the villagers, capturing the essence of their lives over a single day. The play’s narrative unfolds through a chorus of voices, with a narrator guiding the audience through the intimate details of the villagers’ lives.
When writing the play, Thomas returned to ideas that he first developed as a teenager. The play’s earliest iterations can be traced back to 1931, during which time Thomas was developing a conversation-style drama about life in a small Welsh town. Thomas developed the piece further when he and his family visited the town of Laugharne in Carmarthenshire in 1938, before moving to the town in 1949. Thomas continued to develop his ideas while living in various places in Wales and while traveling to America. He read an unfinished version of the play to students at Cardiff University in 1953, and he continued to make minor adjustments and refinements right up until the time of his death. Though the original manuscript for Under Milk Wood was lost by Thomas in a pub in 1953, the BBC was able to assemble a final version of the script.
Under Milk Wood premiered posthumously in 1954, a year after Thomas’s death, in a radio production directed by Douglas Cleverdon for the BBC. The original broadcast featured an ensemble cast, including Richard Burton as the First Voice. The play’s success on the radio prompted further adaptations for the stage. In 1956, a stage version directed by Donald Houston premiered at the Swansea Little Theatre, bringing the world of Llareggub to live audiences. This production showcased the challenges and opportunities of translating a radio drama into a theatrical performance, utilizing sets, costumes, and live actors to capture the essence of Thomas’s poetic vision.
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