The Force That through the Green Fuse Drives the Flower (Historical Context)

Historical Context

Just as the poetry of Dylan Thomas is difficult to characterize as springing from any particular poetic movement, it is also problematic to pin down his poetic roots, his literary heritage. Although he is Welsh, his poetry seldom reflects this, since his themes are intensely personal, having little relation to either his Welsh background or his historic period. Even in poems such as “Fern Hill,” which is based on a childhood location and memory, the setting is more deeply rooted in the world of the imagination than in the countryside of Wales.

Because of this, critics are often bitterly divided about the description of Thomas as a Welsh writer. Many feel that he should not be characterized as such since he was unable to speak Welsh and stated that he had no interest at all in the language. He rejected the cause of Welsh nationalism and was reported as saying, “Land of my fathers, and my fathers can keep it.” Other critics, however, believe that Thomas is the product of a long tradition of Welsh poetry. They find traces of this rich Welsh heritage in Thomas’s passion, celebration of wild nature, elaborate play with meter, and highly structured poetic forms. A review of the role which language and literature have played and continue to play in Welsh history may help illuminate both sides of this argument.

Wales, like most of western Europe, was overrun by successive waves of invaders who eventually settled the land. Gradually, however, the people of Wales began to forge a national identity. By the sixth century, the Welsh language had evolved. A century later, the people of the land — who were called “Welsh” or “foreigners” by the inhabitants of Britain — described themselves as Cymry, or compatriots. During the seventh and eighth centuries, four main kingdoms were established: Gwynedd, Powys, Deheubarth, and Morgannwg. By the ninth century the country had a national name and identity, Cymru.

During the period while these kingdoms were being forged, poetry played an important role in the forming of a national consciousness. Two famous sixth-century poets celebrated the valiant struggles of Welsh heroes. Taliesin created odes praising the passion of the leader Urien. Anerin also wrote of the valorous exploits of Welsh warriors. They are often considered the fathers of the intricate rhyme and rhythm schemes which characterize modern Welsh poetry. The Welsh literary heritage is one of the oldest and most consistent in the world.

During the next few centuries, the bardic tradition played an increasingly important role in the development of the society. Bards were poets trained in metrics and the conventions of poetry, such as alliteration and complex internal rhyme; frequently the role of bard was a family tradition, passed down through successive generations. The role of these poets was highly honored, since bards served to heighten national pride and unity. In addition, many households kept their own bard to record the family’s private triumphs and celebrations.

The period of the Norman invasion of Wales during the eleventh and twelfth centuries became the heroic age of Welsh poetry. Court poets played an official role in government, and verse assumed an integral role in the royal court. It celebrated the feats of national heroes such as Owain Gwynedd, who resisted the Normans in North Wales. His son, Hywel ab Owain, further strengthened the importance of the role of the bard, since he was respected not only as a prince and warrior but also as a poet.

This esteem for poetry was strong throughout Wales. In the southern section of the country, Lord Rhys, who was the last of the kings of Deheubarth, exchanged his royal title to take over for the English monarch, becoming Henry II’s Justice of South Wales. Like other Welsh people, he placed a great value on poetry. Therefore, in 1176, he declared the first eisteddfod, a contest to acknowledge the nation’s best poet and best musician. This accolade became one of the country’s highest honors.

The next few centuries saw the decline of the power of the bardic tradition. The gentry no longer supported poets, and the role of the bard diminished in importance. Nominal English control during the fourteenth and fifteenth centuries allowed Welsh to remain the dominant language and culture. However, when Henry VIII passed the Act of Union in 1536 declaring Wales “for ever ... annexed” to Britain, Welsh ceased to be the official language of the country. Although Elizabeth I declared an eisteddfod to be held at Caerwys to bolster the strong Welsh poetic tradition, this had little effect on the gradual encroachment of the English language and culture in Welsh society.

By the eighteenth century, the industrialization which flourished in many portions of South Wales helped to create a kind of cultural divide, since the language of business was English. This was countered by a movement to honor the language, art, and culture of Wales. The Honourable Society of Cymmrodorion, founded in 1751, dedicated itself to this purpose. Unfortunately, the Welsh language found itself increasingly under attack. Another blow came in the latter part of the nineteenth century, when English was ordained as the official language taught in schools.

At the beginning of the twentieth century, many Welsh parents were convinced that English was the language of success and prevented their children from speaking Welsh. This was true for Thomas. Although both of his parents spoke Welsh, his father discouraged him from learning the language. At the same time, however, a strong nationalist movement began to form. By 1934, when Thomas wrote this poem, there was a renewed interest in reaffirming the strong traditions of the Welsh language and poetry.

Compare & Contrast

• 1934: The Dionne quintuplets were born.

  1997: The McCaughey septuplets were born.
  1998: Nkem Chukwu gave birth to octuplets; the smallest one, weighing only 10.3 ounces, died of heart failure one week after birth. This renewed the debate about the medical ethics of the prescribing of fertility drugs.

• 1934: The Hayes Office was established by the Motion Picture Producers and Distributors to create a code for behavior in the movies. Female breasts and “unconventional” kissing were banned from the screen.

  1969: Jack Valenti developed the current rating system for movies.
  1999: The movie rating system came under attack for allowing too much violence in movies after the shooting at Columbine High School. President Clinton challenged the industry to improve and enforce their system.