The secret of Thomas’s influence lies in the fact that he is genuinely what so many others of our time quite unjustifiably claim to be, a nature poet. To be a nature poet it is not enough to affirm vaguely13 that God made the country and man made the town, it is not enough to talk sympathetically about familiar rural objects, it is not enough to be sonorously14 poetical15 about mountains and trees; it is not even enough to speak of these things with the precision of real knowledge and love. To be a nature poet a man must have felt profoundly and intimately those peculiar16 emotions which nature can inspire, and must be able to express them in such a way that his reader feels them. The real difficulty that confronts the would-be poet of nature is that these emotions are of all emotions the most difficult to pin down and analyze17, and the hardest of all to convey. 145In “October” Thomas describes what is surely the characteristic emotion induced by a contact with nature—a kind of exultant18 melancholy19 which is the nearest approach to quiet unpassionate happiness that the soul can know. Happiness of whatever sort is extraordinarily21 hard to analyze and describe. One can think of a hundred poems, plays, and novels that deal exhaustively with pain and misery22 to one that is an analysis and an infectious description of happiness. Passionate20 joy is more easily recapturable in art; it is dramatic, vehemently23 defined. But quiet happiness, which is at the same time a kind of melancholy—there you have an emotion which is inexpressible except by a mind gifted with a diversity of rarely combined qualities. The poet who would sing of this happiness must combine a rare penetration24 with a rare candour and honesty of mind. A man who feels an emotion that is very difficult to express is often tempted25 to describe it in terms of something entirely26 different. Platonist poets feel a powerful emotion when confronted by beauty, and, finding it a matter of the greatest difficulty to say precisely27 what that emotion is in itself, proceed to describe it in terms of theology which has nothing whatever to do with the matter in point. Groping after an expression 146of the emotions aroused in him by the contemplation of nature, Wordsworth sometimes stumbles doubtfully along philosophical28 byways that are at the best parallel to the direct road for which he is seeking. Everywhere in literature this difficulty in finding an expression for any undramatic, ill-defined emotion is constantly made apparent.
Thomas’s limpid29 honesty of mind saves him from the temptation to which so many others succumb30, the temptation to express one thing, because it is with difficulty describable, in terms of something else. He never philosophizes the emotions which he feels in the presence of nature and beauty, but presents them as they stand, transmitting them directly to his readers without the interposition of any obscuring medium. Rather than attempt to explain the emotion, to rationalize it into something that it is not, he will present it for what it is, a problem of which he does not know the solution. In “Tears” we have an example of this candid31 confession32 of ignorance:
It seems I have no tears left. They should have fallen—
Their ghosts, if tears have ghosts, did fall—that day
When twenty hounds streamed by me, not yet combed out
147But still all equals in their age of gladness
In Blooming Meadow that bends towards the sun
When I stepped out from the double-shadowed Tower
Into an April morning, stirring and sweet
Soldiers in line, young English countrymen,
And fifes were playing “The British Grenadiers.”
The men, the music piercing that solitude
And silence, told me truths I had not dreamed,
And have forgotten since their beauty passed.
The emotion is nameless and indescribable, but the poet has intensely felt it and transmitted it to us who read his poem, so that we, too, feel it with the same intensity39. Different aspects of this same nameless emotion of quiet happiness shot with melancholy are the theme of almost all Thomas’s poems. They bring to us precisely that consolation40 and strength which the country and solitude and leisure bring to the spirits of those long pent in populous41 cities, but essentialized and distilled42 in the form of art. They are the light that makes young again the tattered leaves.
Of the purely43 ?sthetic qualities of Thomas’s poetry it is unnecessary to say 148much. He devised a curiously44 bare and candid verse to express with all possible simplicity45 and clarity his clear sensations and emotions.... “This is not,” as Mr. de la Mare46 says in his foreword to Thomas’s Collected Poems, “this is not a poetry that will drug or intoxicate47.... It must be read slowly, as naturally as if it were prose, without emphasis.” With this bare verse, devoid48 of any affectation, whether of cleverness or a too great simplicity, Thomas could do all that he wanted. See, for example, with what extraordinary brightness and precision he could paint a picture:
And the dead trees on their knees
In dog’s mercury and moss:
And the bright twit of the goldfinch drops
Down there as he flits on thistle-tops.
The same bare precision served him well for describing the interplay of emotions, as in “After you Speak” or “Like the Touch of Rain.” And with this verse of his he could also chant the praises of his English countryside and the character of its people, as typified in Lob-lie-by-the-fire:
149He has been in England as long as dove and daw,
Calling the wild cherry tree the merry tree,
The rose campion Bridget-in-her-bravery;
And in a tender mood he, as I guess,
Christened one flower Love-in-idleness....
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1 dwelling | |
n.住宅,住所,寓所 | |
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2 justifies | |
证明…有理( justify的第三人称单数 ); 为…辩护; 对…作出解释; 为…辩解(或辩护) | |
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3 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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4 tattered | |
adj.破旧的,衣衫破的 | |
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5 foliage | |
n.叶子,树叶,簇叶 | |
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6 transparently | |
明亮地,显然地,易觉察地 | |
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7 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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8 luminous | |
adj.发光的,发亮的;光明的;明白易懂的;有启发的 | |
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9 turmoil | |
n.骚乱,混乱,动乱 | |
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10 aridity | |
n.干旱,乏味;干燥性;荒芜 | |
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11 momentary | |
adj.片刻的,瞬息的;短暂的 | |
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12 rejuvenation | |
n. 复原,再生, 更新, 嫩化, 恢复 | |
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13 vaguely | |
adv.含糊地,暖昧地 | |
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14 sonorously | |
adv.圆润低沉地;感人地;堂皇地;朗朗地 | |
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15 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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16 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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17 analyze | |
vt.分析,解析 (=analyse) | |
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18 exultant | |
adj.欢腾的,狂欢的,大喜的 | |
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19 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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20 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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21 extraordinarily | |
adv.格外地;极端地 | |
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22 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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23 vehemently | |
adv. 热烈地 | |
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24 penetration | |
n.穿透,穿人,渗透 | |
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25 tempted | |
v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词) | |
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26 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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27 precisely | |
adv.恰好,正好,精确地,细致地 | |
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28 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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29 limpid | |
adj.清澈的,透明的 | |
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30 succumb | |
v.屈服,屈从;死 | |
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31 candid | |
adj.公正的,正直的;坦率的 | |
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32 confession | |
n.自白,供认,承认 | |
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33 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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34 hops | |
跳上[下]( hop的第三人称单数 ); 单足蹦跳; 齐足(或双足)跳行; 摘葎草花 | |
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35 solitude | |
n. 孤独; 独居,荒僻之地,幽静的地方 | |
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36 mightier | |
adj. 强有力的,强大的,巨大的 adv. 很,极其 | |
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37 possessed | |
adj.疯狂的;拥有的,占有的 | |
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38 tunics | |
n.(动植物的)膜皮( tunic的名词复数 );束腰宽松外衣;一套制服的短上衣;(天主教主教等穿的)短祭袍 | |
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39 intensity | |
n.强烈,剧烈;强度;烈度 | |
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40 consolation | |
n.安慰,慰问 | |
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41 populous | |
adj.人口稠密的,人口众多的 | |
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42 distilled | |
adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 );从…提取精华 | |
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43 purely | |
adv.纯粹地,完全地 | |
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44 curiously | |
adv.有求知欲地;好问地;奇特地 | |
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45 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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46 mare | |
n.母马,母驴 | |
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47 intoxicate | |
vt.使喝醉,使陶醉,使欣喜若狂 | |
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48 devoid | |
adj.全无的,缺乏的 | |
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49 lichen | |
n.地衣, 青苔 | |
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50 ivy | |
n.常青藤,常春藤 | |
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51 moss | |
n.苔,藓,地衣 | |
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52 evergreen | |
n.常青树;adj.四季常青的 | |
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53 flayed | |
v.痛打( flay的过去式和过去分词 );把…打得皮开肉绽;剥(通常指动物)的皮;严厉批评 | |
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