View allAll Photos Tagged Repent
www.holyspiritspeaks.org/videos/my-dream-movie-4/
Introduction
View Feature Page: Judgment Beginning at the House of God
Some people believe that after the Lord Jesus resurrected and ascended to heaven, the Holy Spirit descended to work on man on the day of Pentecost. He reproved the world of sin, and of righteousness, and of judgment. When we receive the work of the Holy Spirit and repent to the Lord for our sins, we are experiencing the Lord's judgment. The work done by the Holy Spirit on the day of Pentecost should be the judgment work of God in the last days. Are we correct in the way we receive it? What is the difference between the work of the Lord Jesus and the judgment work of Almighty God in the last days?
Recommended for You:God's judgment
Image Source: The Church of Almighty God
Terms of Use: en.godfootsteps.org/disclaimer.html
De repente te perdí.
De un instante a otro no estabas más.
Te tenía y ya no te tengo.
Me tenías y dejaste de querer tenerme.
It is the annual open air Christmas service in Turtle Crossing Park. Pastor Charles Calvin has delivered the opening message* and now there is a time of fellowship.
Officer Smith: Pastor Calvin, this is Steve Rogers. Steve and I have been talking and I wanted him to meet you.
Pastor Calvin: Thank you Brad. Steve, it is a pleasure.
Steve Rogers: The pleasure is mine, pastor. You are from London, mid 19th century?
Pastor Calvin: Yes, I left and came to Paprihaven in 1884.
Steve Rogers: I thought so. I read your reprinted sermons when I was younger. I'm pretty much a century later, from 1988 America.
Pastor Calvin: *chuckle* I gathered by your colorful garb you may be from America.
Steve Rogers: Two world wars broke out after you left and I served in both. And in many others. Too many. ** Peace, Pastor Calvin. Doesn't the Bible say in Luke 2 that Jesus came to bring peace on earth?
Pastor Calvin: Yes. And He has. We cannot parse out the words though, to try and make them fit something else. The passage does not allude to a general peace on earth, but "Glory to God in the highest, And on earth peace among men with whom He is pleased." ***
The peace of which the angelic host is heralding is a peace within the hearts and souls of those men and women who repent and turn to the Savior whose birth was being praised.
The "on earth" is the amazing aspect of this peace. It would be little wonder that you or I would have peace in Heaven, would it?
Steve Rogers: No, pastor, that would be expected.
Pastor Calvin: Just so. But here, in a fallen world of darkness, deceit, danger, how can one find lasting peace? The world itself cannot offer that peace because the world is the source of the unrest. Purchasing the best security only offers a temporary sense of safety as new security measures simply, inevitably, fall to more inventive criminals.
That's just an example that can be applied to every aspect of life here. So... "peace on earth" is truly amazing. Absolute, consistent peace in the heart of a person that remains independent of the circumstances around them.
Steve Rogers: The peace of God.
Pastor Calvin: Exactly. The Lord Jesus says, "Peace I leave with you; My peace I give to you; not as the world gives do I give to you. Do not let your heart be troubled, nor let it be fearful." **** The peace He gives not like the sense of peace provided by anything of this world, which ebbs and flows. The peace of Christ is consistent. Solid. Because it is His peace.
It is the peace that comes with the knowledge that the one true God is your God and that He will never leave your nor forsake you. That you, as a believer, have full access to His throne at all times. "Let your gentle spirit be known to all men. The Lord is near. Be anxious for nothing, but in everything by prayer and supplication with thanksgiving let your requests be made known to God. And the peace of God, which surpasses all comprehension, will guard your hearts and your minds in Christ Jesus." *****
Steve Rogers: "Let your gentle spirit be known to all men." So as long as this world goes on, there will be conflict. But, at least we can present peace to those around us.
Pastor Calvin: Well said. "Turn from evil and do good; Seek peace and pursue it. Blessed are the peacemakers, for they will be called sons of God." ******
Steve Rogers: Thank you, Pastor Calvin.
Pastor Calvin: Thank you for taking the time to speak with me, Steve. And, my ever helpful Audrey is standing close by, no doubt seeking my attention to let me know it is time for the closing remarks.
Audrey: Yes, I hope I didn't interrupt.
__________________________________
*Seen here:
www.flickr.com/photos/paprihaven/50736652896/
** Cap has never turned away from the fight for good, but the constant wars have weighed heavily on him.
www.flickr.com/photos/paprihaven/49057543226/]
*** Luke 2:14
**** John 17:27
***** Philippians 4:5-7
****** Psalm 34:14, Matthew 5:9
...y de repente no podrá evitarlo. Actuará casi como un autómata y de sus manos saldrán dos iniciales encerradas en un tosco corazón. Será en ese preciso y precioso instante, al ver terminada su obra, cuando por vez primera se emborrache de felicidad. Al fin habrá compartido su dicha con el mundo. Su amor será correspondido, tal vez los separe un mundo, quizás se agote antes de empezar a madurar o puede que acabe convirtiéndose en oscuro desamor. Pero su árbol, aquel que un día quedó tatuado para siempre con una cicatriz en forma de corazón, se encargará de recordarle el resto de su vida que el amor, a pesar de todo, será el motor que moverá su pequeño gran universo y el único sentimiento que le hará sentir completamente vivo. Y que las cicatrices siempre duelen...
De repente el verde
Se aprisionó de la cal
Tratando de fundirse
Como el agua y la sal
Playa de Juan López, II Región Chile
Raúl Muñoz Huerta
2011 Copyright ©
• Reservados todos los derechos de autor. (Fotografía y texto)
De repente me topo con sorpresas agradables.
En esa época aun no tenía el universo bajo mis ojos, ahora dos grandes vacíos negros abarcan ese espacio... se necesitan vacaciones dicen porai.
Aclaración, ojeras
Este vídeo, que antes se veía perfectamente, de repente ha "volado" (1 de marzo de 2019). No se sabe a donde ha ido a parar.
El señor flickr dirá.
Como el sr. flkickr no dice ni pío y es día 5 de Marzo, sin que el vídeo haya aparecido lo voy a volver a cargar.
No lo hago para que lo volváis a elegir como favorito. Os doy las gracias a todos los que habéis pasado a verlo.
El motivo, puro y duro, es darle en las narices al sr. flickr y su sequito de vendedores de humo.
This video, which previously looked perfectly, has suddenly "flown" (March 1, 2019). It is not known where it has gone.
Mr. flickr will say.
Like mr. flkickr does not say a peep and it is March 5, without the video has appeared I will reload it.
I do not do it so you can choose it again as a favorite. I thank all of you who have come to see him.
The reason, pure and hard, is to hit Mr. Flickr and his entourage of smoke sellers.
Música: Medieval Instrumental Music
Villa de Coca, Segovia.
La villa de Coca, es una población milenaria, previa a la llegada de las legiones romanas a Iberia. Finalmente conquistada a los vetones, estos terminarán romanizándose y de la ciudad romana de Couca saldrá el gran emperador romano Teodosio.
La importancia de esta villa hace que siempre haya poseído murallas defensivas y pequeñas torres fortificadas.
A mediados del siglo XV, la villa fue propiedad de Don Iñigo López de Mendoza, marqués de Santillana, del que más tarde descendería el Cardenal Mendoza y los duques del Infantado, en época de los Reyes Católicos.
Castillo de Coca, Segovia.
Situado en el extremo occidental del casco urbano y aprovechando como defensa natural uno de los meandros naturales que traza el río Voltoya a su paso por la villa, el castillo de Coca está considerado una de las obras cumbres del gótico mudéjar español, así como uno de los castillos castellanos más icónicos.
Fue mandado levantar en el año 1473 por Don Alonso de Fonseca, Tercer Señor de Coca, una vez que en 1453 el rey Juan II había otorgado su permiso para tal empresa a su tío y Arzobispo de Sevilla también llamado Alonso de Fonseca.
Su artífice material fue el alarife Alí Caro, de origen musulmán, residente en Ávila y a quien también se le atribuye la construcción del castillo toledano de Casarrubios del Monte.
Tiempo después el castillo de Coca pasaría a manos de la Casa de Alba, la cual, en 1954 lo cedería al Ministerio de Agricultura con el fin de instalar en él una escuela de capacitación forestal aún a día de hoy activa.
Fue declarado Monumento Histórico Artístico en 1928.
Arquitectura del Castillo de Coca.
Edificado en su totalidad en ladrillo salvo en saeteras y ventanas para las que se destinó material pétreo, lo primero que llama la atención del castillo coucense es que no se encuentra, como es habitual en la mayoría de fortalezas, en una posición elevada, sino que se asienta en un terreno totalmente llano y abierto a la población.
Dicha circunstancia se explica porque el de Coca, sin renunciar a unas potentes defensas, es un castillo de eminente carácter señorial y residencial.
Villa Of Coca, Segovia.
The town of Coca, is a millenarian population, prior to the arrival of the Roman legions to Iberia. Finally conquered the vetones, these will end up romanizing and the Roman city of Couca will leave the great Roman emperor Theodosius.
The importance of this town means that it has always possessed defensive walls and small fortified towers.
In the middle of the 15th century, the town was owned by Don Iñigo López de Mendoza, Marquis of Santillana, from whom Cardinal Mendoza and the Dukes of Infantado would later descend, during the reign of the Catholic Monarchs.
Castle of Coca, Segovia.
Located at the western end of the town center and taking advantage of one of the natural meanders laid out by the Voltoya River as it passes through the village, Coca Castle is considered one of the most outstanding works of the Spanish Mudejar Gothic style, as well as one of the the most iconic Castilian castles.
It was ordered to be erected in 1473 by Don Alonso de Fonseca, Third Lord of Coca, once in 1453 King Juan II had granted his permission for such a venture to his uncle and Archbishop of Seville also called Alonso de Fonseca.
Its material architect was the alarife Alí Caro, of Muslim origin, resident in Ávila and who is also credited with the construction of the Toledo castle of Casarrubios del Monte.
Later, the castle of Coca would pass into the hands of the House of Alba, which, in 1954, it would cede to the Ministry of Agriculture in order to install in it a forest training school that is still active today.
It was declared a Historic Artistic Monument in 1928.
Architecture of the Coca Castle.
Built entirely in brick except in loopholes and windows for which stone material was used, the first thing that catches the attention of the coucou castle is that it is not, as is usual in most of the fortresses, in an elevated position; it sits on a totally flat land open to the population.
This circumstance is explained because that of Coca, without renouncing some powerful defenses, is a castle of eminent manorial and residential character.
www.arteguias.com/castillo/cocasegovia.htm
Historia de Flickr.
Creador.-
Daniel Stewart Butterfield es un empresario canadiense, mejor conocido por ser cofundador con su esposa, Caterina Fake, del sitio web para compartir fotos Flickr
Verano de 2002 se funda Ludicorp por Daniel Steward, Caterina Flake y Jason Classon.
Ludicorp desarrollo un juego de roll multijugador masivo en línea. El juego no se lanzó, pero la compañía ya tenia reservado un almacenamiento y lo aprovecho para compartir fotos, así nació flickr.
En marzo de 2005 Ludicorp fue adquirida por Yahoo. En julio de 2008 Daniel Stewart Butterfield abandona el puesto de Gerente General de Flickr.
En abril de 2018 Yahoo vende Flickr a SmugMug.
SmuMug es una empresa de almacenaje de fotografías y vídeos en línea.
Según ha informado USA Today, la compañía de Silicon Valley que ha adquirido Flickr está comprometida a dar una nueva vida a la red social. Así lo afirmó el CEO de SmugMug, Don MacAskill, quien señaló que Flickr "es un producto fantástico y una marca querida, que suministra decenas de miles de millones de fotos a cientos de millones de personas en todo el mundo"
Hasta el momento no se han dado detalles sobre los términos del acuerdo.
Por su parte, Flickr informó en un comunicado que al aliarse con SmugBug, "volvemos al enfoque que nos convirtió en la comunidad de fotografía en línea pionera en el mundo. Reforzamos nuestro compromiso con los creadores y nos aseguramos de que Flickr siga siendo el mejor lugar para conectarse, compartir y desarrollar su pasión".
A pesar de los problemas, Flickr sostiene que cuenta con más de 75 millones de fotógrafos registrados y más de 100 millones de usuarios.
El acuerdo ya ha sido confirmado pero los planes de SmugMug ahora que es dueño de Flickr todavía no han sido especificados. En realidad, ni el propio CEO ha elaborado un plan. "No sé lo que depara el futuro. Este es un nuevo modelo para mí", señaló MacAskill aunque especificó que van a tener que operar en función de sus ingresos y rentabilidad.
La estrategia, por el momento, irá centrada a escuchar las demandas y las propuestas de los clientes y empleados.
Suena tonto para el CEO no saber totalmente lo que va a hacer, pero tampoco hemos construido SmugMug en un plan maestro. Tratamos de escuchar a nuestros clientes y cuando suficientes de ellos soliciten algo que es importante para ellos o para la comunidad, vamos a construirlo.
Extraído de. hipertextual.com/2018/04/smugmug-flickr
Ahora viene la realidad del mercader.
Los nuevos dueños de Flickr borrarán todas imágenes en cuentas gratuitas y sólo dejarán las 1.000 últimas. Con esa decisión asesinarán parte histórica de la web. Al menos hay métodos para exportar las imágenes y no perderlas para siempre.
Si alguna vez creaste una cuenta de Flickr probablemente ya has recibido el email: última oportunidad para pagar Flickr Pro, que cuesta 50 dólares al año o 6 dólares al mes. Aquellos que no lo hagan pueden hospedar un máximo de 1.000 imágenes, que es el nuevo límite de las cuentas gratuitas. Las fotos excedentes serán eliminadas para siempre** a partir del 5 de febrero de 2019.
Cuando SmugMug compró Flickr a Yahoo, aseguró que seguiría dando soporte de las cuentas gratuitas pero no dio detalles. Meses más tarde anunciaron el límite: 1.000 imágenes, si tienes más las borramos, si no quieres que eso suceda, debes pagar.
Estoy completamente de acuerdo y a favor de pagar por servicios de este tipo y afortunadamente la sociedad en general ha ido aceptando, con el tiempo, que algunas cosas tienen precio.
Pero detrás de Flickr hay un legado demasiado grande que ya no depende únicamente de los dueños de las fotografías e imágenes que se han subido durante los casi quince años en que el servicio ha existido. Muchos de ellos han, lamentablemente, muerto. Muchos no recuerdan sus credenciales de acceso y muchos probablemente crearon sus cuentas con emails que ya no existen, retirando la posibilidad de reiniciar contraseñas.
Hay millones y millones de imágenes hospedadas por un servicio que llegó seis o siete años antes de tiempo, el primer gran ejemplo de lo que alguna vez mal-llamamos "web dos punto cero", una de las primeras grandes adquisiciones al espíritu positivo e ingenuo de emprendimiento que renacía después de la gran caída del punto-com.
El paso es especialmente sangrante considerando que Flickr, antes de ser adquirido, daba 1 terabyte de espacio gratuito. Nuevamente, estoy de acuerdo que deberíamos pagar por un servicio, pero el límite de apenas 1.000 fotos y la amenaza de eliminarlas para siempre a quienes no paguen suena a chantaje.
Es verdad que Flickr es un dinosaurio que no supo adaptarse a los tiempos. No solo Instagram se lo "comió vivo", además servicios de almacenamiento en la nube gratuitos e integrados como Google Fotos o la app de Fotos de Apple han restado sentido a un sitio independiente de hospedaje de fotos.
Lo que Flickr sí tuvo fue una comunidad increíble que nunca más se ha vuelto a crear alrededor del acto de fotografiar. Algunos como 500px lo han intentado, sin éxito. Es una pena ver como SmugMug, los nuevos dueños van a asesinar una parte importante de la web, por una falta tremenda de respeto al legado de lo que tienen en sus manos.
Extraído: hipertextual.com/2019/02/exportar-fotos-flickr-antes-ser-...
Las Enormes Ventajas y Compensaciones.
Nuevo login para todos y novedades para los Pro.
Flickr acompaña este anuncio con más cambios, empezando por un nuevo sistema de login al margen del de Yahoo, que pasó a ser obligatorio durante 2014. Ahora la web tendrá un acceso propio a través de email. Estará disponible a partir de enero de 2019 y lo hará con un sistema de autenticación en dos pasos.
Para atraer a parte de los usuarios de cuentas gratuitas a cuentas Pro, hay novedades específicas a éstas y que han sido anunciadas por el CEO de SmugMug:
Formatos más grandes para soportar pantallas hasta 5K, de hasta 26 MP
Perfiles de color como AdobeRGB o ProPhoto soportados
Sistema más rápido para las nuevas fotos, progresivamente incluyendo todo el catálogo, en AWS.
hipertextual.com/2018/11/flickr-retira-terabyte-espacio-g...
Cuentos de las mil y una noche. Se trata de hacer caja, pura y dura, con la menor inversión posible y con el mayor ahorro imposible
Cuentos del Valle de la Silicona.
History of Flickr
Creator.-
Daniel Stewart Butterfield is a Canadian businessman and entrepreneur, best known for co-founding his wife, Caterina Fake, from the Flickr photo sharing website
Summer of 2002 Ludicorp is founded by Daniel Steward, Caterina Flake and Jason Classon.
Ludicorp developed a massive online multiplayer roll game. The game was not launched, but the company already had a storage reserved and I take it to share photos, so flickr was born.
In March 2005 Ludicorp was acquired by Yahoo. In July 2008 Daniel Stewart Butterfield leaves the position of General Manager of Flickr.
In April 2018 Yahoo sells Flickr to SmugMug.
SmuMug is an online photo and video storage company.
As reported by USA Today, the Silicon Valley company that has acquired Flickr is committed to giving a new life to the social network. This was stated by the CEO of SmugMug, Don MacAskill, who pointed out that Flickr "is a fantastic product and a beloved brand, which supplies tens of billions of photos to hundreds of millions of people around the world"
So far no details have been given about the terms of the agreement.
For its part, Flickr said in a statement that by allying with SmugBug, "we return to the focus that made us the pioneering online photography community in the world." We reinforced our commitment to the creators and made sure that Flickr remains the best place to connect, share and develop your passion. "
Despite the problems, Flickr maintains that it has more than 75 million registered photographers and more than 100 million users.
The agreement has already been confirmed but SmugMug's plans now that he owns Flickr have not yet been specified. Actually, not even the CEO himself has drawn up a plan. "I do not know what the future holds, this is a new model for me," MacAskill said, although he specified that they will have to operate based on their income and profitability.
The strategy, for the moment, will be focused on listening to the demands and proposals of customers and employees.
It sounds silly for the CEO not to fully know what he is going to do, but we have also not built SmugMug into a master plan. We try to listen to our clients and when enough of them request something that is important for them or for the community, we are going to build it.
Taken from. hipertextual.com/2018/04/smugmug-flickr
Now comes the reality of the merchant.
The new owners of Flickr will delete all images in free accounts and will only leave the last 1,000. With that decision they will assassinate historical part of the web. At least there are methods to export the images and not lose them forever.
If you've ever created a Flickr account you've probably already received the email: last chance to pay Flickr Pro, which costs $ 50 a year or $ 6 a month. Those who do not can host a maximum of 1,000 images, which is the new limit of free accounts. The surplus photos will be eliminated forever ** as of February 5, 2019.
When SmugMug bought Flickr from Yahoo, he said he would continue to support the free accounts but did not give details. Months later they announced the limit: 1,000 images, if you have more we delete them, if you do not want that to happen, you must pay.
I completely agree and in favor of paying for services of this type and fortunately society in general has been accepting, over time, that some things have a price.
But behind Flickr there is a legacy too great that no longer depends solely on the owners of the photographs and images that have been uploaded during the almost fifteen years in which the service has existed. Many of them have, unfortunately, died. Many do not remember their access credentials and many probably created their accounts with emails that no longer exist, removing the possibility of resetting passwords.
There are millions and millions of images hosted by a service that arrived six or seven years ahead of time, the first great example of what was once badly called "web two point zero", one of the first big acquisitions to the positive and naive spirit of entrepreneurship that was reborn after the great fall of dot-com.
The step is especially bloody considering that Flickr, before being acquired, gave 1 terabyte of free space. Again, I agree that we should pay for a service, but the limit of just 1,000 photos and the threat of eliminating them forever for those who do not pay sounds like blackmail.
It is true that Flickr is a dinosaur that did not know how to adapt to the times. Not only did Instagram "eat it alive", also free and integrated cloud storage services such as Google Photos or the Apple Photos app have made sense of an independent photo hosting site.
What Flickr did have was an incredible community that has never been recreated around the act of photography again. Some like 500px have tried it, without success. It is a pity to see how SmugMug, the new owners are going to kill an important part of the web, for a tremendous lack of respect for the legacy of what they have in their hands.
Extracted: hipertextual.com/2019/02/exportar-fotos-flickr-before-bei...
The Huge Advantages and Compensations.
New login for all and news for the Pro.
Flickr accompanies this announcement with more changes, starting with a new login system apart from Yahoo, which became mandatory during 2014. Now the website will have its own access via email. It will be available as of January 2019 and it will do so with a two-step authentication system.
To attract part of the users of free accounts to Pro accounts, there are specific news to these and that have been announced by the CEO of SmugMug:
Larger formats to support screens up to 5K, up to 26 MP
Color profiles such as AdobeRGB or ProPhoto supported
Faster system for new photos, progressively including the entire catalog, in AWS.
hipertextual.com/2018/11/flickr-retira-terabyte-espacio-g...
Tales of the thousand and one night. It's about making cash, pure and hard, with the least possible investment and with the greatest possible savings
Tales of the Silicone Valley.
Una canción que habla de la situación actual del mundo: pobreza, malos tratos, políticos corruptos... en definitiva, de las injusticias a las que estamos sometidos en pleno siglo XXI.
De repente desperté y como siempre este maldito mundo, tan extraño como absurdo, tan cruel como taciturno, comenzó a andar del revés...
Para escucharla: www.youtube.com/watch?v=vwBFelYEOAE
(Aclaro: no todas las fotografías son mías. He querido reflejar ciertas situaciones que, por suerte, no las he vivido de cerca. Por ello, he tenido que tirar de la cosecha de terceros)
Nunca se empieza una batalla tarde,
las penas siempre llegan enseguida,
tu siempre pides para nunca darme,
yo solo pido lo que tu me quitas.
Y el cielo que rebienta de repente,
como un infierno que llego deprisa,
tierra cobarde que a nadie defiendes,
pero no lo saben... pero no lo saben.
Esa bandera siempre huele a sangre,
triste paisaje... todo de cenizas,
distintas guerras... distintas ciudades,
el mismo fueqo que quemo gernica.
Tu crees que estoy cantando en el desierto,
yo se que solo muere lo que olvidas,
hay corazones llenos de agujeros,
pero no lo saben... pero no lo saben.
Medalla de Cartón
Fito y fitipaldis
Os recomiendo verla aquí:
Head: Leltuka Avalon 3.0
Body: Legacy Female Classic 1.4
Shape: Lunacci - Milo
Skin: Psycho Pill - Cupcake
Hair: Doux - Ni
Makeup: iicing - Flushed Blush EVOX, EVOX essential blush, Bloody nose & Pecheresse - Freckles Pack 2 & Wareta - Roe Liner v2
Outfit: Altair - Angel of sweets
Accessories: iicing - heart-eye bandaid & *Tentacio* Doom girl Gun machine
Salvation | Introduction
What is salvation? Every believer in the Lord believes that as long as they pray to the Lord with a true heart, confess and repent to Him, their sins will be forgiven, and they will be saved by grace. When the Lord comes back, they will be directly taken into the kingdom of heaven. Is salvation really so simple?
Xu Zhiqian, the hero of this film, has believed in God for many years. He enthusiastically worked for God and abandoned everything to perform his duties. Because of this, the Chinese Communist Party arrested him and cruelly tortured him, and even sentenced him to six years' imprisonment. After being released, he continued performing duties and had some practical experiences. He was able to solve the practical problems of his brothers and sisters. He didn't make complaints or become negative and weak when his wife was arrested and imprisoned…. The brothers and sisters all praised and commended him. Xu Zhiqian believed that he already had the reality of truth, and he would surely be granted entrance into the kingdom of heaven. Soon after, however, a trial came upon him suddenly. His wife was tortured to death by the Chinese Communist police. He became extremely grieved and had notions about and misunderstanding of God, so he made complaints, and the thoughts of disobeying and betraying God emerged in his mind…. Later, he realized that it was betrayal to God, so he began reflecting upon himself: Can people like him, who complain against God, misunderstand God and betray God when faced with trials be truly saved? Are they qualified to enter the kingdom of God?
Recommended for you: Gospel Videos
"Eu estava em Torres- RS, com Miriam, Laura e Jorge e de repente apareceu esse inseto. Segundo Miriam que vive no Sul ele se chama Violino, porque seu som é de um violino e tb se repararmos as anteninhas dele tem o formato do arco do violino. Não consegui nenhuma imagem dele, mas confio na minha amiga Miriam Cardoso de Souza."
Compsocerus violaceus (também conhecido como C. aulicus ou C. equestris) . O nome vulgar em espanhol é "guitarrero", conhecido também como "violino", pelo som que produz.
Todos os besouros Longhorn (ou mais arcaica, longicorns) pertencem à família Cerambycidae. Caracterizam-se por antenas extremamente longas, que são muitas vezes tão longas quanto ou mais do corpo do besouro. A família é grande, com mais de 20.000 espécies descritas, pouco mais da metade do Hemisfério Oriental. Vários são consideradas pragas sérias, com a perfuração de larvas em madeira, onde podem causar danos às árvores vivo ou madeira não tratada (ou, ocasionalmente, a madeira dos edifícios, sendo um problema específico dentro de casa). Um número de espécies imitam formigas, abelhas e vespas, embora a maioria das espécies são de colorido críptico. Apesar de uma vasta literatura sobre as relações de acolhimento de larvas cerambycid e as áreas geográficas das espécies, há pouca informação sobre o comportamento de adultos de muitas espécies, porque são crípticos e noturnos. Violaceus Compsocerus ocorre em todo o Brasil e o Uruguai e é conhecido popularmente como "Guitarrero" (guitarrista), devido ao som chilrear que produz esfregando uma de suas pernas contra a borda superior posterior da asa anterior, que tem um raspador de espessura.
Copyright © 2011.Ana Druzian. All rights reserved.
REPRODUÇÃO PROIBIDA - ® Todos os direitos reservados.
No recuerdo qué cuento me estaba contando cuando de repente, un zumbido por la izquierda de mis dos orejas me alertó. Tras unos segundos de reconocimiento de la escena, vi como libre y tranquilo aterrizaba en la pared un estupendo ejemplar de mosquito tigre.
Superando los 10mm de rigor que marca su ficha en los documentales de la dos, lucía a la perfección sus patitas en blanco y negro a juego con un admirable aguijón.
Bien, "te voy a matar" pensé. Y mientras yo fallaba con un confiado derechazo acolchado en papel de water, él respondía con una inaudita maniobra de evasión realizada a toda leche pasando muy cerca de mi cara.
"Je... te voy a matar" repensé.
Con el duelo formalmente iniciado, comenzaron una serie de intentos de homicidio trapo cocina en mano sin mucho éxito. El tío era rápido, muy rápido.
Esquivó dos cojinazos en mi cama y una funda de portátil contra el techo.
Era un vacilón, lo veía en su mosquita cara y eso no me gustaba nada.
Ya calentito, le lancé una caja entera de lápices alpino acompañada de una novela regalada jamás comenzada. A dicho obús, le siguieron un viejo disco duro, un par de carpetas y un ratón que no usaba. Tras una lámpara rota y una pared más que marcada, se hizo la calma.
"¿Dónde está? ¿ha muerto? necesito ver el cuerpo"
Fue entonces cuando me volvió a zumbar la oreja (esta vez la derecha) momento en el cual terminé de perder unos nervios ya bastante desorientados.
Así pues, esperé a que se arrinconara el solito para desconectar cuidadosamente el cable usb y tirarle encima la impresora A3 mientras gritaba "¡jódete!", tumbando dos estanterías en plan melé, una bicicleta estática, un monitor CRT y para asegurar la faena, después de amontonar varios desodorantes en spray; disparé con una Colt para provocar una pequeña explosión.
Con un interior irrespirable y arrasado, salí afuera pensando "como vuelva y esté vivo, lo mato".
Así de repente sin avisar, apareció ante mi vista y se posó en uno árbol cercano, la sorpresa fue mayúscula y aunque estaba un poco lejos había que inmortalizarlo, ya me hubiera gustado que se hubiera posado más cerca, pero de todas formas mereció la pena. aún se quedó un ratito para que disfrutara de su belleza.
Espero verlo más veces y a poder ser más cerca.
Testimonies | God’s Attitude Toward Sinners
Some brothers and sisters may raise questions, and will say: “We’ve believed in the Lord for many years and have worked very hard for Him. We can’t count how many churches we’ve established, and we’ve even been sent to prison. So even if we do commit sin, God will surely not abandon us!” If this was truly the case, then wouldn’t those Jewish Pharisees who traveled all over the lands and seas to spread the gospel, and yet defied and condemned the Lord Jesus, all have been able to enter into the kingdom of heaven? Why were they still condemned and cursed by the Lord Jesus? Wasn’t the Lord Jesus the loving and merciful God? How was He still able to condemn and curse them? Moreover, these people worked hard for God, so why didn’t the Lord Jesus pardon their sins? Regarding this question, these words of the Lord Jesus come to mind: “Not every one that said to me, Lord, Lord, shall enter into the kingdom of heaven; but he that does the will of my Father which is in heaven. Many will say to me in that day, Lord, Lord, have we not prophesied in your name? and in your name have cast out devils? and in your name done many wonderful works? And then will I profess to them, I never knew you: depart from me, you that work iniquity” (Mat 7:21-23). And a book of truth also says: “Some people will end up saying, ‘I’ve done so much work for You, and though there may not have been celebrated achievements, still I have been diligent in my efforts. Can’t You just let me into heaven to eat the fruit of life?’ You must know what kind of people I desire; those who are impure are not permitted to enter into the kingdom, those who are impure are not permitted to besmirch the holy ground. Though you may have done much work, and have worked for many years, in the end if you are still deplorably filthy—it is intolerable to the law of Heaven that you wish to enter My kingdom!” (“Success or Failure Depends on the Path That Man Walks” in The Word Appears in the Flesh). Reading these words, I suddenly saw the light. It turns out that those who will enter the kingdom of heaven must indeed be those who cast off sin and are cleansed, who follow God’s way, and who obey God, worship God and love God. Those who spread the gospel and cast out demons in the Lord’s name but who don’t follow God’s way are evil-doers in the eyes of God. Just like those Jewish Pharisees—although they appeared pious on the outside, and they worked for God and suffered greatly all their lives, and paid much price, yet when the Lord Jesus incarnated to perform His work of redemption, they refused to accept it, much less submit to or practice the Lord Jesus’ words. Instead, they judged and condemned the Lord Jesus’ work, frantically resisted the Lord, and they even spread notions and rumors to deceive people and obstruct them from accepting the Lord Jesus’ work, and they nailed the Lord Jesus to the cross—by doing this, were they not openly opposing and contesting God? People like this, who simply will not repent, are truly Satan’s partners in crime and are Satan’s lackeys. They worm their way into the church especially to disrupt and demolish God’s work, and people like this have a God-defying essence, they are the enemies of God, and God will never allow hated enemies or the wicked to enter into His kingdom. From this, we are able to see that all who are incapable of practicing God’s words or of obeying God’s work are all unclean and unrighteous; if someone is unable to repent or to cast off their God-defying corrupt disposition, and they go on living in sin, then they are unclean, they are not a righteous person praised by God, but instead they are condemned. The kingdom of heaven is God’s kingdom, and God is holy, so if someone is unclean then how could they be qualified to enter into God’s kingdom and live together with Him? God is merciful and loving to man, but God is also righteous, and will never lead filthy and corrupt people into His kingdom. That is to say, whether or not we can enter into the kingdom of heaven in the end does not depend on how much work we do or how much we suffer, but most importantly it depends on whether or not our corrupt dispositions are changed and cleansed, whether or not we can practice God’s words, do God’s will, and whether or not we are people who love God, obey God and fear God. If we only rely on our own ardor to give things up, expend ourselves, spread the gospel, build churches and support other believers, but our own corrupt dispositions are not changed in the slightest, we still frequently commit sin, defy God and rebel against God, and we are unable to follow God’s way, then we will be evil-doers, and will be unable to enter into the kingdom of heaven.
Recommended for You: many are called but few are chosen
Sola, perdida y confusa huyó de aquella fiesta absurda, escapando de un mundo que, de repente, había dejado de tener sentido para ella. Dispuesta a encontrar sus sombras para enterrarlas en un lugar seguro y, con la respiración entrecortada y el corazón barroco, llegó al Templo. Ni un alma, ni un ruido ... allí reposaba toda esa calma que estaba buscando. Fue allí, entre las piedras aquella construcción en ruinas, donde encontró su propio altar de luz. Entonces lo supo, no hay mejor escondite para las sombras que llenarse de luz.
Altar de luz ~ Surrealismo Barroco
Modelo: Silvia Márzquez Chulilla
Localización: Iglesia de Las Parras de Martín (Teruel)
Sesión: ... aquí ...
Y siempre, mucho mejor con música ... play ...
(... ...)
Según salía de Liechtenstein, cogí la carretera que pasaba por todos los pueblecitos de Suiza en dirección a Austria. En uno de los primeros, de repente, me topé con un estanque muy hermoso, y como iba sin rumbo, sin horario, sin prisa, y sin nada, pues decidí parar porque el lugar me pareció que merecía la pena.
www.google.es/maps/@47.167537,9.464937,3a,75y,121.92h,76....
Al fondo, un grupo de preescolares disfrutaban del entorno, y unos ancianos paseaban a sus perros. Yo, aparqué el coche al otro lado de la carretera, cogí las cámaras, pero lo dejé a cielo abierto, ¡bendita seguridad suiza!, que te permite confiarte.
Una pareja de patos, y un cisne, estaban relativamente cerca. El cisne se acicalaba con esmero, apoyado en una piedra que apenas estaba sumergida unos centímetros bajo el agua. No paraba de moverse y era tan hermoso como difícil de capturar en una pose digna. Así me tuvo, jugando a hacerse el protagonista de mi vida durante unos minutos. Por fin, se estiró, levantó todo su cuerpo, estiró el cuello y desplegó sus alas vigorosamente un par de veces, para, acto seguido, como quien se ha desperezado, volvió a meter la cabeza en el agua. Cuando la sacó, por unos segundos, se llevó su pico al pecho, y justo ese fue mi momento. Las gotas de agua resbalaron de su pico y se quedaron en sus plumas, me encanta ese detalle en la foto. No duró mucho en esa posición. Sabedor de que lo había inmortalizado, con todo su porte empezó a deslizarse suavemente por la superficie líquida sin apenas removerla. Su cuello, otrora malabarista de las posturas imposibles llegando a cualquier rincón de su cuerpo, ahora parecía rígido, como mirando a un punto fijo. Parecía una estatua de sal moviéndose por el estanque como un figurante en medio de un vals. Una delicia digna de ver. Sobra decirte lo mucho que te recordé en estos momentos.
“Patito Feo”, las dos con mayúsculas, porque Feo era el nombre que le pusieron en el cuento. Siempre te has referido a ti en el pasado como el Patito Feo… me alegra que por fin te sientas cisne, porque en verdad lo eres, eres Cisne Hermoso, las dos con mayúsculas, porque eres el Cisne más Hermoso de este pequeño estanque que es el mundo.
No sé quién o quienes te hicieron ver esto, si fui yo uno de ellos, esa alegría que me llevo, cosita.
Y ahora, sólo deseo tener de nuevo la oportunidad de poder disfrutar algunos momentos, igual que me pasó en ese viaje por Suiza, del maravilloso espectáculo de estar cerca de un cisne, y que ese cisne, sea Cisne Hermoso, seas tú, cosita, y me saques por unos momentos de esta melancolía que me abraza. Y que me ocurra como a Herminia, quien hundida en la vejez, recibe la visita de su mago, y esa tarde rejuvenece y se le van todos los males...
El día que tenga esa oportunidad, querré de nuevo ir sin rumbo, no tener prisa ni horarios, y no tener nada ni necesitarlo, porque tú, con tu presencia y compañía, me lo darás todo, y nada más me hará falta.
اذا اراد الله
"Come, Come who or whatever you are
Should you be an unbeliever, a Magian or a pagan still come
Our lodge is not a lodge of despair
With hundred repentions unheeded you may be,still, come"
For Muslims and non-Muslims alike, the main reason to come to Konya is to visit the Mevlâna Museum, the former lodge of the whirling dervishes and home to the tomb of Celaleddin Rumi (later known as Mevlâna), who we have to thank for giving the world the whirling dervishes. This is one of the biggest pilgrimage centres in Turkey, and the building's fluted dome of turquoise tiles is one of Turkey's most distinctive sights.
For Muslims, this is a very holy place, and more than 1.5 million people visit it a year, most of them Turkish. You will see many people praying for Rumi's help. When entering, women should cover their head and no one should wear singlets or shorts.
After walking through a pretty garden you pass through the Dervişan Kapısı (Gate of the Dervishes) and enter a courtyard with an ablutions fountain in the centre.
At the entrance to the mausoleum, the Ottoman silver door bears the inscription, 'Those who enter here incomplete will come out perfect'. Put on the supplied plastic over-shoes before entering. Once inside the mausoleum, look out for the big bronze Nisan tası (April bowl) on the left. April rainwater, vital to the farmers of this region, is still considered sacred and was collected in this 13th-century bowl. The tip of Mevlâna's turban was dipped in the water and offered to those in need of healing. Also on the left are six sarcophagi belonging to Bahaeddin Veled's supporters who followed him from Afghanistan.
Continue through to the part of the room directly under the fluted dome. Here you can see Mevlâna's Tomb (the largest), flanked by that of his son Sultan Veled and those of other eminent dervishes. They are all covered in velvet shrouds heavy with gold embroidery, but those of Mevlâna and Veled bear huge turbans, symbols of spiritual authority; the number of wraps denotes the level of spiritual importance. Bahaeddin Veled's wooden tomb stands on one end, leading devotees to say Mevlâna was so holy that even his father stands to show respect. There are 66 sarcophagi on the platform, not all visible.
Mevlâna's tomb dates from Seljuk times. The mosque and semahane, the hall where whirling ceremonies were held, were added later by Ottoman sultans (Mehmet the Conqueror was a Mevlevi adherent and Süleyman the Magnificent made charitable donations to the order). Selim I, conqueror of Egypt, donated the Mamluk crystal lamps.
The semahane to the left of the sepulchral chamber contains exhibits such as the original copy of the Mathnawi, Mevlâna's cape and other clothing, a 9th-century gazelle-skin Christian manuscript and a copy of the Koran so tiny that its author went blind writing it. In the middle of the room is a display case holding a casket which contains strands of Mohammed's beard. The small mosque in front of the semahane is reserved for prayers but as you exit the building, look to the left of the mihrab for a seccade (prayer carpet) bearing a picture of the Kaaba at Mecca. Made in Iran of silk and wool, it's extremely fine, with some three million knots (144 per square centimetre).
The matbah (kitchen) of the lodge is in the southwest corner of the courtyard. It is decorated as it would have been in Mevlâna's day, with mannequins dressed as dervishes. Look out for the wooden practice board, used by novice dervishes to learn to whirl. The dervish cells (where the dervishes lived) run along the northern and western sides of the courtyard. Inside the cells are a host of ethnographic displays relating to dervish life. In particular, one room contains personal items belonging to Şems of Tabriz including his hat and a manuscript of the Mâkâlât, his most famous work.
The complex can get oppressively busy, and seeing any of the contents of the museum display cases can be a pushing and shoving, head-ducking affair. Come early on a weekday if you want to see all the items in peace. On the other hand, the atmosphere on busy days is almost addictive and more than makes up for not being able to properly examine the museum pieces.
Beside the museum is the Selimiye Camii.
Thank you so much for visiting my stream, whether you comments , favorites or just have a look.
I appreciate it very much, wishing the best of luck and good light.
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De repente ocurre, algo se acciona…
Y en ese momento sabes que las cosas van a cambiar. Y es ahí donde te das cuenta de
que las cosas solo ocurren una vez.
From an email written to a friend some 3000 miles away after the tsunami of 26th December 2004:- " I was not home when it happened. I was working on one of the remote islands and I had no means of traveling home till 10 days later. I saw the sea rise like a towering wall of water.
I am more thankful now for all the things that I have taken for granted. Death may happen anytime and I am scared now of the gruesome manner in which death can take place. I talk to myself, I talk to God. I see my life, what I have done and not done, when I have been bad and when I have been good. I see that I need to repent, with my heart and soul for the sins I committed. I've learnt lessons in life - but this one is the biggest. And hopefully, I will live to practise what I have learnt."
" A father tells of his missing daughter, with moving dignity,
holding back raw emotion and I cry his tears
and she is my daughter and he is my father
and we are together in our tragedy."
Y de repente a la vuelta de la esquina te encuentras esa vida de todos los días en un instante te das cuenta de la belleza que desprenden y que a veces nos cuesta ver de tanto como la vemos.
Lentamente la vida se desnuda
ante mis ojos de ya no desiguales
vestiduras,vida vives en los ojos
de las plantas de los arboles que
moran en los valles,en las montañas
altivas del Norte de mi tierra ,donde
se alzan bosques de tu espalda y
tu infancia se oye entre el gentio.
Lentamente la vida vive
en los espejos de los ojos.
© Soledad Bezanilla
De repente seu mundo colorido e iluminado tornara-se uma densa escuridão sufocante. Seus olhos ardiam como que em chamas, seus pulmões pediam por um pouco de ar, o corpo desistindo da luta e afundando aos poucos, uma queda para o infinito. Mas então eis que algo a segura e a impede de contemplar a face da jovem morte, junto de seus pais e seus irmãos. Ele a puxa para a superfície, tirando-a daquela imensidão escura e tempestuosa que era o mar. Suas roupas estavam molhadas, mas isso não lhe importava, apenas prestava atenção no rosto da garota que salvara momentos atrás. Ela estava a beira da morte, com hipotermia, desta forma deixando-o sem alternativas. E assim ele a fez imortal, dando-lhe o doce beijo da eternidade.
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Olá cupcakes, como foi o final de semana de vocês? Espero que tenha sido bom ^w^
Eu resgatei essa foto de 2014 pra postar esse desafio, porque queria muito postar alguma coisa, então ta aí.
Esse é um sonho compartilhado da Sabrine e do Klaus, de quando ele a salvou após o barco onde ela estava com sua família ter naufragado.
Eu acabei tendo que postar a descrição pelo celular porque como de costume os meus pais não me deram uma trégua, mas enfim, ta aí u-u
Uma boa noite para todos vocês, cupcakes da tia Marie ❤
De repente, sem mais aguentar a distância entre os dois, Nick tomou Layla em seus braços.
Nick: volta pra mim, Layla! *fala baixinho*
Layla: quem nunca se afastou, não precisa voltar, Nick.
De repente, no fim de julho, nascem as flores dos ipês. E ganham o colorido amarelo da luz do sol poente.
Fazenda Ponte Velha, Minas Gerais, Brasil
"E o tempo é só meu
E ninguém registra a cena
De repente vira um filme
Todo em câmera lenta
E eu acho que eu gosto mesmo de você
Bem do jeito que você é"
xoxo ♥
Y de repente te encuentras un lugar bien paisa en nuestra Plaza de Mercado de Caicedonia, Valle.
Compártela para que lleguen a más personas nuestras tradiciones y nuestra gente.
The Postcard
A postally unused postcard that was published by Fotofolio of Box 661, Canal Sta., NY, NY. The photography was by Rollie McKenna. The card has a divided back.
Dylan Thomas
Dylan Marlais Thomas, who was born in Swansea on the 27th. October 1914, was a Welsh poet and writer whose works include the poems 'Do not go Gentle Into That Good Night' and 'And Death Shall Have No Dominion.'
Dylan's other work included 'Under Milk Wood' as well as stories and radio broadcasts such as 'A Child's Christmas in Wales' and 'Portrait of the Artist as a Young Dog'.
He became widely popular in his lifetime, and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a roistering, drunken and doomed poet.
In 1931, when he was 16, Thomas, an undistinguished pupil, left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later.
Many of his works appeared in print while he was still a teenager. In 1934, the publication of 'Light Breaks Where no Sun Shines' caught the attention of the literary world.
While living in London, Thomas met Caitlin Macnamara. They married in 1937, and had three children: Llewelyn, Aeronwy and Colm.
Thomas came to be appreciated as a popular poet during his lifetime, though he found it hard to earn a living as a writer. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940's brought him to the public's attention, and he was frequently used by the BBC as an accessible voice of the literary scene.
Thomas first travelled to the United States in the 1950's. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as 'A Child's Christmas in Wales'.
During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on the 9th. November 1953, and his body was returned to Wales. On the 25th. November 1953, he was laid to rest in St Martin's churchyard in Laugharne, Carmarthenshire.
Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. He is regarded by many as one of the great modern poets, and he still remains popular with the public.
-- Dylan Thomas - The Early Years
Dylan was born at 5 Cwmdonkin Drive, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth and ambitions to rise above his position teaching English literature at the local grammar school.
Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior. The children spoke only English, though their parents were bilingual in English and Welsh, and David Thomas gave Welsh lessons at home.
Thomas's father chose the name Dylan, which means 'Son of the Sea', after Dylan ail Don, a character in The Mabinogion. Dylan's middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.
Dylan caused his mother to worry that he might be teased as the 'Dull One.' When he broadcast on Welsh BBC, early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation, and gave instructions that it should be spoken as 'Dillan.'
The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.
Dylan's childhood featured regular summer trips to the Llansteffan Peninsula, a Welsh-speaking part of Carmarthenshire, where his maternal relatives were the sixth generation to farm there.
In the land between Llangain and Llansteffan, his mother's family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them. The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim, is evoked in the 1945 lyrical poem 'Fern Hill', but is portrayed more accurately in his short story, 'The Peaches'.
Thomas had bronchitis and asthma in childhood, and struggled with these throughout his life. He was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy.
Thomas's formal education began at Mrs Hole's Dame School, a private school on Mirador Crescent, a few streets away from his home. He described his experience there in Reminiscences of Childhood:
"Never was there such a dame school as ours,
so firm and kind and smelling of galoshes, with
the sweet and fumbled music of the piano lessons
drifting down from upstairs to the lonely schoolroom,
where only the sometimes tearful wicked sat over
undone sums, or to repent a little crime – the pulling
of a girl's hair during geography, the sly shin kick
under the table during English literature".
In October 1925, Dylan Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. He was an undistinguished pupil who shied away from school, preferring reading.
In his first year, one of his poems was published in the school's magazine, and before he left he became its editor. In June 1928, Thomas won the school's mile race, held at St. Helen's Ground; he carried a newspaper photograph of his victory with him until his death.
During his final school years Dylan began writing poetry in notebooks; the first poem, dated 27th. April 1930, is entitled 'Osiris, Come to Isis'.
In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later. Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.
In his free time, Dylan joined the amateur dramatic group at the Little Theatre in Mumbles, visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea's pubs, especially the Antelope and the Mermaid Hotels in Mumbles.
In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins.
-- 1933–1939
In 1933, Thomas visited London for probably the first time.
Thomas was a teenager when many of the poems for which he became famous were published:
-- 'And Death Shall Have no Dominion'
-- 'Before I Knocked'
-- 'The Force That Through the Green Fuse Drives the Flower'.
'And Death Shall Have no Dominion' appeared in the New English Weekly in May 1933:
'And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the
west moon;
When their bones are picked clean and
the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they
shall rise again
Though lovers be lost love shall not;
And death shall have no dominion'.
When 'Light Breaks Where no Sun Shines' appeared in The Listener in 1934, it caught the attention of three senior figures in literary London - T. S. Eliot, Geoffrey Grigson and Stephen Spender. They contacted Thomas, and his first poetry volume, '18 Poems', was published in December 1934.
'18 Poems' was noted for its visionary qualities which led to critic Desmond Hawkins writing that:
"The work is the sort of bomb
that bursts no more than once
in three years".
The volume was critically acclaimed, and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers, and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors, including Philip Larkin.
In September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship. Dylan introduced Watkins, working at Lloyds Bank at the time, to his friends. The group of writers, musicians and artists became known as "The Kardomah Gang".
In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt.
On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him. Years later, his wife Caitlin would still have to prepare his eggs for him.
In December 1935, Thomas contributed the poem 'The Hand That Signed the Paper' to Issue 18 of the bi-monthly New Verse.
In 1936, Dylan's next collection 'Twenty-five Poems' received much critical praise. In 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. It was the time that Thomas's reputation for heavy drinking developed.
In early 1936, Thomas met Caitlin Macnamara (1913–94), a 22-year-old blonde-haired, blue-eyed dancer of Irish and French descent. She had run away from home, intent on making a career in dance, and at the age of 18 joined the chorus line at the London Palladium.
Introduced by Augustus John, Caitlin's lover, they met in The Wheatsheaf pub on Rathbone Place in London's West End. Laying his head on her lap, a drunken Thomas proposed. Thomas liked to comment that he and Caitlin were in bed together ten minutes after they first met.
Although Caitlin initially continued her relationship with Augustus John, she and Thomas began a correspondence, and by the second half of 1936 they were courting. They married at the register office in Penzance, Cornwall, on the 11th. July 1937.
In early 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire. Their first child, Llewelyn Edouard, was born on the 30th. January 1939.
By the late 1930's, Thomas was embraced as the "Poetic Herald" for a group of English poets, the New Apocalyptics. However Thomas refused to align himself with them, and declined to sign their manifesto.
He later stated that:
"They are intellectual muckpots
leaning on a theory".
Despite Dylan's rejection, many of the group, including Henry Treece, modelled their work on Thomas's.
During the politically charged atmosphere of the 1930's, Thomas's sympathies were very much with the radical left, to the point of holding close links with the communists, as well as being decidedly pacifist and anti-fascist. He was a supporter of the left-wing No More War Movement, and boasted about participating in demonstrations against the British Union of Fascists.
-- 1939–1945
In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as 'The Map of Love'.
Ten stories in his next book, 'Portrait of the Artist as a Young Dog' (1940), were based less on lavish fantasy than those in 'The Map of Love', and more on real-life romances featuring himself in Wales.
Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.
Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield, Gloucestershire. There Thomas collaborated with Davenport on the satire 'The Death of the King's Canary', though due to fears of libel, the work was not published until 1976.
At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as "An Unreliable Lung".
Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus. After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.
Saddened to see his friends going on active service, Dylan continued drinking, and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income. Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.
In February 1941, Swansea was bombed by the Luftwaffe in a three night blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded:
"Our Swansea is dead".
Soon after the bombing raids, he wrote a radio play, 'Return Journey Home', which described the café as being "razed to the snow". The play was first broadcast on the 15th. June 1947. The Kardomah Café reopened on Portland Street after the war.
In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London. Thomas hoped to find employment in the film industry, and wrote to the director of the films division of the Ministry of Information (MOI). After initially being rebuffed, he found work with Strand Films, providing him with his first regular income since the Daily Post. Strand produced films for the MOI; Thomas scripted at least five films in 1942.
In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge:
-- 'Wales: Green Mountain, Black Mountain'.
-- 'New Towns for Old' (on post-war reconstruction).
-- 'Fuel for Battle'.
-- 'Our Country' (1945) was a romantic tour of Great
Britain set to Thomas's poetry.
-- 'A City Reborn'.
Other projects included:
-- 'This Is Colour' (a history of the British dyeing industry).
-- 'These Are The Men' (1943), a more ambitious piece in which Thomas's verse accompanied Leni Riefenstahl's
footage of an early Nuremberg Rally.
-- 'Conquest of a Germ' (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis.
In early 1943, Thomas began a relationship with Pamela Glendower; one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.
In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.
The Thomas family made several escapes back to Wales during the war. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire. Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named. Some of Thomas’ letters from Gelli can be found in his 'Collected Letters'.
The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera's friendship with the Thomases in nearby New Quay is portrayed in the 2008 film, 'The Edge of Love'.
In July 1944, with the threat of German flying bombs landing on London, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire, where he resumed writing poetry, completing 'Holy Spring' and 'Vision and Prayer'.
In September 1944, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay. It was here that Thomas wrote the radio piece 'Quite Early One Morning', a sketch for his later work, 'Under Milk Wood'.
Of the poetry written at this time, of note is 'Fern Hill', believed to have been started while living in New Quay, but completed at Blaencwm in mid-1945. Dylan's first biographer, Constantine FitzGibbon wrote that:
"His nine months in New Quay were a second
flowering, a period of fertility that recalls the
earliest days, with a great outpouring of poems
and a good deal of other material".
His second biographer, Paul Ferris, concurred:
"On the grounds of output, the bungalow
deserves a plaque of its own."
The Dylan Thomas scholar, Walford Davies, has noted that:
"New Quay was crucial in supplementing
the gallery of characters Thomas had to
hand for writing 'Under Milk Wood'."
-- Dylan Thomas's Broadcasting Years 1945–1949
Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk entitled 'Reminiscences of Childhood' for the Welsh BBC.
In December 1944, he recorded 'Quite Early One Morning' (produced by Aneirin Talfan Davies, again for the Welsh BBC), but when Davies offered it for national broadcast, BBC London initially turned it down.
However on the 31st. August 1945, the BBC Home Service broadcast 'Quite Early One Morning' nationally, and in the three subsequent years, Dylan made over a hundred broadcasts for the BBC, not only for his poetry readings, but for discussions and critiques.
In the second half of 1945, Dylan began reading for the BBC Radio programme, 'Book of Verse', that was broadcast weekly to the Far East. This provided Thomas with a regular income, and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.
On the 29th. September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided further opportunities for Thomas.
He appeared in the play 'Comus' for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's 'Agamemnon', and Satan in an adaptation of 'Paradise Lost'.
Thomas remained a popular guest on radio talk shows for the BBC, who stated:
"He is useful should a younger
generation poet be needed".
He had an uneasy relationship with BBC management, and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and well-known celebrity within Great Britain.
By late September 1945, the Thomases had left Wales, and were living with various friends in London. In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A. J. P. Taylor. His wife, Margaret, became Thomas’s most committed patron.
The publication of 'Deaths and Entrances' in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator:
"This book alone, in my opinion,
ranks him as a major poet".
From 'In my Craft or Sullen Art,' 'Deaths and Entrances' (1946):
'Not for the proud man apart
From the raging moon, I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art'.
The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.
On their return to England Thomas and his family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor.
He continued with his work for the BBC, completed a number of film scripts, and worked further on his ideas for 'Under Milk Wood'.
In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers' Union. Jiřina Hauková, who had previously published translations of some of Thomas' poems, was his guide and interpreter.
In her memoir, Hauková recalls that at a party in Prague, Thomas narrated the first version of his radio play 'Under Milk Wood.' She describes how he outlined the plot about a town that was declared insane, and then portrayed the predicament of an eccentric organist and a baker with two wives.
A month later, in May 1949, Thomas and his family moved to his final home, the Boat House at Laugharne, purchased for him at a cost of £2,500 in April 1949 by Margaret Taylor.
Thomas acquired a garage a hundred yards from the house on a cliff ledge which he turned into his writing shed, and where he wrote several of his most acclaimed poems. To see a photograph of the interior of Dylan's shed, please search for the tag 55DTW96
Just before moving into the Boat House, Thomas rented Pelican House opposite his regular drinking den, Brown's Hotel, for his parents. They both lived there from 1949 until Dylan's father 'D.J.' died on the 16th. December 1952. His mother continued to live there until 1953.
Caitlin gave birth to their third child, a boy named Colm Garan Hart, on the 25th. July 1949.
In October 1949, the New Zealand poet Allen Curnow came to visit Thomas at the Boat House, who took him to his writing shed. Curnow recalls:
"Dylan fished out a draft to show me
of the unfinished 'Under Milk Wood'
that was then called 'The Town That
Was Mad'."
-- Dylan Thomas's American tours, 1950–1953
(a) The First American Tour
The American poet John Brinnin invited Thomas to New York, where in 1950 they embarked on a lucrative three-month tour of arts centres and campuses.
The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium in the Poetry Centre in New York, took in a further 40 venues. During the tour, Thomas was invited to many parties and functions, and on several occasions became drunk - going out of his way to shock people - and was a difficult guest.
Dylan drank before some of his readings, although it is argued that he may have pretended to be more affected by the alcohol than he actually was.
The writer Elizabeth Hardwick recalled how intoxicated a performer he could be, and how the tension would build before a performance:
"Would he arrive only to break
down on the stage?
Would some dismaying scene
take place at the faculty party?
Would he be offensive, violent,
obscene?"
Dylan's wife Caitlin said in her memoir:
"Nobody ever needed encouragement
less, and he was drowned in it."
On returning to Great Britain, Thomas began work on two further poems, 'In the White Giant's Thigh', which he read on the Third Programme in September 1950:
'Who once were a bloom of wayside
brides in the hawed house
And heard the lewd, wooed field
flow to the coming frost,
The scurrying, furred small friars
squeal in the dowse
Of day, in the thistle aisles, till the
white owl crossed.'
He also worked on the incomplete 'In Country Heaven'.
In October 1950, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.
However, despite Cleverdon's urgings, the script slipped from Thomas's priorities, and in early 1951 he took a trip to Iran to work on a film for the Anglo-Iranian Oil Company. The film was never made, with Thomas returning to Wales in February, though his time there allowed him to provide a few minutes of material for a BBC documentary, 'Persian Oil'.
Early in 1951 Thomas wrote two poems, which Thomas's principal biographer, Paul Ferris, describes as "unusually blunt." One was the ribald 'Lament', and the other was an ode, in the form of a villanelle, to his dying father 'Do not go Gentle Into That Good Night". (A villanelle is a pastoral or lyrical poem of nineteen lines, with only two rhymes throughout, and some lines repeated).
Despite a range of wealthy patrons, including Margaret Taylor, Princess Marguerite Caetani and Marged Howard-Stepney, Thomas was still in financial difficulty, and he wrote several begging letters to notable literary figures, including the likes of T. S. Eliot.
Margaret Taylor was not keen on Thomas taking another trip to the United States, and thought that if he had a permanent address in London he would be able to gain steady work there. She bought a property, 54 Delancey Street, in Camden Town, and in late 1951 Thomas and Caitlin lived in the basement flat. Thomas described the flat as his "London House of Horror", and did not return there after his 1952 tour of America.
(b) The Second American Tour
Thomas undertook a second tour of the United States in 1952, this time with Caitlin - after she had discovered that he had been unfaithful on his earlier trip. They drank heavily, and Thomas began to suffer with gout and lung problems.
It was during this tour that the above photograph was taken.
The second tour was the most intensive of the four, taking in 46 engagements.
The trip also resulted in Thomas recording his first poetry to vinyl, which Caedmon Records released in America later that year. One of his works recorded during this time, 'A Child's Christmas in Wales', became his most popular prose work in America. The recording was a 2008 selection for the United States National Recording Registry, which stated that:
"It is credited with launching the
audiobook industry in the United
States".
(c) The Third American Tour
In April 1953, Thomas returned alone for a third tour of America. He performed a "work in progress" version of 'Under Milk Wood', solo, for the first time at Harvard University on the 3rd. May 1953. A week later, the work was performed with a full cast at the Poetry Centre in New York.
Dylan met the deadline only after being locked in a room by Brinnin's assistant, Liz Reitell, and was still editing the script on the afternoon of the performance; its last lines were handed to the actors as they put on their makeup.
During this penultimate tour, Thomas met the composer Igor Stravinsky. Igor had become an admirer of Dylan after having been introduced to his poetry by W. H. Auden. They had discussions about collaborating on a "musical theatrical work" for which Dylan would provide the libretto on the theme of:
"The rediscovery of love and
language in what might be left
after the world after the bomb."
The shock of Thomas's death later in the year moved Stravinsky to compose his 'In Memoriam Dylan Thomas' for tenor, string quartet and four trombones. The work's first performance in Los Angeles in 1954 was introduced with a tribute to Thomas from Aldous Huxley.
Thomas spent the last nine or ten days of his third tour in New York mostly in the company of Reitell, with whom he had an affair.
During this time, Thomas fractured his arm falling down a flight of stairs when drunk. Reitell's doctor, Milton Feltenstein, put his arm in plaster, and treated him for gout and gastritis.
After returning home, Thomas worked on 'Under Milk Wood' in Wales before sending the original manuscript to Douglas Cleverdon on the 15th. October 1953. It was copied and returned to Thomas, who lost it in a pub in London and required a duplicate to take to America.
(d) The Fourth American Tour
Thomas flew to the States on the 19th. October 1953 for what would be his final tour. He died in New York before the BBC could record 'Under Milk Wood'. Richard Burton featured in its first broadcast in 1954, and was joined by Elizabeth Taylor in a subsequent film. In 1954, the play won the Prix Italia for literary or dramatic programmes.
Thomas's last collection 'Collected Poems, 1934–1952', published when he was 38, won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that:
"Thomas is the greatest living
poet in the English language".
There followed a series of distressing events for Dylan. His father died from pneumonia just before Christmas 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age, and Caitlin had an abortion.
Thomas left Laugharne on the 9th. October 1953 on the first leg of his trip to America. He called on his mother, Florence, to say goodbye:
"He always felt that he had to get
out from this country because of
his chest being so bad."
Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne - the "Bronchial Heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.
Whilst waiting in London before his flight in October 1953, Thomas stayed with the comedian Harry Locke and worked on 'Under Milk Wood'. Locke noted that Thomas was having trouble with his chest, with terrible coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing.
There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.
Thomas arrived in New York on the 20th. October 1953 to undertake further performances of 'Under Milk Wood', organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York, but remained in Boston in order to write.
He handed responsibility to his assistant, Liz Reitell, who was keen to see Thomas for the first time since their three-week romance early in the year. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self:
"He was very ill when he got here."
After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of 'Under Milk Wood'. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.
(Bob Dylan, formerly Robert Zimmerman, used to perform at the White Horse; Dylan Thomas was his favourite poet, and it is highly likely that Bob adopted Dylan's first name as his surname).
The next day, Reitell invited Thomas to her apartment, but he declined. They went sightseeing, but Thomas felt unwell, and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep, and spent the night at the hotel with him.
Two days later, on the 23rd. October 1953, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.
The next day, 24th. October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections. Thomas made it through the first performance that evening, but collapsed immediately afterwards.
Dylan told a friend who had come back-stage:
"This circus out there has taken
the life out of me for now."
Reitell later said:
"Feltenstein was rather a wild doctor
who thought injections would cure
anything".
At the next performance on the 25th. October, his fellow actors realised that Thomas was very ill:
"He was desperately ill…we didn’t think
that he would be able to do the last
performance because he was so ill…
Dylan literally couldn’t speak he was so
ill…still my greatest memory of it is that
he had no voice."
On the evening of the 27th. October, Thomas attended his 39th. birthday party, but felt unwell, and returned to his hotel after an hour. The next day, he took part in 'Poetry and the Film', a recorded symposium at Cinema 16.
A turning point came on the 2nd. November. Air pollution in New York had risen significantly, and exacerbated chest illnesses such as Thomas's. By the end of the month, over 200 New Yorkers had died from the smog.
On the 3rd. November, Thomas spent most of the day in his room, entertaining various friends. He went out in the evening to keep two drink appointments. After returning to the hotel, he went out again for a drink at 2 am. After drinking at the White Horse, Thomas returned to the Hotel Chelsea, declaring:
"I've had eighteen straight
whiskies. I think that's the
record!"
However the barman and the owner of the pub who served him later commented that Thomas could not have drunk more than half that amount, although the barman could have been trying to exonerate himself from any blame.
Thomas had an appointment at a clam house in New Jersey with Todd on the 4th. November. When Todd telephoned the Chelsea that morning, Thomas said he was feeling ill, and postponed the engagement. Todd thought that Dylan sounded "terrible".
The poet, Harvey Breit, was another to phone that morning. He thought that Thomas sounded "bad". Thomas' voice, recalled Breit, was "low and hoarse". Harvey had wanted to say:
"You sound as though from the tomb".
However instead Harvey told Thomas that he sounded like Louis Armstrong.
Later, Thomas went drinking with Reitell at the White Horse and, feeling sick again, returned to the hotel. Dr. Feltenstein came to see him three times that day, administering the cortisone secretant ACTH by injection and, on his third visit, half a grain (32.4 milligrams) of morphine sulphate, which affected Thomas' breathing.
Reitell became increasingly concerned, and telephoned Feltenstein for advice. He suggested that she get male assistance, so she called upon the artist Jack Heliker, who arrived before 11 pm. At midnight on the 5th. November, Thomas's breathing became more difficult, and his face turned blue.
Reitell phoned Feltenstein who arrived at the hotel at about 1 am, and called for an ambulance. It then took another hour for the ambulance to arrive at St. Vincent's, even though it was only a few blocks from the Chelsea.
Thomas was admitted to the emergency ward at St Vincent's Hospital at 1:58 am. He was comatose, and his medical notes stated that:
"The impression upon admission was acute
alcoholic encephalopathy damage to the brain
by alcohol, for which the patient was treated
without response".
Feltenstein then took control of Thomas's care, even though he did not have admitting rights at St. Vincent's. The hospital's senior brain specialist, Dr. C. G. Gutierrez-Mahoney, was not called to examine Thomas until the afternoon of the 6th. November, thirty-six hours after Thomas' admission.
Dylan's wife Caitlin flew to America the following day, and was taken to the hospital, by which time a tracheotomy had been performed. Her reported first words were:
"Is the bloody man dead yet?"
Caitlin was allowed to see Thomas only for 40 minutes in the morning, but returned in the afternoon and, in a drunken rage, threatened to kill John Brinnin. When she became uncontrollable, she was put in a straitjacket and committed, by Feltenstein, to the River Crest private psychiatric detox clinic on Long Island.
It is now believed that Thomas had been suffering from bronchitis, pneumonia and emphysema before his admission to St Vincent's. In their 2004 paper, 'Death by Neglect', D. N. Thomas and Dr Simon Barton disclose that Thomas was found to have pneumonia when he was admitted to hospital in a coma.
Doctors took three hours to restore his breathing, using artificial respiration and oxygen. Summarising their findings, they conclude:
"The medical notes indicate that, on admission,
Dylan's bronchial disease was found to be very
extensive, affecting upper, mid and lower lung
fields, both left and right."
The forensic pathologist, Professor Bernard Knight, concurs:
"Death was clearly due to a severe lung infection
with extensive advanced bronchopneumonia.
The severity of the chest infection, with greyish
consolidated areas of well-established pneumonia,
suggests that it had started before admission to
hospital."
Thomas died at noon on the 9th. November 1953, having never recovered from his coma. He was 39 years of age when he died.
-- Aftermath of Dylan Thomas's Death
Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging, or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes.
At the post-mortem, the pathologist found three causes of death - pneumonia, brain swelling and a fatty liver. Despite Dylan's heavy drinking, his liver showed no sign of cirrhosis.
The publication of John Brinnin's 1955 biography 'Dylan Thomas in America' cemented Thomas's legacy as the "doomed poet". Brinnin focuses on Thomas's last few years, and paints a picture of him as a drunk and a philanderer.
Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in 'Fatal Neglect: Who Killed Dylan Thomas?' claims that Brinnin, along with Reitell and Feltenstein, were culpable.
FitzGibbon's 1965 biography ignores Thomas's heavy drinking and skims over his death, giving just two pages in his detailed book to Thomas's demise.
Ferris in his 1989 biography includes Thomas's heavy drinking, but is more critical of those around him in his final days, and does not draw the conclusion that he drank himself to death.
Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the doctor who treated Thomas while at St. Vincent's, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner was even more culpable than his use of morphine.
Caitlin Thomas's autobiographies, 'Caitlin Thomas - Leftover Life to Kill' (1957) and 'My Life with Dylan Thomas: Double Drink Story' (1997), describe the effects of alcohol on the poet and on their relationship:
"Ours was not only a love story, it was
a drink story, because without alcohol
it would never had got on its rocking
feet. The bar was our altar."
Biographer Andrew Lycett ascribed the decline in Thomas's health to an alcoholic co-dependent relationship with his wife, who deeply resented his extramarital affairs.
In contrast, Dylan biographers Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Tremlett argues that many of Thomas's health issues stemmed from undiagnosed diabetes.
Thomas died intestate, with assets worth £100. His body was brought back to Wales for burial in the village churchyard at Laugharne. Dylan's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on the 24th. November 1953.
Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin, with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed, and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.
Thomas's widow, Caitlin, died in 1994, and was laid to rest alongside him. Dylan's mother Florence died in August 1958. Thomas's elder son, Llewelyn, died in 2000, his daughter, Aeronwy in 2009, and his youngest son Colm in 2012.
-- Dylan Thomas's Poetry
Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. Although influenced by the modern symbolism and surrealism movements, he refused to follow such creeds. Instead, critics view Thomas as part of the modernism and romanticism movements, though attempts to pigeon-hole him within a particular neo-romantic school have been unsuccessful.
Elder Olson, in his 1954 critical study of Thomas's poetry, wrote:
"There is a further characteristic which
distinguished Thomas's work from that
of other poets. It was unclassifiable."
Olson went on to say that in a postmodern age that continually attempted to demand that poetry have social reference, none could be found in Thomas's work, and that his work was so obscure that critics could not analyse it.
Thomas's verbal style played against strict verse forms, such as in the villanelle 'Do not go Gentle Into That Good Night'.
His images appear carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death, and new life that linked the generations.
Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry sought a poetic ritual to celebrate this unity. He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Therefore, each image engenders its opposite.
Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore, preaching, and Sigmund Freud. Explaining the source of his imagery, Thomas wrote in a letter to Glyn Jones:
"My own obscurity is quite an unfashionable one,
based, as it is, on a preconceived symbolism
derived (I'm afraid all this sounds woolly and
pretentious) from the cosmic significance of the
human anatomy".
Thomas's early poetry was noted for its verbal density, alliteration, sprung rhythm and internal rhyme, and some critics detected the influence of the English poet Gerard Manley Hopkins. Hopkins, had taught himself Welsh, and used sprung verse, bringing some features of Welsh poetic metre into his work.
However when Henry Treece wrote to Thomas comparing his style to that of Hopkins, Thomas wrote back denying any such influence. Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings.
Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence.
William York Tindall, in his 1962 study, 'A Reader's Guide to Dylan Thomas', finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas.
Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by the poet Roy Campbell.
Critics have explored the origins of Thomas's mythological pasts in his works such as 'The Orchards', which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.
Thomas's poetry is notable for its musicality, most clear in 'Fern Hill', 'In Country Sleep', 'Ballad of the Long-legged Bait' and 'In the White Giant's Thigh' from Under Milk Wood.
Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child:
"I should say I wanted to write poetry in the
beginning because I had fallen in love with
words.
The first poems I knew were nursery rhymes,
and before I could read them for myself I had
come to love the words of them. The words
alone.
What the words stood for was of a very
secondary importance ... I fell in love, that is
the only expression I can think of, at once,
and am still at the mercy of words, though
sometimes now, knowing a little of their
behaviour very well, I think I can influence
them slightly and have even learned to beat
them now and then, which they appear to
enjoy.
I tumbled for words at once. And, when I began
to read the nursery rhymes for myself, and, later,
to read other verses and ballads, I knew that I
had discovered the most important things, to
me, that could be ever."
Thomas became an accomplished writer of prose poetry, with collections such as 'Portrait of the Artist as a Young Dog' (1940) and 'Quite Early One Morning' (1954) showing he was capable of writing moving short stories. His first published prose work, 'After the Fair', appeared in The New English Weekly on the 15th. March 1934.
Jacob Korg believes that one can classify Thomas's fiction work into two main bodies:
-- Vigorous fantasies in a poetic style
-- After 1939, more straightforward
narratives.
Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.
-- Dylan Thomas as a Welsh Poet
Thomas disliked being regarded as a provincial poet, and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added:
"Oh, & I forgot. I'm not influenced by
Welsh bardic poetry. I can't read Welsh."
Despite this, his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that:
"Dylan's inspiration and imagination
were rooted in his Welsh background".
Caitlin Thomas wrote that:
"He worked in a fanatically narrow groove,
although there was nothing narrow about
the depth and understanding of his feelings.
The groove of direct hereditary descent in
the land of his birth, which he never in
thought, and hardly in body, moved out of."
Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's whole attitude is that of the medieval bards.
Kenneth O. Morgan counter-argues that it is a difficult enterprise to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes that Dylan's work, especially his earlier, more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation:
"Rural and urban, chapel-going and profane,
Welsh and English, unforgiving and deeply
compassionate."
Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt that Dylan consciously employed one element of Welsh metrics: that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote:
"No major English poet has
ever been as Welsh as Dylan".
Although Dylan had a deep connection with Wales, he disliked Welsh nationalism. He once wrote:
"Land of my fathers, and
my fathers can keep it".
While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama 'The Three Weird Sisters'.
Robert Pocock, a friend from the BBC, recalled:
"I only once heard Dylan express an
opinion on Welsh Nationalism.
He used three words. Two of them
were Welsh Nationalism."
Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years because he had not rejected enough of the elements that Thomas disliked, i.e. "Welsh nationalism and a sort of hill farm morality".
Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine 'Wales', Thomas's father wrote:
"I'm afraid Dylan isn't much
of a Welshman".
FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.
Critical Appraisal of Dylan Thomas's Work
Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York.
When Seamus Heaney gave an Oxford lecture on the poet, he opened by addressing the assembly:
"Dylan Thomas is now as much
a case history as a chapter in the
history of poetry".
He queried how 'Thomas the Poet' is one of his forgotten attributes. David Holbrook, who has written three books about Thomas, stated in his 1962 publication 'Llareggub Revisited':
"The strangest feature of Dylan Thomas's
notoriety - not that he is bogus, but that
attitudes to poetry attached themselves
to him which not only threaten the prestige,
effectiveness and accessibility to English
poetry, but also destroyed his true voice
and, at last, him."
The Poetry Archive notes that:
"Dylan Thomas's detractors accuse him
of being drunk on language as well as
whiskey, but whilst there's no doubt that
the sound of language is central to his
style, he was also a disciplined writer
who re-drafted obsessively".
Many critics have argued that Thomas's work is too narrow, and that he suffers from verbal extravagance. However those who have championed his work have found the criticism baffling. Robert Lowell wrote in 1947:
"Nothing could be more wrongheaded
than the English disputes about Dylan
Thomas's greatness ... He is a dazzling
obscure writer who can be enjoyed
without understanding."
Kenneth Rexroth said, on reading 'Eighteen Poems':
"The reeling excitement of a poetry-intoxicated
schoolboy smote the Philistine as hard a blow
with one small book as Swinburne had with
Poems and Ballads."
Philip Larkin, in a letter to Kingsley Amis in 1948, wrote that:
"No one can stick words into us
like pins... like Thomas can".
However he followed that by stating that:
"Dylan doesn't use his words
to any advantage".
Amis was far harsher, finding little of merit in Dylan's work, and claiming that:
"He is frothing at the mouth
with piss."
In 1956, the publication of the anthology 'New Lines' featuring works by the British collective The Movement, which included Amis and Larkin amongst its number, set out a vision of modern poetry that was damning towards the poets of the 1940's. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated:
"Dylan Thomas was made to stand for
everything they detest, verbal obscurity,
metaphysical pretentiousness, and
romantic rhapsodizing".
Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public.
In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.
Several of Dylan's poems have passed into the cultural mainstream, and his work has been used by authors, musicians and film and television writers.
The long-running BBC Radio programme, 'Desert Island Discs', in which guests usually choose their favourite songs, has heard 50 participants select a Dylan Thomas recording.
John Goodby states that this popularity with the reading public allows Thomas's work to be classed as vulgar and common. He also cites that despite a brief period during the 1960's when Thomas was considered a cultural icon, the poet has been marginalized in critical circles due to his exuberance, in both life and work, and his refusal to know his place.
Goodby believes that Thomas has been mainly snubbed since the 1970's and has become: "... an embarrassment to twentieth-century poetry criticism", his work failing to fit standard narratives, and thus being ignored rather than studied.
-- Memorials to Dylan Thomas
In Swansea's maritime quarter is the Dylan Thomas Theatre, the home of the Swansea Little Theatre of which Thomas was once a member. The former Guildhall built in 1825 is now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and which is a setting for the annual Dylan Thomas Festival. Outside the centre stands a bronze statue of Thomas by John Doubleday.
Another monument to Thomas stands in Cwmdonkin Park, one of Dylan's favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park, cut by and inscribed by the late sculptor Ronald Cour with the closing lines from Fern Hill:
'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'.
Thomas's home in Laugharne, the Boathouse, is now a museum run by Carmarthenshire County Council. Thomas's writing shed is also preserved.
In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival.
In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of 'Fern Hill'.
In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who made a recording of 'Fern Hill' for the event.
In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on 'Under Milk Wood', and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work.
Towamensing Trails, Pennsylvania named one of its streets, Thomas Lane, in Dylan's honour.
-- List of Works by Dylan Thomas
-- 'The Collected Poems of Dylan Thomas: The New Centenary Edition', edited and with Introduction by John Goodby. London: Weidenfeld & Nicolson, 2014.
-- 'The Notebook Poems 1930–34', edited by Ralph Maud. London: Dent, 1989.
-- 'Dylan Thomas: The Film Scripts', edited by John Ackerman. London: Dent 1995.
-- 'Dylan Thomas: Early Prose Writings', edited by Walford Davies. London: Dent 1971.
-- 'Collected Stories', edited by Walford Davies. London: Dent, 1983.
-- 'Under Milk Wood: A Play for Voices', edited by Walford Davies and Ralph Maud. London: Dent, 1995.
-- 'On The Air With Dylan Thomas: The Broadcasts', edited by Ralph Maud. New York: New Directions, 1991.
-- Correspondence
-- 'Dylan Thomas: The Collected Letters', edited by Paul Ferris (2017), 2 vols. London: Weidenfeld & Nicolson
Vol I: 1931–1939
Vol II: 1939–1953.
-- 'Letters to Vernon Watkins', edited by Vernon Watkins (1957). London: Dent.
-- Posthumous Film Adaptations
-- 2016: Dominion, written and directed by Steven Bernstein, examines the final hours of Dylan Thomas.
-- 2014: Set Fire to the Stars, with Thomas portrayed by Celyn Jones, and John Brinnin by Elijah Wood.
-- 2014: Under Milk Wood BBC, starring Charlotte Church, Tom Jones, Griff Rhys-Jones and Michael Sheen.
-- 2014: Interstellar. The poem is featured throughout the film as a recurring theme regarding the perseverance of humanity.
-- 2009: A Child's Christmas in Wales, BAFTA Best Short Film. Animation, with soundtrack in Welsh and English. Director: Dave Unwin. Extras include filmed comments from Aeronwy Thomas.
-- 2007: Dylan Thomas: A War Films Anthology (DDHE/IWM).
-- 1996: Independence Day. Before the attack, the President paraphrases Thomas's "Do not go Gentle Into That Good Night".
-- 1992: Rebecca's Daughters, starring Peter O'Toole and Joely Richardson.
-- 1987: A Child's Christmas in Wales, directed by Don McBrearty.
-- 1972: Under Milk Wood, starring Richard Burton, Elizabeth Taylor, and Peter O'Toole.
-- Opera Adaptation
-- 1973: Unter dem Milchwald, by German composer Walter Steffens on his own libretto using Erich Fried's translation of 'Under Milk Wood' into German, Hamburg State Opera. Also at the Staatstheater Kassel in 1977.
-- Final Thoughts From Dylan Thomas
"Somebody's boring me.
I think it's me."
"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."
"When one burns one's bridges,
what a very nice fire it makes."
"I think, that if I touched the earth,
It would crumble; It is so sad and
beautiful, so tremulously like a dream."
"An alcoholic is someone you don't
like, who drinks as much as you do."
"I hold a beast, an angel, and a madman in me,
and my enquiry is as to their working, and my
problem is their subjugation and victory, down
throw and upheaval, and my effort is their self-
expression."
"The only sea I saw was the seesaw sea
with you riding on it. Lie down, lie easy.
Let me shipwreck in your thighs."
"Why do men think you can pick love up
and re-light it like a candle? Women know
when love is over."
"Poetry is not the most important thing in life.
I'd much rather lie in a hot bath reading
Agatha Christie and sucking sweets."
"And now, gentlemen, like your manners,
I must leave you."
"My education was the liberty I had to read
indiscriminately and all the time, with my eyes
hanging out."
"I'm a freak user of words, not a poet."
"Our discreditable secret is that we don't
know anything at all, and our horrid inner
secret is that we don't care that we don't."
"It snowed last year too: I made a snowman
and my brother knocked it down and I knocked
my brother down and then we had tea."
"Though lovers be lost love shall not."
"Man’s wants remain unsatisfied till death.
Then, when his soul is naked, is he one
with the man in the wind, and the west moon,
with the harmonious thunder of the sun."
"And books which told me everything
about the wasp, except why."
"We are not wholly bad or good, who
live our lives under Milk Wood."
"Love is the last light spoken."
"... an ugly, lovely town ... crawling, sprawling ...
by the side of a long and splendid curving
shore. This sea-town was my world."
"I do not need any friends. I prefer enemies.
They are better company, and their feelings
towards you are always genuine."
"This poem has been called obscure. I refuse
to believe that it is obscurer than pity, violence,
or suffering. But being a poem, not a lifetime,
it is more compressed."
"One: I am a Welshman; two: I am a drunkard;
three: I am a lover of the human race, especially
of women."
"I believe in New Yorkers. Whether they've ever
questioned the dream in which they live, I wouldn't
know, because I won't ever dare ask that question."
"These poems, with all their crudities, doubts and
confusions, are written for the love of man and in
praise of God, and I'd be a damn fool if they weren't."
"Before you let the sun in, mind he wipes his shoes."
"Nothing grows in our garden, only washing.
And babies."
"Make gentle the life of this world."
"A worm tells summer better than the clock,
the slug's a living calendar of days; what shall
it tell me if a timeless insect says the world
wears away?"
"Time passes. Listen. Time passes. Come
closer now. Only you can hear the houses
sleeping in the streets in the slow deep salt
and silent black, bandaged night."
"Rhianon, he said, hold my hand, Rhianon.
She did not hear him, but stood over his bed
and fixed him with an unbroken sorrow. Hold
my hand, he said, and then: Why are you
putting the sheet over my face?"
"Come on up, boys - I'm dead."
"Life is a terrible thing, thank God."
- Majestade! Majestade!!!
Aine estava no jardim brincando com Lissa quando viu Brynne chegar de repente, um tanto ofegante e com um semblante preocupado. Viu a menina se ajoelha diante de si e aquilo a aborreceu de imediato.
Brynne já estava no mundo humano a mais de um ano e ainda sim a tratava como da realeza. Aquilo titulo já não a pertencia e mesmo assim a fada continuava a trata-la como Rainha de Hyule.
Aine era uma pessoa relativamente calma e poucas coisas a aborreciam, mas Brynne as vezes tinha o dom de acabar com sua tranquilidade.
- Pelo amor de Deus Brynne... pare de me chamar assim.
- M-mas Rainha...
- Aine! Por favor... me chame apenas de Aine.
- M-mas...senhora...
- Você nunca vai mudar não é? - Suspirava longamente, sem muita paciência. Estava a um mês de Aislin nascer e começava a ficar ansiosa. As emoções estavam intensas de mais no ultimo mês. - O que foi Brynne...? O que você deseja?
- Majestade... ele está aqui...
- Ele?
- O Rei minha senhora... Está aqui! Está no mundo humano!!
- N-nao é possivel...! - Alarmada puxava Lissa pra mais perto de forma protetora e tocava a barriga que Aislin havia acabado de chutar ao sentir a apreensão da mãe.
- Ele cansou de esperar majestade. Eu lhe disse... ele não iria esperar por muito mais tempo... recebi o comunicado de sua chegada agora mesmo.
- Brynne... ele não pode saber! Se descobrirem agora... antes dela nascer. Vão tira-la de mim, nunca vão aceita-la sem saber o que ela é! Você... você contou a ele?
- Não!! Nunca faria isso. Nunca as colocaria em perigo assim. Mas temo não poder ajudar mais. Tentei mante-lo longe o máximo que pude, juro por Hyule, eu tentei protege-la.
- Mamãe...? - Abraçava mais forte sem entender o que estava acontecendo
- Brynne... quero que leve Lissa pra dentro. Deixe-a com a Lilith. Vishous está na Irmandade agora, o que é uma benção nesse momento... não sei como ele reagiria. Leve-a... e fique lá.
- Sim majestade. Venha Lissa... - Pegava a menina nos braços, que não queria se separar de Aine, mas que por fim a largou, assim ambas deixaram Aine sozinha no jardim, perdida em seus pensamentos.
It's a short video of an interaction between a street preacher and someone passing by.
Philadelphia, Pennsylvania
Outside a Panera. A day late and a dollar short! This man was yelling for all to get on the right path.
In two weeks time I will host a workshop in Central London explaining how I create images like this. There are still a few seats left, so contact me or check my site for details: dracorubio.com/pages/workshop