THE LIFE AND WORK OF DYLAN THOMAS
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The orchards

He had dreamed that a hundred orchards on the road to the sea village had broken into flame; and all the windless afternoon tongues of fire shot through the blossom. The birds had flown up as a small red cloud grew suddenly from each branch; but as night came down with the rising of the moon and the swinging-in of the mile-away sea, a wind blew out the fires and the birds returned. He was an applefarmer in a dream that ended as it began: with the flesh-andghost hand of a woman pointing to the trees. She twined the fair and dark tails of her hair together, smiled over the apple-fields to a sister figure who stood in a circular shadow by the walls of the vegetable garden; but the birds flew down on to her sister's shoulders, unafraid of the scarecrow face and the cross-wood nakedness under the rags. He gave the woman a kiss, and she kissed him back. Then the crows came down to her arms as she held him close; the beautiful scarecrow kissed him, pointing to the trees as the fires died.
     Marlais awoke that summer morning with his lips still wet from her kiss. This was a story more terrible than the stories of the reverend madmen in the Black Book of Llareggub, for the woman near the orchards, and her sisterstick by the wall, were his scarecrow lovers for ever and ever. What were the sea-village burning orchards and the clouds at the ends of the branches to his love for these birdprovoking women? All the trees of the world might blaze suddenly from the roots to the highest leaves, but he would not sprinkle water on the shortest fiery field. She was his lover, and her sister with birds on her shoulders held him closer than the women of LlanAsia.
     Through the top-storey window he saw the pale blue, cloudless sky over the tangle of roofs and chimneys, and the promise of a lovely day in the rivers of the sun. There, in a chimney's shape, stood his bare, stone boy and the three blind gossips, blowing fire through their skulls, who huddled for warmth in all weathers. What man on a roof had turned his weathercock's head to stare at the red-and-black girls over the town and, by his turning, made them stone pillars? A wind from the world's end had frozen the roof-walkers when the town was a handful of houses; now a circle of coal table-hills, where the children played Indians, cast its shadow on the black lots and the hundred streets; and the stoneblind gossips cramped together by his bare boy and the brick virgins under the towering crane-hills.
     The sea ran to the left, a dozen valleys away, past the range of volcanoes and the great stack forests and ten towns in a hole. It met the Glamorgan shores where a half-mountain fell westward out of the clump of villages in a wild wood, and shook the base of Wales. But now, thought Marlais, the sea is slow and cool, full of dolphins; it flows in all directions from a green centre, lapping the land stones; it makes the shells speak on the blazing half-mountain sand, and the lines of time even shall not join the blue sea surface and the bottomless bed.
     He thought of the sea running; when the sun sank, a fire went in under the liquid caverns. He remembered, while he dressed, the hundred fires around the blossoms of the apple-trees, and the uneasy salt rising of the wind that died with the last pointing of the beautiful scarecrow's hand. Water and fire, sea and apple-tree, two sisters and a crowd of birds, blossomed, pointed, and flew down all that midsummer morning in a top-storey room in the house on a slope over the black-housed town.
     He sharpened his pencil and shut the sky out, shook back his untidy hair, arranged the papers of a devilish story on his desk, and broke the pencil-point with a too-hard scribble of 'sea' and 'fire' on a clean page. Fire would not set the ruled lines alight, adventure, burning, through the heartless characters, nor water close over the bogy heads and the unwritten words. The story was dead from the devil up; there was a white-hot tree with apples where a frozen tower with owls should have rocked in a wind from Antarctica; there were naked girls, with nipples like berries, on the sand in the sun, where a cold and unholy woman should be wailing by the Kara Sea or the Sea of Azov. The morning was against him. He struggled with his words like a man with the sun, and the sun stood victoriously at high noon over the dead story.
     Put a two-coloured ring of two women's hair round the blue world, white and coal-black against the summercoloured boundaries of sky and grass, four-breasted stems at the poles of the summer sea-ends, eyes in the sea-shells, two fruit-trees out of a coal-hill: poor Marlais's morning, turning to evening, spins before you. Under the eyelids, where the inward night drove backwards, through the skull's base, into the wide, first world on the far-away eye, two love-trees smouldered like sisters. Have an orchard sprout in the night, an enchanted woman with a spine like a railing burn her hand in the leaves, man-on-fire a mile from a sea have a wind put out your heart: Marlais's death in life in the circular going down of the day that had taken no time blows again in the wind for you.
     The world was the saddest in the turning world, and the stars in the north, where the shadow of a mock moon spun until a wind put out the shadow, were the ravaged south faces. Only the fork-tree breast of the woman's scarecrow could bear his head like an apple on the white wood where no worm would enter, and her barbed breast alone pierce the worm in the dream under her sweetheart's eyelid. The real round moon shone on the women of LlanAsia and the love-torn virgins of This street.
     The word is too much with us. He raised his pencil so that its shadow fell, a tower of wood and lead, on the clean paper; he fingered the pencil tower, the half-moon of his thumb-nail rising and setting behind the leaden spire. The tower fell, down fell the city of words, the walls of a poem, the symmetrical letters. He marked the disintegration of the ciphers as the light failed, the sun drove down into a foreign morning, and the word of the sea rolled over the sun. "Image, all image," he cried to the fallen tower as the night came on. "Whose harp is the sea? Whose burning candle is the sun?" An image of man, he rose to his feet and drew the curtains open. Peace, like a simile, lay over the roofs of the town. "Image, all image," cried Marlais, stepping through the window on to the level roofs.
     The slates shone around him, in the smoke of the magnified stacks and through the vapours of the hill. Below him, in a world of words, men on their errands moved to no purpose but the escape of time. Brave in his desolation, he scrambled to the edge of the slates, there to stand perilously above the tiny traffic and the lights of the street signals. The toy of the town was at his feet. On went the marzipan cars, changing gear, applying brake, over the nursery carpets into a child's hands. But soon height had him and he swayed, feeling his legs grow weak beneath him and his skull swell like a bladder in the wind. It was the image of an infant city that threw his pulses into confusion. There was dust in his eyes; there were eyes in the grains of dust ascending from the street. Once on the leveller roofs, he touched his left breast. Death was the bright magnets of the streets; the wind pulled off the drag of death and the falling visions. Now he was stripped of fear, strong, nightmuscled. Over the housetops he ran towards the moon. There the moon came, in a colder glory than before, attended by stars, drawing the tides of the sea. By a parapet he watched her, finding a word for each stage of her journey in the directed sky, calling her same-faced, wondering at her many masks. Death mask and dance mask over her mountainous features transformed the sky; she struggled behind a cloud, and came with a new smile over the wall of wind. Image, and all was image, from Marlais, ragged in the wind, to the appalling town, he on the roofs invisible to the street, the street beneath him blind to his walking word. His hand before him was five-fingered life.
     A baby cried, but the cry grew fainter. It is all one, the loud voice and the still voice striking a common silence, the dowdy lady flattening her nose against the panes, and the well-mourned lady. The word is too much with us, and the dead word. Cloud, the last muslin's rhyme, shapes above tenements and bursts in cold rain on the suburban drives. Hail falls on cinder track and the angelled stone. It is all one, the rain and the macadam; it is all one, the hail and cinder, the flesh and the rough dust. High above the hum of the houses, far from the skyland and the frozen fence, he questioned each shadow; man among ghosts, and ghost in clover, he moved for the last answer.
     The bare boy's voice through a stone mouth, no longer smoking at this hour, rose up unanswerably: "Who walks, mad among us, on the roofs, by my cold, brick-red side and the weathercock-frozen women, walks over This street, under the image of the Welsh summer heavens walks all night loverless, has two sister lovers ten towns away. Past the great stack forests to the left and the sea his lovers burn for him endlessly by a hundred orchards." The gossips' voices rose up unanswerably: "Who walks by the stone virgins is our virgin Marlais, wind and fire, and the coward on the burning roofs."
     He stepped through the open window.
Red sap in the trees bubbled from the cauldron roots to the last spray of blossom, and the boughs, that night after the hollow walk, fell like candles from the trunks but could not die for the heat of the sulphurous head of the grass burned yellow by the dead sun. And flying there, he rounded, half mist, half man, all apple circles on the seavillage road in the high heat of noon as the dawn broke; and as the sun rose like a river over the hills so the sun sank behind a tree. The woman pointed to the hundred orchards and the black birds who flocked around her sister, but a wind put the trees out and he woke again. This was the intolerable, second waking out of a life too beautiful to break, but the dream was broken. Who had walked by the virgins near the orchards was a virgin, wind and fire, and a coward in the destroying coming of the morning. But after he had dressed and taken breakfast, he walked up This street to the hilltop and turned his face towards the invisible sea.
     "Good morning, Marlais," said an old man sitting with six greyhounds in the blackened grass.
     "Good morning, Mr David Davies."
     "You are up very early," said David Two Times.
     "I am walking towards the sea."
     "The wine-coloured sea," said Dai Twice.
     Marlais strode over the hill to the greener left, and down behind the circle of the town to the rim of Whippet valley where the trees, for ever twisted between smoke and slag, tore at the sky and the black ground. The dead boughs prayed that the roots might shoulder up the soil, leaving a dozen channels empty for the leaves and the spirit of the cracking wood, a hole in the valley for the mole-handed sap, a long grave for the last spring's skeleton that once had leapt, when the blunt and forked hills were sharp and straight, through the once-green land. But Whippet's trees were the long dead of the stacked south of the country; who had vanished under the hacked land pointed, thumb-to-hill, these black leaf-nailed and warning fingers. Death in Wales had twisted the Welsh dead into those valley cripples.
     The day was a passing of days. High noon, the storykiller and the fire bug (the legends of the Russian seas died as the trees awoke to their burning), passed in all the high noons since the fall of man from the sun and the first sun's pinnacling of the half-made heavens. And all the valley summers, the once monumental red and the now headstonefeatured, all that midsummer afternoon were glistening in the seaward walk. Through the ancestral valley where his fathers, out of their wooden dust and full of sparrows, wagged at a hill, he walked steadily; on the brink of the hole that held LlanAsia as a grave holds a town, he was caught in the smoke of the forests and, like a ghost from the clear-cut quarters under the stack roots, climbed down on to the climbing streets.
     "Where are you walking, Marlais?" said a one-legged man by a black flower-bed.
     "Towards the sea, Mr William Williams."
     "The mermaid-crowded sea," said Will Peg.
     Marlais passed out of the tubercular valley on to a waste mountain, through a seedy wood to a shagged field; a crow, on a molehill, in Prince Price's skull cawed of the breadth of hell in the packed globe; the afternoon broke down, the stumped land heaving, and, like a tree or lightning, a wind, roots up, forked between smoke and slag as the dusk dropped; surrounded by echoes, the red-hot travellers of voices, and the devils from the horned acres, he shuddered on his enemies' territory as a new night came on in the nightmare of an evening. "Let the trees collapse," the dusty journeymen said, "the boulders flake away and the gorse rot and vanish, earth and grass be swallowed down on to a hill's V balancing on the grave that proceeds to Eden. Winds on fire, through vault and coffin and fossil we'll blow a manfull of dust into the garden. Where the serpent sets the tree alight, and the apple falls like a spark out of its skin, a tree leaps up; a scarecrow shines on the cross-boughs, and, by one in the sun, the new trees arise, making an orchard round the crucifix." By midnight two more valleys lay beneath him, dark with their two towns in the palms of the mined mountains; a valley, by one in the morning, held Aberbabel in its fist beneath him. He was a young man no longer but a legendary walker, a folk-man walking, with a cricket for a heart; he walked by Aberbabel's chapel, cut through the graveyard over the unstill headstones, spied a red-cheeked man in a nightshirt two foot above ground.
     The valleys passed; out of the water-dipping hills, the moments of mountains, the eleventh valley came up like an hour. And coming out timelessly through the dwarf's eye of the telescope, through the ring of light like a circle's wedding on the last hill before the sea, the shape of the hundred orchards magnified with the immaculate diminishing of the moon. This was the spectacle that met the telescope, and the world Marlais saw in the morning following upon the first of the eleven untold adventures: to his both sides the unbroken walls, taller than the beanstalks that married a story on the roof of the world, of stone and earth and beetle and tree; a graveyard before him the ground came to a stop, shot down and down, was lost with the devil in bed, rose shakily to the sea-village road where the blossoms of the orchards hung over the wooden walls and sister-roads ran off into the four white country points; a rock line thus, straight to the hill-top, and the turning graph scored with trees; dip down the county, deep as the history of the final fire burning through the chamber one story over Eden, the first green structure after the red downfall; down, down, like a stone stuck with towns, like the river out of a glass of places, fell his foot-holding hill. He was a folk-man no longer but Marlais the poet walking, over the brink into ruin, up the side of doom, over hell in bed to the red left, till he reached the first of the fields where the unhatched apples were soon to cry fire in a wind from a half-mountain falling westward to the sea. A man-in-apicture Marlais, by noon's blow to the centre, stood by a circle of apple-trees and counted the circles that travelled over the shady miles into a clump of villages. He laid himself down in the grass, and noon fell back bruised to the sun; and he slept till a handbell rang over the fields. It was a windless afternoon in the sisters' orchards, and the fairheaded sister was ringing the bell for tea.
     He had come very near to the end of the indescribable journey. The fair girl, in a field sloping seaward three fields and a stile from Marlais, laid out a white cloth on a flat stone. Into one of a number of cups she poured milk and tea, and cut the bread so thin she could see London through the white pieces. She stared hard at the stile and the pruned, transparent hedge, and as Marlais climbed over, ragged and unshaven, his stripped breast burned by the sun, she rose from the grass and smiled and poured tea for him. This was the end to the untold adventures. They sat in the grass by the stone table like lovers at a picnic, too loved to speak, desireless familiars in the shade of the hedge corner. She had shaken a handbell for her sister, and called a lover over eleven valleys to her side. Her many lovers' cups were empty on the flat stone.
     And he who had dreamed that a hundred orchards had broken into flame saw suddenly then in the windless afternoon tongues of fire shoot through the blossom. The trees all around them kindled and crackled in the sun, the birds flew up as a small red cloud grew from each branch, the bark caught like gorse, the unborn, blazing apples whirled down devoured in a flash. The trees were fireworks and torches, smouldered out of the furnace of the fields into a burning arc, cast down their branded fruit like cinders on the charred roads and fields.
     Who had dreamed a boy's dream of her flesh-and-ghost hand in the windless afternoon saw then, at the red height, when the wooden step-roots splintered at the orchard entrance and the armed towers came to grief, that she raised her hand heavily and pointed to the trees and birds. There was a flurry in the sky, of wing and fire and near-to-evening wind in the going below of the burned day. As the new night was built, she smiled as she had done in the short dream eleven valleys old; lame like Pisa, the night leaned on the west walls; no trumpet shall knock the Welsh walls down before the last crack of music; she pointed to her sister in a shadow by the disappearing garden, and the darkheaded figure with crows on her shoulders appeared at Marlais's side.
     This was the end of a story more terrible than the stories of the quick and the undead in mountainous houses on Jarvis hills, and the unnatural valley that Idris waters is a children's territory to this eleventh valley in the seaward travel. A dream that was no dream skulked there; the real world's wind came up to kill the fires; a scarecrow pointed to the extinguished trees.
     This he had dreamed before the blossom's burning and the putting-out, before the rising and the salt swinging-in, was a dream no longer near these orchards. He kissed the two secret sisters, and a scarecrow kissed him back. He heard the birds fly down on to his lovers' shoulders. He saw the fork-tree breast, the barbed eye, and the dry, twig hand.



From A Prospect of the Sea: and other stories and prose writings, published by J.M. Dent & Sons Ltd., London, 1955
Copyright © 1937, 1945, 1955, 1956, 1962, 1965, 1966, 1967, 1971, 1977 The Trustees for the Copyrights of Dylan Thomas.



The Life And Work Of Dylan Thomas written, designed, and copyright (except where otherwise noted) © by Willem Jonkman. All rights reserved. Contact: editor@undermilkwood.net

Copyright for the works of Dylan Thomas on this site © 1937, 1945, 1955, 1956, 1962, 1965, 1966, 1967, 1971, 1977 The Trustees for the Copyrights of Dylan Thomas. Copyright for the recording of Under Milk Wood used on this site, © 1963, 1995 BBC Worldwide Ltd. Most works on this site are read by the author, using embedded audio-files which require Adobe Flash Player. Listening is best experienced using a broadband connection (DSL, cable, T1) in order to enjoy seamless play of this site's audio features.

Acknowledgements: Constantine FitzGibbon, The Life Of Dylan Thomas © 1965; Annis Pratt, Dylan Thomas' Early Prose: A Study In Creative Mythology © 1970; Andrew Sinclair, Dylan Thomas © 1975; Paul Ferris, Dylan Thomas - A Biography © 1977; John Ackerman, Welsh Dylan © 1979; Susan Richardson, The Legacy Of Dylan Thomas In Wales © 2000; Joan Gooding, Britain's Last Romantic Poet: Dylan Thomas © 2000.