Dylan Thomas ’ s “ In Country Sleep ” : His Paradoxical Sensibility

In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.

the twentieth century and his appeal to the modern reader. The modern poets of the fifties establish a link between Yeats's pagan altruistic sensibility and Dylan Thomas's sceptic paradoxical sensibility and his altruism, and the manner in which this sensibility enters into and determines the texture of his poetry. Thomas projects in his early poem 18 Poems man's inner reality and his own creative perplexities, his cyclical process of life-in-death, the introspective process of making man's predicament as creation, freedom of man and another man's freedom, as man's individuation and integration, "I dreamed my genesis in sweat of death, fallen … twice in the feeding sea, grown … stale of Adam's brine until, vision … of new man's strength, I seek the sun" (Thomas,Poems 66).
In the last poem In Country Sleep analogous to the early poem 18 Poems, Thomas dwells chiefly on the relation between the metaphysical tradition and the sceptic poetic tradition. Written under the influence of William Blake, the poem in its final form analyses the memories of his own poetry linking nature and human life, his modest and magnanimous functioning in contrast to Auden's Word-centric functioning and his war mongering, the political and the war poets's romanticism and the Movement poets's celebration of Auden's art and their raging fire against Thomas: I climb to greet the war in which I have no heart but only That one dark I owe my light,

Call for confessor and wiser mirror but there is none
To glow after the god stoning night And I am struck as lonely as a holy marker by the sun…. (Poems 63) The aesthetic implied in the last poem has two aspects. First, poetry of altruistic impersonal art incarnates through the vehicles of word and rhythm, the rhythm or order in nature. Secondly, the aesthetic amoral poet can read the mysterious hieroglyphics of Nature only when he transcends the plane of finite existence and attains to the region of death-centric metaphysical process. Thomas contradistinguishes: www.scholink.org/ojs/index.php/sll Studies in Linguistics and Literature Vol. 4, No. 4, 2020 17 Published by SCHOLINK INC. No longer will the vibrations of the sun on Her deepsea pillow where once she married alone, Her heart all ears and eyes, lips catching the avalanche Of the golden ghost who ringed with his streams her mercury bone, Who under the lids of her windows hoisted his golden luggage, For a man sleeps where fire leapt down and she learns through his arm That other sun, the jealous coursing of the unrivalled blood. (Poems 108) In the last poem, Thomas's functioning identical to his performance in the early poem 18 Poems is free from hatred and fear, revelry of vengeance and violence, ill-will and jealousy and his position as a poet of prudence and benevolence, ignorance and innocence evokes Thomas Hardy's archetypal process of sobriety, sagacity and serenity, "I fled the earth and, naked, climbed the weather … reaching a second ground far from the stars" and the Yeatsian cyclical process of birth and death, the process of self-reconcilement, self-improvement and self-advancement, "shifting to light, turned on me like a moon … so, planning-heeled, I flew along my man … and dropped on dreaming and the upward sky" in repudiation of Auden's metaphysical process of self-purification and immortal art, the Eliotian intellectualism of pure being and pure poetry, "I fellowed sleep who kissed me in the brain … let fall the tear of time; the sleeper's eye" (Poems 67). Thomas's functioning as a poet of identity, self-identity and self-identification or self-evaluation in the last phase is analogous to Blake's singing of the poet's paradoxical sensibility and his pagan altruistic process, his free play and free love, his cosmopolitan culture in contrast to the metaphysical poet's ironic sensibility and his immortal art, his aesthetic amoral impersonal art and his ascetic culture, "he who binds to himself a joy … does the winged life destroy … but he who kisses the joy as it flies … lives in eternity's sun rise" (Blake 47).
Blake envisages a journey of the pagan altruistic creative poet through successive phases, and these phases are, (i) apprehension of the sensuous beauty of nature (feminine charm being part of this beauty), (ii) perception of the principle of harmony working in nature, (iii) and finally, the convergence of the modest poet-the mortal man towards a point of coalescence of frustration and success, unpopularity and popularity, hatred and love, violence and benevolence, malignity and benignity, and revenge and co-existence in which the sober and sagacious mind liberated from the mutable world enjoys the blessings of greatness and eminence which is a repetition on the creative plane of the happiness and contentment enjoyed in the past. He enumerates: They look in every thoughtless nest, Where birds are covered warm; They visit caves of every beast, To keep them all from harm.
If they see any weeping That should have been sleeping www.scholink.org/ojs/index.php/sll Studies in Linguistics and Literature Vol. 4, No. 4, 2020 18 Published by SCHOLINK INC.
They pour sleep on their head, And sit down by their bed. (Blake 56) The human poet realizes fully his creative urge only when he completes the ascent from destructive beauty to magnanimous artistic beauty, from monolithic, monochromic sensibility to polylithic, polychromic sensibility, "when wolves and tigers howl for prey … they pitying stand and weep … seeking to drive their thirst away … and keep them from the sheep", and there is an added implication that poetry is the voice of the modesty and generosity of human poets although this voice has to be rendered in human speech and unified sensibility, "but if they rush dreadful … the angels, most heedful … receive each mild spirit … new worlds to inherit" (Blake).
The last poem In Country Sleep is concerned with issues that have a more immediate bearing. The focal point of the dying Thomas is to extend to the agitated Auden the therapeutic panacea, the process of regeneration that he has offered to the fallen political and the war poets in the past apart from maintaining his own balanced and benign, prudent and benevolent functioning that has made him popular and influential, happy and contented. Thomas briefs: But blessed be hail and upheaval That uncalm still it is sure alone to stand and sing Alone in the husk of man's home And the mother and toppling house of the holy spring, If only for a last time. (Poems 63) In contrast, the main concern of the forlorn Auden in the last phase is the Eliotian reality of historical suffering and immortal art which is the leit-motif, "ruin and his causes" of his early phase, making "one more move to soothe … the cureless counted body", condescending to seek the patronage of the estranged political poets and intensify his charges of conspiracy and war mongering, tilting and toppling against Thomas whose success as an artist of cyclical process and vicarious art songs has unmade his success, popularity, appeal and his grand image as a metaphysical artist among the contemporary poets, "over the barbed and shooting sea assumed an army … and swept into our wounds and houses". The young Movement poets, while scorning Thomas's early poem and his Yeatsian art songs of pagan altruism, upholds Auden's early poem, his aesthetic success and defends his avenging move against Thomas, "praise that the spring time is all … Gabriel and radiant shrubbery as the morning grows joyful … out of the woebegone pyre". The last phase of the time-conscious political poets of the thirties and the romantic war poets of the forties move towards the romantic ideals of their early phase that has its bearing on human life in so far as it eschews pain and turns the mind to pleasing luxuries, "the multitude's sultry tear turns cool on the weeping wall … my arising prodigal … sun the father his quiver full of the infants of pure fire" (Poems).
However, the identical cries of hatred and anger, vengeance and violence of Auden and his friends against Thomas could be attributed to their hopeless career and uncertain future, their anxiety about www.scholink.org/ojs/index.php/sll Studies in Linguistics and Literature Vol. 4, No. 4, 2020 19 Published by SCHOLINK INC. immortality in contrast to Thomas's success and hopeful future as a poet of metaphorical and metamorphical process, soundless vicarious impersonal art, "lie still, sleep becalmed, sufferer with the wound … in the throat, burning and turning all night afloat … on the silent sea we have heard the sound … that came from the wound wrapped in the salt sheet". Thomas perceives that Auden suffers due to his metaphysical, existential process of dying, his aesthetic amoral impersonal art, his wild love of metaphysical Eliotian musical avant-gardism and modernism from the early phase till the last phase "we heard the sea sound sing, we saw the salt sheet tell … lie still, sleep becalmed, hide the mouth in the throat … or we shall obey, and ride with you through the drowned" and that the realistic and the war poets suffer in their love of Auden's sound pattern due to their seasonal love, their mortal desire for a comfortable, romantic living and their ignorance of Auden's metaphysical process, "under the mile off moon we trembled listening … to the sea sound flowing like blood from the loud wound … and when the salt sheet broke in a storm of singing … the voices of all the drowned swam on the wind" (Poems 93).
Thomas's paradoxical vision of pragmatic soundless art song and human reality that makes him popular and influential, great and happy is analogous to Blake's singing of his "holy spring", the image of amelioration, co-existence and happiness: For where-e'er the sun does shine.
And where-e'er the rain does fall: Babe can never hunger there, Nor poverty the mind appal. (Blake 67) Auden's ironic vision of sound-centric metaphysical art songs and metaphysical reality that costs his success, appeal and popularity finds an objective correlative in Blake's song "Holy Thursday": And their sun does never shine.
And their fields are bleak and bare.
And their ways are fill'd with thorns It is eternal winter there. (Blake) The methods Thomas  For the young Thomas, however, an experience is not a mere sensation, it includes thought. In Yeats's poetry, one of his axioms is that poetry should strike the reader as the wording of his own highest thoughts, and for him thought is meaningful only when it is emotionally realized and is transformed into a sensation.
In 25 Poems Thomas, recalling the Yeatsian metaphorical and metamorphical process, the introspective process of individuation and integration in the early poem, "the death of friends, or death … of every brilliant eye … that made a catch in the breath", in contrast to Auden's interior monologue of historical memory of eternal suffering and eternal art, "seem but the clouds of the sky … when the horizon fades … or a bird's sleepy cry … among the deepening shades" (YCP 168), evokes the political poets's broken memory as the fallen lovers of Auden's art song, "whispered the affectionate sand … and the bulwarks of the dazzled quay … for my sake sail, and never look back … said the looking land" (Poems 34) and persuades them to heed to the Yeatsian introspective process of individuation and integration, transfiguration and transformation to become artist of paradoxical art song and success: formlessness, spontaneity and personality as an organic form, "sails drank the wind, and white as milk … he sped into the drinking dark … the sun shipwrecked west on a pearl … and the moon swam out of its hulk" (Poems) that has rescued the lost political poets and offered them hope for poetry and promising future, that he has demonstrated in his early poem and his early art song as well and achieved success and popularity among the contemporary poets, "in that proud sailing tree with branches driven … through the last vault and the vegetable groyne … and this weak house to marrow-columned heaven" ( 69). Thomas's paradoxical direction to the ignorant war poets is identical to that of Yeats, "stumbling upon the blood-dark track once more … then stumbling to the kill beside the shore … then cleaning out and bandaging of wounds … and chants of victory amid the encircling hounds" (YCP 290).
In the later poem of war time Deaths and Entrances, the mental oscillations and uncertainties of the poets of the forties of war time are put to effective use vis-à-vis Thomas's disinterested goodwill and action and his paradoxical sensibility. Thomas explains: In the fire of his care his love in the high room.
And the child not caring to whom he climbs his prayer Shall drown in a grief as deep as his made grave, And mark the dark eyed wave, through the eyes of sleep, Dragging him up the stairs to the one who lies dead. (Poems 55) He projects his paradoxical sensibility, "and fire and ice within me fight … beneath the suffocating night" (Houseman 49) identical to the war poet A.E .Houseman's asocial, apolitical and ahistorical sensibility, his sober and sagacious functioning as an impersonal poet of pagan altruism, "now, and I muse for why and never find the reason … I pace the earth, and drink the air, and feel the sun … be still, be still, my soul; it is but for a season" (AEH 10) which, in turn, recalls his early poem 18 Poems in contrast to the metaphysical ironic aloofness of the existential Auden and the sentimental functioning of the dilemmatic political and the war poets, their "horror and scorn and hate and fear and indignation" (AEH) and their indifferent functioning during the time of war.
In the song "A Refusal to Mourn the Death, by Fire, of a Child in London" Thomas shows his empathy and impersonal vicariousness for the child died as a victim of war in contrast to the contemporary poets's insensibility and their desiring for immortality, "they talk about a time at hand … when I shall sleep with clover clad … and she beside another lad" (AEH 8). Thomas explains his pragmatic functioning and his paradoxical love for everyone and everything analogous to his moral disinterestedness in the early poem, "funnels and masts went by in a whirl … good-bye to the man on the sea-legged deck … to the gold gut that sings on his reel to the bait that stalked out of the sack" (Poems). In the song "Poem in October", he maintains his pragmatic and paradoxical functioning identical to his asocial apolitical and ahistorical functioning in the early poem, "undishonoured, clear of danger … clean of guilt, pass hence and home" (AEH 52). Thomas vindicates his neutral cordiality and paradoxical position, "for we saw him throw to the swift flood … a girl alive with his hooks through her lips" (Poems). In the song "Fern Hill", Thomas, illustrating his own introspective process of individuation and integration, transfiguration and transformation, suggests to the war poet Prince dreaming of Auden's immortal art that art song born of the process of life and death, participation and involvement stands real rather than mere dreams or passionate love, "turn safe to rest, no dreams, no waking … and here, man, here's the wreath I've made" (AEH). Both Auden and Thomas underscore that it is the poet's way of knowledge, his modus operandi that alone ensures the freedom of art song, and that Prince's dreaming of art song stands as chimerical and fanciful as the political poets as they are ignorant of the process of reconciliation of the irreconcilables, harmonization of their division between private and public love, "all the fishes were rayed in blood … said the dwindling ships" (Poems).
The last poem In Country Sleep, as in the apparently disorganized flow of thought in the Movement poetry of the early fifties, resembles the stream of consciousness technique, but the presence of an alert mind weighing the homeward journey of life under the influence of the pagan altruistic poet Blake, his introspective process and his paradoxical sensibility, "hear the voice of the Bard … who present, past, and future, sees … whose ears have heard … the Holy Word … that walk'd among the ancient trees….
(Blake 57). Thomas explains the underlying relentless process of introspection, transfiguration and transformation, the self-indicating, self-dedicating, self-vindicating consciousness, his paradoxical sensibility and the tragic happiness of his last poem recalling his early poem 18 Poems "then good-bye to the fishermanned … boat with its anchor free and fast … as a bird hooking over the sea … high and dry by the top of the mast" (Poems) in contrast to the mutatis mutandis of the contemporary poets of the thirties, the forties and the fifties, "the bows glided down, and the coast … blackened with birds took a last look … at his thrashing hair and whale-blue eye … the trodden town rang its cobbles for  And it is in this fidelity to the memory of Auden's thought and feeling, in this dramatization of the creative dilemmas of the lost political poets, the war poets and the Movement poets that Thomas in the last phase departs from the metaphysical and the romantic tradition, and comes closest to the inclusiveness and the free play and free love of the pagan poet Blake who "spins from the bars, but there's no cage to him" and stands as an artist of noble impersonal art in contrast to Auden's pure aesthetic and immortality according to the young poet Hughes: More than to the visionary his cell: His stride is wildernesses of freedom: The world rolls under the long thrust of his heel Over the cage floor the horizons come. (4) The passage from Laurie Lee's poem "The Three Winds" that contradistinguishes the paradoxical sensibility from the ironic metaphysical sensibility of Auden, the dissociated sensibility of the political poets of the thirties, the romantic war poets of the forties and the aesthetic minded poets of the fifties and their maddening love of Auden's grandeur brings out the continuous trend of inclusiveness, sceptic poetic tradition and pagan altruism in Thomas's poetry till the last poem: poetic texture, "the cold thing is how they were … there at the start of us; and one grey look surveyed … the builder imagining the city, the historian with his spade" (MV). The inclusiveness in Thomas's poetry is not really worked out as a conscious design, although his poetic development shows increasing reliance on craftsmanship; it seems, on the other hand, from his deep, fundamental honesty, from his keenness to understand the nature of reality, his own inner self and the contemporaries multiple, conflicting aspects, "the warm thing is that that they are … first promise of the South to the waking travelers … of the peacock sea, and the islands and their boulder-lumbered spurs" (MV).
Thomas projects in his introductory poem "In Country Sleep" the contemporary poets's creative perplexities and his own inner reality, and he belongs, in the main, to Blakean sceptic poetic and In the leaves' self blows the efficient wind That opens and bends closed those leaves.  Moreover, the poem implies that Blake's metaphorical and metamorphical process, his introspective process of individuation and integration, his paradoxical sensibility and his sceptic poetic tradition is identical to that of Hardy, Yeats and Houseman whom Thomas has emulated in his main poetry in defiance of Auden's metaphysical process and intellectual tradition.
Thomas grapples with various approaches to meet the challenge of the human predicament, and he comes finally to acknowledge the fact that suffering must be undergone to make poetry of innate reality, "of inner themes and inner poetries" (Hardy 140) and to be a tragi-comic poet of human life, "his homely Northern breast and brain … grow up a Southern tree" (80). But if pain be inescapable in human destiny, this pain must be meaningful through human experience and effort, "man's enterprise", "labour is blossoming or dancing where … the body is not bruised to pleasure soul … nor beauty born out of its own despair … nor blear-eyed wisdom out of midnight oil" (YCP 184) as he defies Auden's metaphysical doctrine that man can be redeemed from his miserable existence through divine Grace.
He places reliance on "men that made man of me", the sceptic poets of inward strength, "about your work in town and farm … still you'll keep my head from harm … still you'll help me, hands that gave … a grasp to friend me to the grave´ (Houseman 9), and affirms his faith in the potential divinity of each individual being, "O radiant morning, salute the sun … rous'd like a huntsman to the chase, and with ... thy buskin'd feet appear upon our hills" (Blake 6). Thomas indicates: Besides, Thomas's main poetry repudiates Auden's Eliotian metaphysical theory of impersonality, his theory that a poet has no identity is primarily an aesthetic doctrine as this aesthetic disinterestedness involves a psychic distancing from sensations, which carries with it an assurance of freedom. Thomas emulating Yeatsian process of transfiguration and transformation, envisages another kind of impersonality that is not aesthetic but moral disinterestedness, and is directed towards disinterested goodness and action, sharing the agonies of the fellow-poets "that deep considering mind … all that you have discovered in the grave … into the labyrinth of another's being". A detached, amoral artist transcends the human scene, "old lecher with a love on every wind", but a romantically attached poet shares the comforts of mortals, "for it is certain that you have … reckoned up every unforeknown, unseeing … plunge, lured by a softening eye … or by a touch or a sigh…" (YCP 166).
Thomas's occasional dramatic songs, apart from testifying to his Yeatsian mental processes of introspection and individuation, transfiguration and transformation, free play and free love, and pagan altruistic art and paradoxical sensibility, vouchsafes for Yeatsian tragi-comic vision of art song, his disinterested goodwill and action, "and rains down life until the basin spills … and mounts more dizzy high the more it rains …as though to choose whatever shape it wills …and never stoops to a mechanical … or servile shape, at others beck and call" in contrast to Auden's metaphysical tragic vision of art song and his ascetic aloofness from the predicament of the contemporary poets, "ancestral houses … surely among a rich man's flowering lawns …amid the rustle of his planted hills" and the romantic vision of ecstatic existence, "life overflows without ambitious pains"(YCP 169 In the last art art song that represents the leit-motif of all his art songs, his Yeatsian mortal vision of Grecian altruistic art song, Thomas reaffirms his faith in the modus operandi and the modus vivendi of Yeats, "driven from home and left to die in fear … they sang, but had nor human tunes nor words … though all was done in common as before … they had changed their throats and had the throats of birds" (YCP 299). In the introductory poem "In Country Sleep" of the last poem In Country Sleep, Thomas attempts something very different from his dramatic art song "Over Sir John's Hill" and returns to the sceptic poetic tradition of his main poetry. In the first part of the poem "In Country Sleep", Thomas deplores the shrinkage in the range of experience in the contemporary poets casting a wilful glance at the immortal art that they have been dreaming of: Good-bye to chimneys and funnels, Old wives that spin in the smoke, He was blind to the eyes of candles In the praying windows of waves…. ( In The North Ship, Larkin's ironic movement echoes, apart from the metaphysical process and aesthetic amoral impersonal art, the fire and fume, the avenging and the killing motif of Auden, "he saw the storm smoke out to kill … with fuming bows and ram of ice … fire on starlight, rake Jesu's stream…"  Thomas's paradoxical sensibility seeks to render in verse his drifting thoughts exploring the visionary romantic poetry of the contemporary poets, "a weeping firmament, a sac of waters, a passive chaos" (DCP 347). Day Lewis, however, discovers a structural coherence in the apparently unconnected thoughts and shows how hopes of pure poetry alternate with doubt and reassurance in the first part of the poem: Rhadamanthine moment! Shall we be judged Self-traitors? Now is a chance to make our flux Stand and deliver its holy mark… (DCP 347) He perceives that the second part projects Auden's metaphysical and visionary, immortal and mortal thoughts keeping themselves aloof, but the objective inclusive mind of Thomas is no longer agitated: Now, when the tears rise and the leaves crumble, To tap the potency of farewell.
The introductory poem "In Country Sleep", thus, comes full circle, the accession to trance in the opening section and the return to it in the second section provide the framework for his shifting thoughts and visions. The mental state of Thomas's contemporary poets is akin to that of reverie induced by waking sleep. While the Eliotian Auden has been continuous in pursuit of ironic metaphysical sensibility and immortal art and in pacifying the realistic contemporaries of the thirties, Thomas has been distinctive as a poet of metaphorical and metamorphical process, human impersonal art and paradoxical sensibility under the direction of the holy markings of Blake and his sceptic altruistic inclusive mind. This contrasting dramatic scenes could be illuminated with the lines from Blake, "to see a World in a Grain of sand … and a Heaven in a wild flower … hold Infinity in the palm of your hand … and Eternity in an hour" (Blake 88).

Reviews
In the last poem In Country Sleep, Moynihan observes, "Blake's influence looms large in Thomas's attempt to find symbols for the old forms of Chapel and country" (33). Tindall explains that "in the house at Laugharne, Thomas has read his daughter to sleep with folk and fairy tales. However terrible these tales, he says fear no more. Have no bad dreams of wolves, pigs, ganders, or witches; for these are natural or fictive" (275). Munro states that in the last poem Thomas "has given meaning to the human predicament, by imposing on it an all-containing form" and "the form of the poem may be taken as a miniature of the whole pattern of existence" (27). Yeomans perceives "a unified overall poetic vision emerging, one which exists in its own right-without translation" (105).

Methods and Objectives
However, a metaphorical study of the poem abounding in functional imagery of his own poems as well as the poems of the contemporary poets suggests that Thomas's poised and benign functioning as a poet of introspective process of individuation and integration, organic form and regeneration, paradoxical sensibility and cosmopolitan culture ensures his success, appeal and popularity in contrast to Auden's metaphysical process of intensity and immortal art that deprives him of his grandeur, influence and popularity which, in turn, makes him malevolent and violent, aggressive and avenging against Thomas

Discussion
The introductory poem "In Country Sleep", as the ultimate ideal, has both amplitude and particularity, and renders the whole gamut of experience, "the high four … winds, from the dousing shade and the roarer at the latch … the pouncing boughs … to the thorn" (Poems 80), the futuristic existential Auden, the dreaming realistic poets of the thirties, the war poets of the forties and the Movement poets of the early fifties. The implication seems to be that such paradoxical poem combines visionary quality with realism according to MacNeice: Look at these snapshots; here you see yourself Prince's contemporary impassive war poets's predilection seems to be luscious sweetness of Edmund The enchanted romanticism inducing a slumberous trance is introduced again in the last phase of the political poets of the thirties, and their poems evoke the romantic atmosphere of the poems written in the early phase. In An Italian Visit, Day Lewis's horizon widens again, and his mind is stirred by a sudden agitation and bewilderment. He emerges as a man of "ruling passion"; his twenty years of struggling and perilous adventure fail to daunt his romantic spirit: All the more reason for going with a tabula rasa, Not trailing clouds of vainglory or the old tin can of conscience.
Granted we cannot entirely escape ourselves, and granted That up to a point we can only what we're bound to look for, Still, there is such a thing as simple impressionability, A scene in which form and colour are more than mere dreams of our senses…. (DCP

311)
The concrete form of "a loving cup" of Edward Thomas who "never has burned or bowed to popular gods, when fame beckons … modestly melts in the crowd" spreads awfully "the crowd of your haunting fancies … the streams, airs, the dews … the soldier shades and the solacing heartbeams" (DCP 282) before Day Lewis's wondering gaze.
In The Edge Being without conscious deliberation, Spender reaches towards Shelley's concept of imagination that would work into a vast design the intricate reality of the human situation; the concern with "human islands under their seas have roots … spread through the multitude's fretful blood … and to passionate childhoods" (28)   Thomas perceives that the leit-motif behind the realistic and the war poets's love and hate of impersonality, their change of heart is due to the "casualty" of their personal interests, "good-bye, good luck, struck the sun and the moon … to the lost fisherman on the land" (Poems). Wordsworth defends this kind of "casualty" as a value in the famous sonnet "The World is Too Much with Us": "The world is too much with us; late and soon,/Getting and spending, we lay waste our powers/Little we see in Nature that is ours…" (601). Hughes attributes the disastrous failure of the political poets to their impulsive and conflicting love between the personal and the artistic patterns, "far above the trees, between the washing hung out … they wait with interest for the evening news" (Hughes 43). The necessity of social comforts has been the root cause of the "casualty" of the war poets's love of impersonal, immortal art, "the hare that hops up, quizzical, hesitant … flattens ears and tears madly away and the wren warns" (Hughes).
The Movement poets are carried away from things of delicate beauty, and their thoughts take a different direction, "but conscious also of love and the joy of things and the power … of going beyond and above the limits of the lagging hour" (MCP). In the poem "Warning to Guest", John Holloway perceives that Auden's feeling of religious awe implies dedication to a pursuit that is not distracted by pragmatic considerations. Thomas's kind impersonal art and paradoxical thought give way to striking contrast and challenge where "the strong tide has flowed … right to the tunnel underneath the road … along the formless dune" (Contemporary Verse 314). The analogies "against the flare and descent of the gas … I heard an old woman in a shop maintain this fog comes when the moon is on the wane" (313) indicate a sudden awakening from repose. In "Against Romanticism", Kingsley Amis sees in Auden awe is mingled with delighted animation, "to please an ingrown taste for anarchy … torrid images circle in the wood … cramming close the air with their bookish cries", and Thomas's whisperings of unseen presences revealing the secrets of poetry, "sweat for recognition up the road", reverberate in human hearts, "a traveller who walks a temperate zone … woods devoid of beasts, roads that please the foot" (329).
To Elizabeth Zennings of Poems, Auden's state of grandeur akin to the metaphysical ideal of poetry seems realizable, "out of my window late at night I gape … and see the stars but do not watch them really … and hear the trains but do not listen clearly". Thomas's awareness of a vital archetype and the world is attended by self-evaluation and humility. The lines "inside my mind I turn about to keep … myself awake, yet am not there entirely" suggest the vastness of the realm of poetry that Thomas explores. Zennings's bafflement, "my thoughts about it divide … me from my object" recalls Thomas's experience as witnessed in the early poem, "something of me is out in the dark landscape" (CV 359).
The initial stupefaction of Auden, D.J. Enright perceives in the poem "A Poor Little Lonely Child Whose Parents Have Gone to a Cultural Festival", is followed by a sense of participation in the universal orchestration, and Thomas assigns to himself the function of an earthly medium communicating the voice of poetry since the beginning of his poetic career, "this night and each night since the falling star you were born … ever and ever he finds a way, as the snow falls" (Poems 80).
In the poem "Time Was", John Wain finds that Auden in his poetry considers himself till the end of his artistic career only a passive vehicle, but the thought of individual talent, the individual role is also simultaneously present, "a mind ago I took the stones for clay … and thought a man could foot it like a beast … but animals have no hard words to say … we too were shielded once, but that has ceased" (CV 355). From the inception, Auden thinks of his own equipment, and this brings to his mind the different stages through which he must necessarily pass to prepare himself adequately for the great task. The first stage is one of total surrender to the god of song, Walter de la Mare, the poet of Nature; he must dissolve his self and be a part of the historic tradition. "A daisy gleams as coldly as a star/And flints are hard because I know they are" (356). In the second stage, the historic mind turns to the inner life represented successively by the historical consciousness of the artist Eliot, "Time was I watched the minnows in the brook". This interiority prepares the mind for the early phase of Poems (1928), Poems (1930) and Look Stranger! in an ironic way: the mind receives impressions of the outside world, and enriches its own spiritual resources:. "Tonight my breath acknowledges its hosts --/The living man is cradled by his ghosts" (CV). In the transitional middle phase, the active, existential mind is directed to concrete, objective reality: The triumphant affirmation is followed by a sudden doubt that the aspiration may not be realized, "I wonder why I was born dismayed … what was the shape that gibbered through the room?" (CV). The In Poems (1930), however, sleep becomes the very antithesis of truth under the influence of Eliot, "the surplice … hill of cypresses" (Poems) and Auden sings that "song, the varied action of the blood … would drown the warning from the iron wood … would cancel the inertia of the buried" (Poems 46). In Look Stranger!, it opens up a terribly withering vision, "drives through the night and star-concealing dawn … for the virgin roadsteads of our hearts an unwavering keel" (12), "mopping and mowing through the sleepless day" (30) and "the river is alone and the trampled flower … and through years of absolute cold" (68). In Another Time, again, sleep in the figurative sense provides a momentary illusion that is finally shattered, "to fresh defeats he still must move … to further griefs and greater … and the defeat of grief" (16) and Auden perceives his existential art as "the saga from mermen … to seraphim … leaping" (Poems), his advancement as "defenceless under the night … our world in stupor lies … beleaguered by the same … negation and despair … show an affirming flame" (Another Time

115) and his future in continuation of his past:
It is their to-morrow hangs over the earth of the living And all that we wish for our friends: but existence is believing We know for whom we mourn and who is grieving. (AT 111) In the poems of the middle phase, New Year Letter and For the Time Being, dream and waking consciousness are set in sharp opposition, "the gospel rooks! All tell, this night, of him … who comes as red as the fox and sly as the heeled wind" (Thomas, Poems). Auden projects, "and the shabby structure of indolent flesh … give a resonant echo to the Word which was … from the beginning, and the shining … light be comprehended by darkness" (New Year 188). The play of sleep and wakefulness, "it was the night of All Souls" (346), is also built into The Age of Anxiety: "Illumination of music! The lulled black-backed/gull, on the wave with sand in its eyes! And the foal moves/through the shaken greenward lake, silent, on the moonshod hooves, /In the winds' wakes" (Poems). The sea-image, again, suggests the journey of the metaphysical conceptual mind grappling with the riddle of existence: a strain of music conducts it to Eliot's intensity of Pentecostal experience in "Little Gidding" in which Eliot suggests that a grasp of historic design through which the past, and the people of past, the rose of life or love and the yew-tree of death live and they are of equal validity as apprehensions of life, "we are born with the dead … see, they return, and bring us with them … the moment of the rose and the moment of the yew-tree … are of equal duration" (ECP 208). But in Nones no clear opposition between the two states is implied in the Eliotian Auden's song pattern, "Holy this moment, wholly in the right … as, in complete obedience … to the light's laconic outcry…" (9). As Thomas recasts: "Music of elements that a miracle makes!/Earth, air, water, fire, singing into the white act" (Poems).
Larkin, commenting on the Eliotian Auden's historic sense of poetry, "Time is the echo of an axe … within a wood" (Larkin,Collected Poems 295), unfolds his love of Auden's impersonal art, "as I stir the stubborn flint … the flames have left … and grief stirs, and the deft … heart lies impotent" (298).
The thought that Auden is not merely a passive medium but a conscious, creative agent destined to fulfil a mission urges the young poet Larkin to look forward and survey the work to be done. paradox of death-in-life is to explore the metaphysical process, to interpret the meaning of suffering in human life, "only for turning of the earth in her holy … heart" (Poems). Larkin's vision of poetry shifts from the earthly plane, "the brain runs on through wildernesses … of cities. Still the hammered miles … diversify behind her face" (LCP 286) and turns for inspiration and sustenance to the Eliotian life the strange working of destiny; the mystery that is only grasped by one who has transcended this temporal plane "submission is the only good … let me become an instrument sharply stringed … for all things to strike music as they please" (LCP). Hughes observes that Larkins's prayer would not be successful, "he might well wring his hands … and let his tears drop … he will win no more prizes … with fantails or pouters" (Hughes 16).
In Hughes's language Larkin finds a dramatic rendering of his own experience, the parallelism and contrast giving it both intensity and a relative impersonality, "with a sudden sharp hot stink of fox … it enters the dark hole of the head … the window is starless still; the clock ticks … the page is printed" Hughes's brief comment on Thomas, "on a short fierce fuse" indicates, more than anything else, the zealous devotion of a disciple following the footsteps of his master with animation and enthusiasm, though not without discernment:

Not in boredom -
The eye satisfied to be blind in fire, By the bang of blood in the brain deaf the ear -He spins from the bars, but there's no cage to him. (Hughes 4) What particularly appeals to him is Thomas's mastery of the right phrase, his image making power. It is significant that many of the phrases and images Hughes underlines convey the sense of arrested motion, "at a cage where the crowd stands, stares, mesmerized … as a child at a dream, at a jaguar hurrying enraged … through prison darkness after the drills of his eyes". Hughes also shows interest in movement, in the succession of time, "over the cage floor the horizons come". He discovers the tired beauty of Auden identical to that of his political contemporary poets, "fatigued with indolence, tiger and lion … lie still as the sun" and also hears shrieks of the realistic and the romantic war poets as sceptic born dissolute prisoners, "the parrots shriek as if they were on fire, or strut … like cheap tarts to attract the stroller with the nut". Hughes's phrase "his stride is wildernesses of freedom" and especially the word "stride" shifts the perspective from the sublime to the earthly and suggests the essential humanity of the poet Thomas. His statement "more than to the visionary his cell" is a value-judgement; the comparative further implies that the focus of reality is the human situation, 'the world rolls under the long thrust of his heel". Thomas recasts the introspective process of individuation and integration, transfiguration and transformation, pagan altruistic impersonal art in rejection of Auden's metaphysical process and immortal art, "he comes to take … her faith this last night for the unsacred sake … he comes to leave her in the lawless sun awaking … naked and forsaken to grieve he will not come" (Poems).
Thomas's art songs suggest discord and if the human situation is more intensely real, the harmonious universe of Auden's early verses would appear somewhat illusory, "the boa-constrictor's coil … is a fossil. Cage after cage seems empty, or … stinks of sleepers from the breathing straw … it might be painted on a nursery wall" (Hughes). Thomas also shows an attempt at a reconcilement of contrary virtues: romantic abundance or magnificence and concentration, constructive ability; adequacy of expressiveness and inexhaustible suggestiveness. The art songs of Auden and Thomas have been showing that their response is principally confined or directed to these contradictory qualities, the

Eliotian immortal vision of metaphysical process and aesthetic amoral art vis-a-vis the Yeatsian mortal vision of cyclic process and Grecian altruistic art according to Hughes's disinterested reading that
Thomas recasts as closing lines of the poem "In Country Sleep": "And you shall wake, from country sleep, this dawn and each first dawn,/Your faith as deathless as the outcry of the ruled sun" (Poems); it is also the response of Larkin, the young, maturing poet, to Auden's tragic vision of art song and Hughes to Thomas's tragi-comic vision of art song.

Hughes finds that Thomas's interest in the succession of time is indicated in his art songs and in quick
paces hours move towards final moment; he marks each notation indicating the passage from night to dawn. Thomas's art songs indicating movement or succession of time does not, however, evince his interest in temporal sequence that characterizes the romantic poetry and his attention is focused more on atmospheric shifts, or the structural beauty that symbolizes Auden's metaphysical art songs. His occasional art songs are implicit of his pictorial and sculptural effect of individual images achieving a balance of movement and motionlessness, his Yeatsian introspective process of endurance and tolerance, his pagan altruistic soundlessness, "between the streams and the red clouds, hearing curlews … hearing the horizons endure" (Hughes 9

Till day rose…. (Hughes 34)
The qualities Auden seeks and appreciates in poetry are intensity, feeling and expression, roundedness of imagery, and depth of experience and thought, universal in essence but assimilated into his own phono-centric consciousness.
Hughes also witnesses the contradistinction of Thomas Auden, having lost his grand image of being the unrivalled ruler of metaphysical artist of structural song, "fearful symmetry" among the contemporary poets, becomes a victim of fear and hatred, grumbles and murmurs, violence and vengeance against Thomas. His songs of modernism and musical avant-gardism proves as a terror to the political poets when they imitate the song pattern without undergoing the metaphysical process and get their career "burnt" with "the fire". Then, they start cursing Auden with complaints with which the curse Thomas when he deflects from his early poem of pity and aspires for Auden's immortal art in his later art songs, "dare seize the fire". The passive war poet Prince finds that Auden's Eliotian immortal art song as a thing of awe and wonder, "dread hand … dread feet". The impassive war poets Fuller, Rook and Rhys dare not "grasp" Auden's art as they find that his metaphysical process of intensity as "dread grasp" and his aesthetic amoral distance as "deadly

Result
In the last poem In Country Sleep, especially in the titular poem "In Country Sleep" Thomas brings out the distinction between night and dawn, dream and reality, immortality and mortality, death and life, sleep and poetry representing the two aspects, the passive and the active, of the creative mind of the twentieth century poets, although the division is not so simple and sharp. Reflective paradoxical poetry points to a higher reality, according to Blake, in contrast to the intellectual ironic poet's maddening love for immortal art and metaphysical reality "where the youth pined away with desire … and the pale virgin shrouded in snow … arise from their graves, and aspire … where my sun-flower wishes to go…" But this gradation does not nullify the value of contemplative repose. Blake's poem "Ah, Sunflower" underlines the positive and creative aspect of sleep or introspection: Ah, sunflower, weary of time, Who countest the steps of the sun; Seeking after that sweet golden clime, Where the traveller's journey is done…. (75) The introspective aspect of poetry is also conveyed in John Keats's poem "Sleep and Poetry" through a series of comparatives: sleep "is more gentle than a wind in summer", "more soothing than the pretty hummer", "more tranquil than a musk-rose" blossoming "in a green island", "more beautiful than the leafiness of dales", "more secret than a nest of nightingales", "more serene than Cordelia's countenance", and "more full of visions than a high romance". The epithets and associated pictures emphasize seclusion and quietude, generating a trance-like experience. The idea of reverie is carried further in the subsequent phrases: "soft closer of our eyes", "low murmurer", "light hoverer", "wreather of poppy-buds", "silent entangler of beauty's tresses". The invocation to sleep leads to the invocation to poetry of mortal life, "life is but a day … a fragile dewdrop on its perilous way … from a tree's summit", and images of still life are replaced by images of moving creatures, particularly of birds-swan, dove, and eagle. The attributes associated with the birds are strangeness, smoothness, and regality. The similes, however, do not seem adequate to convey his vision of poetry, and a query follows: "What is it? And to what shall I compare it?" (Keats 404). This kind of impersonal concern for human reality has been the voice of great poetry and Thomas sings the language of individuation and integration, modesty and magnanimity for the sufferers of immortal art in contrast to Auden's language of sophistication and irony, aesthetic amoral disinterestedness: There was a saviour Rarer than radium, Commoner than water, crueller than truth; Children kept from the sun Assembled at his tongue To hear the golden note turn in the groove,

Prisoners of wishes locked their eyes
In the jails and studies of his keyless smiles. (Poems 135).
It is Blake's introspective process of reconciliation and regeneration, his sceptic poetic tradition, his paradoxical sensibility that directs Thomas  The Yeatsian modes of approach and operation, the cyclical process of life and death, the pagan altruistic art that Thomas suggests to the war poets does not reflect any intense love for Yeatsian process or hatred for Auden's Eliotian intellectual process or aversion for the Wordsworthian process.
He persuades the metempirical lovers, the poets of dissociated sensibility to choose the road that has made him happy and great as a hope for greatness and happy life. Thomas explains his moral disinterestedness, his disinterested goodness and action with which he discovers his identity as a poet of warm impersonal art and success in the early phase: Not for the proud man apart From the raging moon I write On these spindrift pages In the later poem, Deaths and Entrances, Thomas has been functioning as sober and sagacious, as modest and moderate, asocial, apolitical and ahistorical, wise and innocent as the war poet A.E.
Houseman and as equipoise and empathic as Yeats, as enduring and tolerant as Hardy and as pragmatic and vicarious as he is in the early poem while adhering to the process of becoming and introspection, the process of assimilation of disparate images to achieve the organic form and integration of differences and formlessness in contrast to the functioning of the poets of war time as romantic, ironic and political, "good luck to the hand on the rod … there is thunder under its thumbs … gold gut is a lightning thread … his fiery reel sings off its flames" (Poems). Thomas recalls from his memory: story of success and popularity of his art songs, and this throws further light on the conflicting motifs of the contemporary poets, "coming the wrong way, suffers the air, hurled upside down … fall from his eye, the ponderous shires crash on him … the horizon traps him; the round angelic eye … smashed, mix his heart's blood with the mire of the land" (Hughes 3).
In the poems of war poets of the forties, however, the language of emotion and the language of discourse are juxtaposed and never coalesce, and this separation results from marked shifts in mental states: moments of ascent and moments of descent, ecstasy and withdrawal from ecstasy alternate in the poems of Fuller, Rook, Rhys, Prince, Lewis and Keyes. Thomas perceives: With men and women and waterfalls The war poets's self-love and sentiment, fear and isolation, personal comforts and security deprive them of the poet's way of knowledge to great poetry which, in turn, recalls the words of Blake, "nought loves another as itself … nor venerates another so … nor is it possible to thought … a greater than itself to know" (Blake 79). In his tranced moments, Prince speaks the language of feeling and image and is unaware of the temporal order with its attendant frustrations. This state of ecstasy is immediately followed by a return to actuality; in such moments he employs the language of discourse, and his attempt at vindicating his own situation has a touch of irony. Thomas  Their ignorance of innocent death could be explained in terms of Blake, "to this day they dwell … in a lonely dell … nor fear the wolvish howl … nor the lion's growl" (71). The war poets's divided approach to great poetry and their unfulfilled dreams are identical to the tragic fall of the political poets of the thirties, "she nipped and dived in the nick of love …spun on a spout like a long-legged ball" (Poems).
In the last phase of the political poets of the thirties, Thomas describes what may be called the exclusive mode, and the experiences conveyed is partial: And prophets loud on the burned dunes; Insects and valleys hold her thighs hard, So, the worldly-wise political poets's dream of immortal art ends up with depression and dejection that seeks shelter in romanticism with which they begin their poetic career, "till every beast blared down in a swerve … till every turtle crushed from his shell … till every bone in the rushing grave … rose and crowed and fell" (Poems). The fall of the visionary poets and their grumbles are reminiscent of Blake's song "A Dream", "troubled, wildered, and forlorn … dark, benighted, travel worn … over many a tangle spray … all heart-broke, I heard her say" (59).
In Auden's early poetry, the thinking process is more vividly unfolded, and the element of ratiocination intersecting the Eliotian sensibility becomes indistinguishable from feeling, "a music hall ... or lagging Clausewitz from a public self … to make your private notes, thumbing and doubling". In the infirm middle phase, and yet, Tiresias-like, he has a clairvoyant insight into the past, present, and the future.
And in the last phase, he submits his situation and the predicament of the whole world of his contemporaries to relentless scrutiny and his historical sense only deepens his distress and vivifies the horror. MacNeice estimates: Here you are swapping gags in winking bars With half an eye on the colour clash of beet Love, more than our holidays are numbered.
Not  contrast between "blinded minstrel" and "titivated room", appearance and reality, between the imposing art and the inner emptiness, is focused in every poem of the Movement poets according to

May turn them from mere students into builders. (MCP)
Larkin's maiden volume The North Ship fails to recapture Auden's musical structure which reminds the failure of the war poet Prince's maiden poem Poems, and their grand failure reminds the lines of Blake, "I strove to seize the inmost form … with ardor fierce and hands of flame … but burst the crystal cabinet … and like a weeping babe became…" (Blake 120).
Hughes's early phase shows a perception, identical to that of the early Thomas, of the inner resources of language capable of rendering the totality and particularity of a mood or situation or an experience. Hughes's maiden attempt The Hawk in the Rain that emulates Thomas's poetic process of cyclical pattern, his paradoxical sensibility, his human impersonal art and examines the tragic predicament of human situation and the damned contemporary poets of the thirties, the forties and the fifties stands as a success anticipating his epoch-making poetic career. The emergence of Hughes could be described in the words of Blake, "a weeping babe upon the wild … and weeping woman pale reclined … and in the outward air again … I filled with woes the passing wind" (121).
In the introductory poem "In Country Sleep", Thomas underscores that one significant aspect of his last poem has been the process of self-sacrifice and redemption, altruism and pagan tradition, and that his disinterested goodness and action is built up more on contrast than on conflict and it is interesting to note how this determines and activates the afflicted realistic poets and the affective war poet to hope for harmony and co-existence in sharp contrast to Auden's metaphysical aesthetic and amoral impersonal art that commands the lovers to war and death of the challenger of his greatness. Bernard Spencer contradistinguishes the external invasion of Auden's furies, his murderous ironic designs, the political and the Movement poets' tactical moves of violence against Thomas till his death, "but the salt Aegean … rolled waves of killing" from Thomas's magnanimity, his ignorance of dramatic conflict and cold war which he treats as internal family feud of differences and contrary motifs, "quarrels of aliens": In the boulevards of these dead you will think of violence, Holiness and violence, violence of sea that is bluer Than blue eyes are; violence of sun and its worship; Of money and its worship. And it was here by the breakers Spencer regards Thomas's impersonal art of inclusive pattern as his empathic culture, amelioration and co-existence "the warm is that they are … first promise of the South to waking travellers … of the peacock sea, and the islands and their boulder-lumbered spurs" in contrast to Auden's art songs of cold aesthetic and immortal art, conflict and violence, envy and hatred, indignation and grave-digging for his adversary,, "the cold thing is … one grey look surveyed … the builder imagining the city, the historian with his spade" (378).
In the poem "To the River Duddon", Nicholson contradistinguishing the distinctive functioning of Thomas in the last poem as a poet of Grecian altruistic impersonal art and polygonal sensibility, as "the radical, the poet and heretic" from Auden's functioning as a metaphysical artist of eternal art and the political, the war and the Movement poets's poly-phonic functioning, "knew that eternity flows in a mountain beck … the long cord of the water, the shepherd's numerals … that run upstream, through the singing decades of dialect", maintains that Thomas has been emulating since his early poem the In the last phase, Auden's situation and concern are very much unlike Thomas's, but in Auden the readers can witness an oppressive consciousness of reality, and in Thomas identification with the moral disinterestedness of Blake reaches a deeper level of perception when he reflects on human misery, injustice or inconstancy and death in the poem "In Country Sleep. " Blake sings: The sun descending in the west, The evening star does shine; The birds are silent in their nest, And I must seek for mine, our living task, the dying … which the coming day will ask" (10), and in the altered context even the platitude of Thomas's vainglorious justice of the peace carries a new depth of focus, "wherever … the sun shines, brooks run, books are written … there will also be this death" (49). Commenting on the last phase of the artistic career of Auden and Thomas and their inclusiveness, Day Lewis bids farewell to the impact of their impersonal art, their modus operandi and modus vivendi that haunt the early poems of Larkin and Hughes: Oh, may my farewell word, may this your elegy Written in life blood from a condemned heart Be quick and haunting even beyond our day. (DCP 351-52) The dying moments of Auden, too, offer a parallel to the dying days of Thomas. The thought of leaving the world deepens Thomas's perceptions of the ultimate end of all kind of poetry, pure, visionary and pragmatic, "whales in the wake like capes and Alps … quaked the sick sea and snouted deep … deep the great bushed bait with raining lips … slipped the fins of those humpbacked tons" (Poems). He examines his own dying moments of his momentous poetic career, his happiness and contentment, his eventful paradoxical sensibility, his magnanimous impersonal art offering to the tumultuous Auden the process of salvation that he has offered to the afflicted political and the war poets in the past, "I who hear the tune of the slow … wear-willow river, grave … before the lunge of the night, the notes on this time-shaken … stone for the sake of the souls of the slain birds sailing" (Poems 114) in contrast to the broken-hearted contemporary poets's ironic plans for his death and their aspiration and ambition for eternal art, "my bright yet blind desire, your end was this … death and my winged heart murderous … is the world's broken heart, buried in his … between whose antlers starts the crucifix" (MV 374). The malignity of Auden's metaphysical ironic character and the malcontent of the contemporary poets's paroxysmal character originate from their religious, political and romantic influences. In contrast, the magnanimity of Thomas's paradoxical cosmopolitan character evolves from the pagan poetic tradition of Hardy, Yeats, Houseman and Blake and their altruistic poetic culture: "For, oh, my soul found a sunday wife/In the coal black sky and she bore angels/Harpies around me out of her womb!" (Poems) The introductory poem "In Country Sleep" projects, in a nutshell, the theme of the last poem In Country Sleep, the distinctive and successful functioning of Thomas as an introspective poet of individuation and integration, transfiguration and transformation, paradoxical sensibility and pagan altruistic art songs, success and contentment in contrast to Auden as an artist of metaphysical sensibility and amoral character, anxiety and discontentment and others as romantic poets of dissociated sensibility, broken dreams and budding dreams, "all wholesome food is caught without a net or a trap … bring out number weight and measure in a year of dearth … no bird soars too high, if he soars with his own wings" (Blake 126).
Thus, the introductory poem "In Country Sleep" implies that it is Thomas's introspective process of individuation and integration, coherence and co-existence, identity and self-identity, his paradoxical www.scholink.org/ojs/index.php/sll Studies in Linguistics and Literature Vol. 4, No. 4, 2020 57 Published by SCHOLINK INC.
sensibility and his cosmopolitan culture, his tragi-comic vision of Grecian altruistic art song, his Weltansicht that guards his success and reputation, his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake till his death, "the sun arises in the East … cloth'd in robes of blood and gold" in contrast to Auden's metaphysical process of self-annihilation and immortal art, pure poetry and pure being, impersonality and co-inherence, ironic sensibility and cosmic love, his immortal vision of art song, his Weltanschauung and his aesthetic amoral functioning as a passionate worshipper of the Word-centric structural tradition of de la Mare and Eliot and their Word-centric tradition that deprives him of his grandeur and popularity and makes him a victim of anger and hatred, violence and war, "swords and spears and wrath increas'd ... all round his bosom roll'd … crown'd with warlike fires and raging desires" (Blake 80) and the other contemporary poets's functioning as poets of Weltschmerz and romantic dissociated sensibility that costs their comforts and sleep and makes them malcontent and malignant, "chastity prays for me, piety sings … innocence sweetens my last black breath … modesty hides my thighs in her wings … and all the deadly virtues plague my death" (Poems 92).

Conclusion
The epitomic introductory poem "In Country Sleep" that introspects the memory of his self-discovering, self-vindicating and self-dedicating process and his functioning as a poet and an artist of transfiguration and transformation, Grecian altruistic art song, paradoxical sensibility, cosmopolitan culture identical to that of his early poem I8 Poems is reminiscent of Blake's passage, "love seeketh not itself to please … not for itself hath any care … but for another gives its ease … and builds a heaven in hell's despair" (Blake 66) in contrast to Auden's discontentment and sadness and his functioning purely as a poet of metaphysical sensibility, aesthetic amoral disinterestedness, metropolitan culture, "love seeketh only Self to please … to bind another to its delight … joys in another's loss of ease … and builds a hell in heaven's despite" (66-67) and the other contemporary poets's hopeless career and their functioning as poets of romanticism and dread memories, "so sung a little clod of clay … trodden with the cattle's feet … but a pebble of the brook … warbled out these metres meet" (Blake). Thomas's introspective process of self-awarding, self-guarding and self-rewarding experience of man's sorrow as his individuation, his contemporary poet's sorrow as his co-existence, "till our grief is fled and gone … he doth sit by us and moan" and his mortal vision of Grecian altruistic art song as his paradoxical sensibility make him self-fulfilled and self-contented, wise and innocent, "and can He who smiles on all … hear the wren with sorrows small … hear the small bird's grief and care … hear the woes that infants bear" in contrast to Auden's metaphysical process of religious sorrow and immortal architectural art, his metaphysical immortal vision of aesthetic amoral art song, his ironic sensibility and the realistic poets's conflicting process of political sorrow and the war poet's personal sorrow and the Movement poets's aesthetic sorrow that reach the destinations of unfulfilled sorrows and make www.scholink.org/ojs/index.php/sll Studies in Linguistics and Literature Vol. 4, No. 4, 2020 58 Published by SCHOLINK INC.
them as victims of jealousy and ill-will, hatred and violence, vengeance and war cry, tumultuous sensibility, "he doth give his joy to all … he becomes an infant small … he becomes a man of woe … he doth feel the sorrow too" (Blake 55).