Vernon Watkins (1906–1967) is one of the more intriguing and lesser-known figures in 20th-century British poetry. His work, while not as widely recognized as some of his contemporaries, reveals a deep engagement with the poetic traditions of both his own time and those that preceded him. In his poems, Watkins explores themes of memory, death, love, and the nature of language itself, often with a profound sense of place and identity. Though he is often associated with the Welsh poet Dylan Thomas, Watkins’ voice in British poetry stands apart in its precision, clarity, and melancholic introspection.
This article seeks to delve into the life and work of Vernon Watkins, exploring his contributions to 20th-century British poetry. In doing so, we will also consider the poetic context in which Watkins operated, comparing him with other British poets of his time, such as W. H. Auden, Philip Larkin, and Dylan Thomas. By examining Watkins’ themes, stylistic tendencies, and poetic influences, we aim to understand the particular significance of his work within the wider tradition of British poetry.
Early Life and Influences
Vernon Watkins was born in 1906 in Haverfordwest, Pembrokeshire, Wales. Raised in the culturally rich landscape of Wales, Watkins’ early life was imbued with the Welsh language and the natural beauty of the Welsh countryside. These early experiences of language and nature would go on to shape much of his poetic work, which is often deeply tied to the Welsh landscape and its myths. Watkins’ formal education was at Swansea University, where he studied French and Latin. It was during this time that he first began writing poetry, drawing on classical and Romantic influences, especially the works of John Keats and Percy Bysshe Shelley.
Like many poets of his generation, Watkins was also influenced by the great English poets of the late 19th and early 20th centuries. The tradition of metaphysical poetry, as well as the work of T.S. Eliot and W.B. Yeats, are evident in his use of complex imagery, rich symbolism, and the exploration of spiritual themes. Watkins’ early work, however, was marked by a tension between the modernist impulses of his era and the classical ideals of earlier poets. His commitment to craft and his attention to formal structures of poetry placed him in a different camp than the avant-garde experimentation of writers such as Ezra Pound or James Joyce.
Watkins and the Welsh Landscape
One of the defining features of Vernon Watkins’ poetry is his deep connection to the Welsh landscape. Wales, both as a physical place and as a cultural identity, plays a crucial role in many of his poems. Watkins’ Welsh heritage allowed him to draw upon a rich tradition of folk poetry, myth, and legend, which often served as the foundation for his work. His poems reflect a profound sense of place, using the Welsh landscape not just as a setting but as a symbol for universal human experiences.
For example, in his poem “The Forge,” Watkins explores the tensions between the individual and the community, using the image of a blacksmith working in a forge as a metaphor for the poet’s own creative labor. The rural setting, a common feature in many of his poems, reflects the theme of craftsmanship, as well as the isolation and introspection often associated with the act of writing. The Welsh countryside is not merely a backdrop but an active participant in his meditation on the self and the larger human condition.
Watkins’ engagement with Welsh culture and identity is also seen in his use of Welsh mythology and history. His poems often allude to the mythical figures of Welsh folklore, such as the figure of the poet as a prophet or seer. This was a role that Watkins identified with, drawing inspiration from the Bardic tradition that regarded poets as highly revered members of society. Such themes echo the spiritual dimensions of his poetry, where the search for personal meaning intersects with a larger, more transcendent purpose.
Themes of Memory and Mortality
A recurring theme in Watkins’ poetry is the tension between life and death, a concern that was central to much of the 20th-century British poetic tradition. The horrors of two World Wars and the anxiety over human existence in an increasingly fragmented and secular world pervade much of the poetry of this time. Like his contemporaries, such as W. H. Auden and Philip Larkin, Watkins grapples with the inevitability of death and the ways in which memory can act as a bridge between the past and the present.
In poems like “The Ballad of the Bread Man” and “The Dwelling Place,” Watkins reflects on the fragility of life and the ways in which human beings confront their own mortality. Death is not always portrayed in a direct, bleak manner but often through symbolic representations—images of crumbling buildings, fading landscapes, and forgotten voices. These metaphors suggest a loss of connection with the past, a theme that resonates with the modernist exploration of alienation and fragmentation. However, unlike some of his more cynical contemporaries, Watkins’ treatment of death carries a note of reverence and acceptance. In his work, death is not an end but part of a larger cosmic order, in which the individual plays a small yet significant role.
The Influence of Dylan Thomas
Vernon Watkins is often compared to Dylan Thomas, a fellow Welsh poet whose work shares certain thematic concerns with Watkins’ own. Both poets were part of the literary scene in Swansea, and their friendship in the 1930s and 1940s had a lasting impact on Watkins’ development as a poet. While the two men shared an interest in Welsh folklore and mythology, their poetic styles and approaches were quite different.
Dylan Thomas was known for his exuberant, often experimental language, his use of irregular verse forms, and his deep emotional intensity. Thomas’ poetry frequently pushed the boundaries of language, using it to convey a sense of the ineffable and the mystical. Watkins, in contrast, was more restrained in his use of language, favoring formal verse and classical structures. His poetry is marked by a precision of diction and a more intellectual approach to poetic themes. While Thomas’ work often bursts with energy and exuberance, Watkins’ poetry tends to be more introspective, meditative, and reflective.
Despite these differences, both poets share a deep concern with the spiritual dimensions of life and death. Thomas’ famous lines—”Do not go gentle into that good night“—reflect the poet’s battle against death, while Watkins’ poems often convey an acceptance of mortality, viewing it as an inevitable part of the human condition. In this sense, Watkins can be seen as a quieter counterpart to Thomas, exploring similar themes in a more subdued, but equally profound, manner.
Watkins’ Stylistic and Formal Approach
In terms of style, Vernon Watkins is often categorized as a poet of “formalism,” a term that denotes poets who adhere to traditional forms of meter and rhyme. Watkins’ commitment to these formal structures places him in contrast with many of his contemporaries, particularly those associated with the modernist movement. While poets like T.S. Eliot and W.B. Yeats experimented with free verse and new poetic techniques, Watkins continued to work within the established conventions of the English poetic tradition. This adherence to form does not, however, make his work old-fashioned or overly rigid. Rather, Watkins uses the constraints of formal verse as a means of exploring deeper emotional and philosophical concerns. In his poetry, rhyme and meter are not ends in themselves but serve as vehicles for exploring the complexities of the human experience.
Watkins was also known for his meticulous attention to language. His poems often contain layers of meaning, with each word carefully chosen to evoke particular emotional or intellectual responses. His use of symbolism and imagery is striking, and his verse often has a musical quality that makes it both pleasurable to read and deeply resonant. Like the great British poets of the past, Watkins uses language as a means of capturing the ineffable, transcendent moments that define human life.
Watkins in the Context of 20th-Century British Poetry
Vernon Watkins’ place within 20th-century British poetry is often difficult to define. While he shared thematic and formal concerns with poets like W. H. Auden, Philip Larkin, and Robert Graves, his work is also deeply personal, infused with a sense of his Welsh heritage and his own unique worldview. In contrast to the more urban, secular worldviews of some of his contemporaries, Watkins’ poetry remains firmly rooted in the natural world and the transcendent, often meditative, aspects of human existence.
His poetry sits in a space between the modernist experimentation of the early 20th century and the more formal, traditional verse of earlier eras. He can be seen as part of a group of poets who sought to maintain the integrity of formal verse while also grappling with the realities of the modern world. Like W. H. Auden and Philip Larkin, Watkins explores the anxieties and disillusionments of the modern age, but unlike them, he places a greater emphasis on the redemptive potential of language, nature, and the imagination.
Conclusion
In conclusion, Vernon Watkins stands as an important yet underappreciated figure in the canon of 20th-century British poetry. His commitment to formal verse, his exploration of the Welsh landscape, and his deep engagement with themes of mortality and memory mark him as a poet of singular vision. While his work may not have achieved the same level of fame as that of some of his contemporaries, it offers a unique and valuable contribution to the broader landscape of British poetry. By reading Watkins alongside figures like W. H. Auden, Philip Larkin, and Dylan Thomas, we can gain a deeper understanding of the ways in which 20th-century British poets grappled with the changing world and their own place within it.
