847:(1974) contains one short poem, "A, a, a, Domine Deus", a lament for contemporary technological impoverishment), and eight mid-length poems: four of them monologues, or involving monologues, by Roman soldiers stationed in Jerusalem at the time of Jesus's crucifixion. Three others involve Celtic personae. The final mid-length poem is a darkly comical consideration of an assault during the Battle of Passchendaele, in which Western tradition and its values confront mechanized mass suicide. More than any other collection or sequence of poems in English, these works test traditional values in the face of modern mechanized war, technological pragmatism and political totalitarianism. Seamus Heaney thought them "extraordinary" writing. The American poet W. S. Merwin called them "some of Jones's great splendours". Among them, "The Hunt" (beautifully recorded by Jones) and "The Tutelar of the Place" are musically especially lyrical – they ought to be anthologized. These eight mid-length poems – and first of all these two – probably make the most welcome start to reading Jones's poetry.
784:, a symbolic dramatic, multi-voiced anatomy of Western culture. Sweeping back and forth through prehistory and historical periods, it focuses thematically on the making of gratuitous signs as an activity essential to humanity, which flourishes during vital culture phases and languishes in predominantly pragmatic periods, such as ours and that of imperial Rome. The poem moves digressively, as interior and dramatic monologues open to include other monologues, forming a chiastic structure of eight concentric circles. The outer circle is formed by the poem beginning with the elevation of the host during the consecration of the Mass and ending 200 pages (6 or 7 seconds) later with the elevation of the chalice. At the centre of the work's
720:(1937) is an epic narrative poem based on Jones's first seven months in the trenches culminating in the assault on Mametz Wood during the Battle of the Somme. It is a dense mixture of polyphonic of voices, varying in register, in verse and prose-lines. The richness of its language establishes it as poetry, which is what Jones considered it. His literary debut, it won high praise from reviewers, many of them former servicemen, for whom its vivid language evoked the realities of trench warfare. They saw its allusions to the horrors of romance and to the battles of history and legend (all seen as defeats) as accurately expressing the feelings of men in combat. The poem draws on literary influences from the 6th-century Welsh epic
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liberated him from fixed, stationary point of view. Having drawn maps during World War I, he reverted to thin-line "drawing with the point", which he had learned of from
Hartrick. Painting the sea at Caldey Island and Portslade opened him to see water and sky as continuous, an active continuity that came to include the land. The subtleties of his mostly watercolour paintings after 1929 require patient and repeated viewing. In the 7 and 5 Society he was influenced by Winnifred Nicholson in painting freely, relying on more colour, less line, coming close to abstraction. After his first breakdown he painted
974:(Oxford, 1975), as glorifying war by alluding to romance, a judgement that continues to discourage scholarly engagement, even though repeatedly effectively refuted. And the liturgical allusions and eucharistic focus in his later poetry do not appeal to most academics, who are secular-minded. The voices calling attention to his poetry have mainly been those of creative practitioners rather than academics. T. S. Eliot saw Jones as "of major importance", "one of the most distinguished writers of my generation."
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lavender seller's remembered sexual liaisons. Its chiastic recession of circles makes this the only modernist long poem "open" in form that is structurally unified. After reading and rereading it for six months, W. H. Auden called it "probably the greatest poem of the twentieth century" and compared it to the inclusive, culturally authoritative long poems of Homer, Virgil, Dante, Chaucer, and Milton. Jones thought it was "worth 50 'In
Parentheses'" and the most important of any work he had done.
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754:(translated by Eliot), in an attempt to be true to the experiences of combatants. The cumulative force is emotionally powerful. That and the reader's having got to know the infantrymen involved makes the concluding visitation of the dead by the Queen of the Woods a deeply moving literary experience. On 11 July 1937 when he met Jones,
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In 1924 Jones had become engaged to marry Gill's daughter Petra, but in 1927 she broke off the engagement to marry a mutual friend. Distressed, Jones concentrated on art. Petra's long neck and high forehead continued as female features in his artwork. He returned to live with his parents at
Brockley,
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His meager income came chiefly from painting, which evolved in style throughout his life. Breaking from art-school realism, he adopted the thick-boundary-line and sculptural style of
Christian primitivism, which had affinity with the style of the London School. The dramatic landscape of Capel-y-ffin
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declared it "the greatest book about the First World War." The war historian
Michael Howard called it "the most remarkable work of literature to emerge from either world war." Graham Greene in 1980 thought it "among the great poems of the century." In 1996 the poet and novelist Adam Thorpe said "it
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Although Jones began exhibiting paintings in London galleries in 1919, his chief public creative expression was initially engraving. Soon after learning how to engrave, he entered the vanguard of the renewal of wood-engraving as an artform (instead of the reproductive craft it had been through most
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fear during the war, explaining that, if allowed to strengthen, repression in the sexual domain shifted to repression of artistic freedom. He advised Jones to paint and write as essential to his healing. This led Jones throughout the 1950s to make many beautiful painted inscriptions (an art form he
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and his guild of
Catholic craftsmen at Ditchling in Sussex. Influenced by Gill, Jones entered the Catholic Church in 1921, chiefly, he said, because it seemed "real" in contrast to Christian alternatives. He also liked the Church's continuity with Classical antiquity. In 1922 he increasingly spent
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was the first to note that these inscriptions combine Jones's painting with his poetry. Union of symbolism with freedom is also achieved in his still-lifes of flowers in glass chalices. In undergoing so much change, Jones's visual art managed to be alive as only the new can. As a painter, he was,
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and two
Arthurian paintings that, loaded with symbols, are "literary" in requiring "reading" as well as viewing. He longed to combine such multi-symbolic work with his earlier stylistic freedom. And he achieved such a combination in his painted inscriptions, which involve mostly ancient texts. In
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circles is a lyrical celebration of the events contained sacramentally by the
Eucharist. Symbolically the structure means that the Eucharist as a super-sign of God's loving union with humanity is contained and sustained by everything in the poem, from Anglo-Saxon cultural genocide to a medieval
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Jones exhibited artistic promise at an early age, even entering drawings for exhibitions of children's artwork. He wrote that he knew from the age of six he would devote his life to art. He did not read fluently until the age of eight. By nine years of age, he identified with his father's Welsh
871:(Bloomsbury, 2018). The most important essays include "Art and Sacrament", his fullest exposition of his theory of culture; "Use and Sign", his most succinct exposition of that theory; "Introduction to 'The Rime of the Ancient Mariner'", intriguing in itself and helpful for appreciating
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Judging from its rapidly rising prices, Jones's visual art is now fairly well and widely appreciated. Several notable exhibitions of his engravings, paintings and inscriptions, during his life and since, have attested to the popularity of his visual art, most recently
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in north Wales, to a Welsh-speaking family, but he was discouraged from speaking Welsh by his father, who believed that habitual use of the language might hold his child back in a career. James Jones moved to London to work as a printer's overseer for the
483:. To these discussions, Jones contributed his psychological theory of culture, focusing on the balance of utility (efficiency) and gratuity (beauty, truth, goodness) required for healthy civilization. The Chelsea Group would be the matrix of
510:. His friends arranged for him to take a therapeutic trip to Jerusalem, which did not alleviate his condition, but influenced his later poetry. His breakdown precluded painting for most of the next 16 years. He was able to work at revising
677:(1929). In both of these, engravings mirror one another in design and are arranged in the text to form a chiasmic structure. Jones would use this structure to give unifying symbolic form to his second epic-length poem,
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Though Jones was unable to paint, his visual works were shown in
Chicago in 1933, at the Venice Biennale in 1934, and at the World's Fair, New York, in 1939. In 1944 an exhibition of his art work toured Britain.
431:. Jones remained a member until 1935, when he was expelled by Nicholson for not painting abstracts. Disappointed by published accounts of personal combat experience during the war, in 1928 he began writing
44:
506:. It contributed to a nervous breakdown in mid-October 1932, precipitated by four months of prolific painting and writing, involving 60 large paintings and the first continuous draft of
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have been missing from most academic studies of literary modernism. The fault is their publisher, Faber, which from the start failed to list them as poems or Jones as among its poets. (
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poet. As a painter he worked mainly in watercolour on portraits and animal, landscape, legendary and religious subjects. He was also a wood-engraver and inscription painter. In 1965,
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in a fall and thereafter lived in a room at
Calvary Nursing Home in Harrow, where he was regularly visited by friends and died in his sleep on 27–28 October 1974. He was buried in
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and other harmful drugs that sent Jones's creative life into a virtual standstill for the next 12 years, though he struggled to revise and shape mid-length poems for inclusion in
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saw in them that Jones "realized for us the new configuration, which only our time can see, into which culture seems to be shaped, and the historical processes that shaped it."
238:. Jones spent more time on the front line (117 weeks) than any other British writer in the war. He was wounded at Mametz Wood, recuperated in the Midlands, was returned to the
288:, an occasional lecturer there, whom he came to know personally. Jones received instruction towards becoming a Catholic from Fr. John O'Connor, who suggested Jones visit
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of the 19th century). He was among the first modern engravers to combine white-line and black-line engraving. His two acknowledged masterpieces of book illustration are
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said, "I would like to have done anything as good as David Jones." In 1974 Hugh MacDiarmid pronounced Jones "the greatest native British poet of the century." In 1965,
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818:(Bloomsbury 2018). In these drafts, the monologue material of Judas and Caiaphas has a quality that certainly deserved to be published by Jones in his lifetime.
956:, and Stuart Montgomery, editor of The Fulcrum Press, did Faber correct the error, long after the Modernist canon had been established, largely by the American
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960:. Since 1970, academic assessment of Jones's poetry has been catching up with his reputation as a visual artist. But the process was initially stalled by
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First documentary in a trilogy exploring Jones's early artistic development, his time in the First World War trenches and his becoming a poet
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juxtaposing quotations, these inscriptions are modernist in aesthetic. Most are in Latin or Welsh because he wanted them viewed, not read.
829:", totalling 271 lines, during the Blitz in London. The third, the 24 lines of "The Brenner", arose on 18 March 1940 to mark a meeting of
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and others. They discussed a wide range of topics in relation to Catholic Christianity and sought a religious-cultural counterpart to the
395:. He painted prolifically and exhibited watercolour seascapes and Welsh landscapes in London galleries. In 1927 Jones made friends with
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called it "one of the most remarkable literary achievements of our time." It is probably the greatest literary work on war in English.
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630:(1974), a project he managed to complete after the prescriptions were terminated in the summer of 1972. In 1974 Jones was made a
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Jones has been less appreciated as a poet, partly because his long, highly allusive poems are hard reading for many. Although
542:. He painted a few important pictures, and to celebrate the wedding of his friend Harman Grisewood to Margaret Bailey, wrote
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put his poetry among the best written in their century. Jones's work gains form from his Christian faith and Welsh heritage.
435:, a fictional work based on his own experiences in the trenches. He was now in love with Prudence Pelham, who was its muse.
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in 1938, reader interest was cut short by the Second World War, which eclipsed interest in the earlier war. Till recently,
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on the BBC. Since 2014 Jones has increasingly been seen as an original, major poet and visual artist of the 20th century.
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522:, to whom Jones agreed to submit it when complete. In 1937 it was published to very positive reviews and in 1938 won the
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177:, Kent, now a suburb of South East London, and later lived in nearby Howson Road. His father, James Jones, was born in
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wrote that Jones's essays on culture "formulated the axiomatic precondition for understanding contemporary creation."
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130:
565:. As in 1932, this burst of activity precipitated a nervous collapse. He underwent psychotherapy at Bowden House in
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919:. His visual works can now be seen online, in talks on Jones by Dilworth and films directed by Derek Sheil such as
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Jones was among the first modern engravers to combine white-line and black-line engraving. In 1927 he joined the
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With the centenary of the 1914–1918 War, Jones gained wider attention through British TV documentaries, notably
569:, under the psychologist William ('Bill') Stevenson. Influenced by Freud, Stevenson traced Jones's breakdown to
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Press. He met and married Alice Bradshaw, a Londoner, and they had three children: Harold, who died at 21 of
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Jones's occasional essays on art, literature, religion and history, introductions to books and talks on the
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had initially been meant to form part. Jones used sections of the left-over material mainly in the magazine
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of South Wales in 1923, Jones returned to London, but often visited Gill there and also the Benedictines on
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231:
218:. In addition, Jones studied literature, the subject of a mandatory one-hour weekly class at Camberwell.
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875:; and "The Myth of Arthur", deepening understanding of "The Hunt" and the concluding, eponymous poem in
1707:
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From 1929 through the mid-1930s, Jones took part in weekly meetings at the Chelsea house of his friend
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In 1919 Jones won a government grant to return at Camberwell Art School. From Camberwell, he followed
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277:
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Final documentary exploring Jones's life and work from the Second World War up to his death in 1974
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Second documentary celebrating Jones's artistic and literary achievements during the interwar years
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David Jones Unabridged: The online expanded version of David Jones Engraver, Soldier, Painter, Poet
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297:. Having shown himself an incompetent carpenter, Jones turned to wood-engraving, whose rudiments
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With the outbreak of the First World War, Jones enlisted in the London Welsh Battalion of the
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was strangely listed under Autobiographies and Memoirs.) Not until 1970, after complaints by
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time at Ditchling, apprenticed as a carpenter but never becoming a full member of Gill's
1297:"Rediscovering genius:David Jones at Pallant House and Ditchling Museum of Art + Craft"
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650:. In 1985, he was among 16 Great War poets commemorated on a slate stone unveiled at
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background and dropped his Anglo-Saxon first name Walter. In 1909, at 14, he entered
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and engraved a large, elaborate frontispiece for a Welsh translation of the Book of
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514:. As he revised, he read it aloud to close friends, including Jim Ede, who alerted
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825:, edited by Thomas Dilworth. Jones had written two of these, "Prothalamion" and "
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1152:"Everything is illuminated: Rowan Williams on the art and faith of David Jones"
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thought him "perhaps the greatest living writer in English". The art historian
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634:, an honour restricted to 65 living members (excluding honorary appointments).
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of what has been called the Chelsea Group. It included the cultural historian
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Until 1960, Jones worked intermittently on a long poem, of which material in
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309:. He also engraved original work for Pepler's St. Dominic's Press, including
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Biography of Jones on the website of the Guild of St Joseph and St Dominic
1384:"'David Jones: Innovation and Consolidation' (2014) now available online"
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in 1918, but recovered in England and was stationed in Ireland until the
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1230:"Review: The Greatest Poem of World War One, David Jones In Parenthesis"
814:. It has since been re-edited by Thomas Goldpaugh and Jamie Callison in
495:, the BBC's cultural radio station developed and produced by Grisewood.
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Film: David Jones: A Guide to the Poet and Artist, with Thomas Dilworth
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403:, who introduced him to art critics and prospective buyers, including
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The Engravings of David Jones: A Survey, Clover Hill Editions, 1981,
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commissioned him to illustrate, with eight large copper engravings,
1362:"David Jones: A Guide to the Poet and Artist, with Thomas Dilworth"
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In 2002, three short poems by Jones appeared for the first time in
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The Shape of Meaning in the Poetry of David Jones, Revised Edition
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commissioned him to illustrate, with eight large wood engravings,
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David Jones on Religion, Politics, and Culture: Unpublished Prose
806:(1974). A posthumous volume of the unseen material was edited by
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Jones spent most of the Second World War in London, enduring the
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towers above any other prose or verse memorial of ... any war."
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called him in 1964 "one of the greatest writers of our time".
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144:(1 November 1895 – 28 October 1974) was a British painter and
1534:
At The Turn of a Civilization, David Jones and Modern Poetics
590:. He was able to publish in 1952 his second epic-length poem
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258:. Jones's wartime experience was the basis for his long poem
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Dai Greatcoat, a self-portrait of David Jones in his letters
387:(1929). In 1930 eye-strain forced him to give up engraving.
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had taught him. In 1923 Jones worked as an illustrator, for
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took him to be the best living British painter, while both
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also spending time at a house they rented on the coast at
1650:, a conversation between Jones and his friend the writer
407:, who became a patron. Ede introduced him to the painter
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and, with these two poems, an important contribution to
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in central London, where he studied under him and with
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Military personnel from the London Borough of Lewisham
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David Jones Between the Wars: The Years of Achievement
1448:. "Belief in religion: the poetry of David Jones" in
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illustrated by David Jones, edited by Thomas Dilworth
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810:and René Hague and published by Agenda Editions as
774:Also epic in length (244 pages with Introduction),
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1336:"The practical yet mystical magic of David Jones"
1183:The Shape of Meaning in the Poetry of David Jones
599:In 1954 an Arts Council tour of his work visited
1763:Members of the Order of the Companions of Honour
1659:
1266:
762:. T. S. Eliot considered it "a work of genius".
550:, which were eventually published posthumously.
1619:In Search of David Jones: Artist, Soldier, Poet
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1180:
1118:
1056:
1031:
632:Member of the Order of the Companions of Honour
27:Welsh painter and prize-winning poet, 1895–1974
1480:, Nicolete Gray, Gordon Frazer Gallery, 1981,
1406:The Long Conversation, a Memoir of David Jones
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930:received positive reviews in 1937 and won the
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553:In 1947 Jones created, in a single week, ten
526:, then the one major British literary award.
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1034:David Jones Engraver, Soldier, Painter, Poet
699:, "absolutely unique, a remarkable genius".
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1788:Writers who illustrated their own writing
1637:David Jones: Innovation and Consolidation
1466:, Lund Humphries and Tate Gallery, 1989,
1450:Six Modern Authors and Problems of Belief
1324:, Vol. 41, No. 21 p. 15, 7 November 2019.
1255:The Art of David Jones: Vision and Memory
1109:
582:invented), along with sometimes numinous
1359:
1327:
1269:"Time is Ripe for a David Jones Revival"
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921:David Jones Innovation and Consolidation
901:War of Words: Soldier-Poets of the Somme
706:
1703:Alumni of the Westminster School of Art
1478:The Painted Inscriptions of David Jones
1288:
1050:
996:
411:, who in 1928 had Jones elected to the
14:
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1372:from the original on 11 December 2021.
210:and introduced him to the work of the
1723:British Army personnel of World War I
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1075:
804:The Sleeping Lord and Other Fragments
622:In 1960, Stevenson began prescribing
1698:Alumni of Camberwell College of Arts
230:on 2 January 1915 and served on the
1586:Biography of Jones on Guild website
1334:Michael Prodger (4 December 2015).
1267:Matthew Sperling (3 October 2015).
24:
1398:
25:
1814:
1798:20th-century English male artists
1693:20th-century English male writers
1547:
1518:Miles, Jonathan and Derek Shiel,
1360:Dilworth, Thomas (11 July 2017).
295:Guild of St Joseph and St Dominic
131:Order of the Companions of Honour
1683:20th-century British printmakers
1554:
1536:, University of Michigan, 1994,
1295:Mark Sheerin (27 October 2015).
415:, whose other members included
1758:English people of Welsh descent
1376:
1353:
1314:
1257:, Lund Humphries, 2015, p. 164.
1121:The Rime of the Ancient Mariner
971:The Great War and Modern Memory
674:The Rime of the Ancient Mariner
491:, edited by Tom Burns, and the
384:The Rime of the Ancient Mariner
173:Jones was born at Arabin Road,
1778:Royal Welch Fusiliers soldiers
1613:audiobook liner notes on Jones
1221:
1199:
711:David Jones in uniform in 1917
669:The Chester Play of the Deluge
648:Ladywell and Brockley Cemetery
504:post-traumatic stress disorder
371:The Chester Play of the Deluge
242:, and joined in the attack on
221:
93:Poet, artist, essayist, critic
13:
1:
1728:Converts to Roman Catholicism
1678:20th-century English painters
1520:David Jones: The Maker Unmade
1435:. University of Wales, 2008,
1253:Ariane Banks and Paul Hills:
989:
894:
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498:Jones had long suffered from
256:armistice of 11 November 1918
168:
1532:Staudt, Kathleen Henderson.
1464:The Paintings of David Jones
1059:David Jones in the Great War
163:
7:
1082:Peter Salmon (1 May 2017).
644:broke the ball of his femur
250:in 1917. He nearly died of
10:
1819:
1718:Bollingen Prize recipients
1688:20th-century English poets
1368:. London Review Bookshop.
1209:. Brigham Young University
1713:British World War I poets
1606:. Retrieved 10 March 2017
1185:. University of Toronto.
850:
780:(1952) is Jones's poetic
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334:Society of Wood Engravers
278:Westminster School of Art
198:, where he studied under
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107:
97:
89:
72:
50:
41:
34:
18:David Jones (artist-poet)
1582:, Thomas Dilworth, 2022,
1207:"Poets of the Great War"
1181:Thomas Dilworth (1988).
1119:S.T. Colereidge (2016).
1057:Thomas Dilworth (2012).
1032:Thomas Dilworth (2017).
637:
577:tensions, combined with
438:
427:, Christopher Wood, and
284:, and was influenced by
267:
1604:The David Jones Society
1574:, Thomas Dilworth, 2021
1084:"Private David Jones's
859:have been collected in
1803:20th-century engravers
1773:Roman Catholic writers
1753:English wood engravers
1733:English Catholic poets
1508:, Tate Gallery, 1981,
1322:London Review of Books
1228:David Butcher (2016).
712:
661:
413:Seven and Five Society
305:published by Gill and
234:in 1915–1918 with the
202:, who had worked with
1783:Welsh Roman Catholics
1743:English male painters
1096:Cordite Poetry Review
964:'s judgement against
913:Pallant House Gallery
881:the Matter of Britain
744:Gerard Manley Hopkins
710:
349:Golden Cockerel Press
313:. When Gill moved to
236:38th (Welsh) Division
228:Royal Welch Fusiliers
196:Camberwell Art School
1768:People from Brockley
1738:English illustrators
1418:Cleverdon, Douglas.
1390:. 26 September 2017.
802:and collected it in
758:elaborately praised
617:Tate Gallery, London
586:of flowers in glass
477:Unified Field Theory
455:, the type-designer
445:Thomas Ferrier Burns
1595:, LRB, 11 July 2017
1433:Reading David Jones
1404:Blissett, William.
1388:David Jones Society
857:BBC Third Programme
190:, Alice and David.
1748:English male poets
1504:Hills, Paul (ed.)
1490:Hague, Rene (ed.)
1452:. MacMillan 1979.
1431:Dilworth, Thomas.
867:(Faber, 1978) and
713:
687:Aphrodite in Aulis
567:Harrow on the Hill
555:land-and-skyscapes
516:Richard de la Mare
451:, the philosopher
449:Christopher Dawson
421:Winifred Nicholson
354:Gulliver's Travels
139:Walter David Jones
54:Walter David Jones
1708:Anglo-Welsh poets
1150:(25 March 2017).
1036:. Jonathan Cape.
932:Hawthornden Prize
909:Vision and Memory
877:The Sleeping Lord
845:The Sleeping Lord
726:to Shakespeare's
656:Westminster Abbey
628:The Sleeping Lord
524:Hawthornden Prize
375:Douglas Cleverdon
363:Llyfr y Pregethwr
338:The Book of Jonah
336:. He illustrated
136:
135:
98:Literary movement
16:(Redirected from
1810:
1564:
1559:
1558:
1522:, Seren, 1995,
1476:Gray, Nicolete.
1462:Gray, Nicolete,
1408:, Oxford, 1981,
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1374:
1373:
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885:Harold Rosenberg
861:Epoch and Artist
831:Benito Mussolini
812:The Roman Quarry
808:Harman Grisewood
752:Saint-John Perse
742:, the poetry of
559:Helen Sutherland
461:Harman Grisewood
417:Barbara Hepworth
405:Helen Sutherland
282:Bernard Meninsky
184:Christian Herald
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980:Igor Stravinsky
966:In Paraenthesis
948:William Cookson
897:
863:(Faber, 1959),
853:
705:
664:
640:
536:
520:Faber and Faber
502:, now known as
493:Third Programme
457:Stanley Morison
441:
367:Robert Gibbings
365:. Subsequently
319:Black Mountains
311:The Rosary Book
270:
224:
216:Pre-Raphaelites
171:
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76:28 October 1974
68:, Kent, England
64:
63:1 November 1895
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1647:Writer's World
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1528:978-1854111340
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1500:978-0571115402
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1486:978-0860920588
1474:
1472:978-0853315193
1460:
1458:978-0333263402
1446:Grant, Patrick
1443:
1441:978-0708320549
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1123:. Enitharmon.
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1090:The Anathemata
1086:In Parenthesis
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1068:978-1907587245
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1061:. Enitharmon.
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944:The Anathemata
940:The Anathemata
936:In Parenthesis
928:In Parenthesis
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873:The Anathemata
865:The Dying Gaul
852:
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816:The Grail Mass
794:The Anathemata
777:The Anathemata
760:In Parenthesis
739:Morte d'Arthur
717:In Parenthesis
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692:Saunders Lewis
679:The Anathemata
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642:In 1970 Jones
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512:In Parenthesis
508:In Parenthesis
485:The Anathemata
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343:Aesop's Fables
286:Walter Sickert
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212:Impressionists
200:A. S. Hartrick
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127:Notable awards
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984:Herbert Read
976:Dylan Thomas
969:
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835:Adolf Hitler
827:Epithalamion
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548:Epithalamion
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544:Prothalamion
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465:Bernard Wall
453:E. I. Watkin
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401:Tate Gallery
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252:trench fever
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78:(1974-10-28)
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1673:1974 deaths
1668:1895 births
1506:David Jones
1345:13 November
958:New Critics
764:W. H. Auden
756:W. B. Yeats
671:(1927) and
601:Aberystwyth
584:still lifes
500:shell-shock
429:Henry Moore
379:Coleridge's
222:World War I
158:W. H. Auden
154:T. S. Eliot
36:David Jones
1662:Categories
1514:0905005082
1301:Culture 24
1192:0802026133
990:References
917:Chichester
895:Reputation
723:Y Gododdin
563:Cumberland
534:Later life
489:The Tablet
479:sought by
179:Flintshire
169:Early life
90:Occupation
59:1895-11-01
613:Edinburgh
579:repressed
469:Eric Gill
399:, at the
393:Portslade
290:Eric Gill
164:Biography
146:modernist
102:Modernism
85:, England
1370:Archived
786:chiastic
615:and the
588:chalices
481:Einstein
303:The Game
204:Van Gogh
175:Brockley
116:(poem),
66:Brockley
1366:YouTube
1213:27 July
1163:1 April
911:at the
837:on the
748:Anabase
729:Henry V
609:Swansea
605:Cardiff
575:sibling
571:oedipal
397:Jim Ede
325:, near
317:in the
276:to the
208:Gauguin
1654:(1964)
1639:(2014)
1630:(2012)
1621:(2008)
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1280:22 May
1274:Apollo
1239:7 June
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953:Agenda
851:Essays
799:Agenda
703:Poetry
122:(poem)
83:Harrow
1101:3 May
782:summa
638:Death
540:Blitz
439:1930s
381:poem
327:Tenby
268:1920s
1538:ISBN
1524:ISBN
1510:ISBN
1496:ISBN
1482:ISBN
1468:ISBN
1454:ISBN
1437:ISBN
1422:ISBN
1410:ISBN
1347:2016
1308:2017
1282:2017
1241:2021
1215:2021
1187:ISBN
1165:2017
1125:ISBN
1103:2017
1088:and
1063:ISBN
1038:ISBN
938:and
833:and
746:and
573:and
546:and
214:and
206:and
156:and
73:Died
51:Born
968:in
883:'.
750:by
736:'s
662:Art
654:in
557:at
518:at
246:at
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