Poem Analysis - It Is The Sinners Dust Tongued Bell

Dylan Thomas's "It Is The Sinners' Dust-tongued Bell" is a dense and evocative exploration of time, sin, and the cyclical nature of life, death, and rebirth. The poem's tone is initially somber and apocalyptic, filled with images of decay and judgment, but it shifts towards a more ambiguous and even celebratory view of creation arising from destruction. The language is richly metaphorical and often difficult to parse, creating a dreamlike and unsettling atmosphere. This is a poem wrestling with fundamental human experiences, expressed through vivid and often disturbing imagery.

Time as Destroyer and Creator

A central theme is the duality of time, presented as both a destructive force and a catalyst for creation. The poem opens with "Time" personified as a "sulphur priest" with a "torch and hourglass," actively marking destruction. The image of "Time's coral saint and the salt grief drown[ing] a foul sepulchre" highlights time's role in obliterating the past. Yet, from this destruction comes renewal, as suggested by the "child in colour" emerging from "blank and leaking winter." The final stanza reinforces this cycle, presenting "time" as the "cast and curfew rascal of our marriage," implying time is integral to both the ending of one cycle and the beginning of the next.

The Complex Relationship Between Sin and Redemption

The poem grapples with the concepts of sin and redemption, painting a picture where these ideas are intertwined. The opening line establishes the poem's focus on "sinners," and religious imagery is pervasive: "churches," "altar ghost," "prayerwheel," and "cherub time." However, this is not a straightforward condemnation of sin. Instead, there's a sense that sin is a necessary component of the human experience, a dark undercurrent that fuels the cycle of creation. The "sinners in sweet cloth kneel to a hyleg image," suggesting a ritualistic embrace of their flawed nature. The birth of "urchin grief" from the "plagued groom and bride" indicates that even suffering has its origins in this complex relationship.

Imagery of Decay and Rebirth

Thomas employs powerful imagery of decay and rebirth throughout the poem. The "dust-tongued bell" and the "brand of ashes" evoke a sense of disintegration. This is contrasted with images of potential rebirth, like the "firewind kill[ing] the candle" potentially clearing space for something new. The most striking example is the "white child in the dark-skinned summer" emerging from the "font of bone and plants." This image is full of contrast and symbolism, suggesting innocence being born from death and decay, life emerging from the earth itself. The final image of the "urchin grief" being born from a "plagued groom and bride" reinforces this concept of birth and decay.

Ambiguity and Interpretation

The poem's dense and often obscure language invites multiple interpretations. For example, the "voice of bird on coral prays" is an enigmatic image that could suggest the persistence of hope even in the most desolate environments. Is the "coral" a symbol of death, or the foundation for new life? The "weather-cock" traditionally symbolizes inconstancy or instability. Are we meant to think that even these are capable of prayer. The beauty of Thomas's work is precisely in these ambiguities, allowing the reader to engage with the poem on a deeply personal level. These ambiguities also allow us to question if something must be destroyed so that something else can take its place.

Final Significance

"It Is The Sinners' Dust-tongued Bell" is a powerful and challenging poem that explores the cyclical nature of existence. It portrays a world where time is both a destroyer and a creator, and where sin and redemption are inextricably linked. Through vivid and often unsettling imagery, Thomas invites the reader to confront the complexities of life, death, and rebirth. The poem's ambiguity encourages a deeper reflection on these fundamental human experiences, ultimately suggesting that creation and destruction are not opposing forces, but rather two sides of the same coin.