Dangos 147 canlyniad

Pencil draft, [1945], in Dylan Thomas's hand, of part of the script for the wartime propaganda film, 'Our country'; inverted text on six of the preliminary pages of Daniel Jones's copy of Samuel Johnson, The lives of the English poets, vol. III (London, 1896). Also included is a typewritten transcript, [2000x2009], (6 pp.), of these notes.

Autograph ink draft, [1950x1953], (10 pp.), containing numerous amendments, of an introduction to a poetry reading by Dylan Thomas.

A copy of Contemporary poetry and prose, no. 4/5, (August/September, 1936), including the story 'The school for witches' by Dylan Thomas, pp. 95-100; the front cover inscribed by him in ink, "This contains The School For Witches", and the text of the story also including amendments in his hand.

Small Swansea Intermediate School notebook, [1928x1932], inscribed 'D. J. Jones. Homework Notebook' on the front cover, mainly containing school notes by Daniel Jones, with additional notes by Dylan Thomas (ff. 27r, 27v, 28r, 30v, inside back cover), and an unpublished poem written in pencil in the latter's hand entitled 'The Nigger-Boy's Plaint' (f. 30r).

Worksheets, [1947x1951], (3 ff.), containing notes in pencil and biro on five pages (ff. 1r-3r, with f. 3v blank), produced by Dylan Thomas whilst composing the unfinished poem 'In Country Heaven'. They comprise a draft of the middle eighteen lines, beginning "Light and his tears glide down together" (f. 1r); a brief word list, the syllable and rhyme scheme, and a draft of two lines from the fifth stanza (f. 1v); a heavily annotated version of the first five stanzas with the syllable and rhyme scheme noted at the end of each line (f. 2r); drafts of the third and fourth stanzas (f. 2v, inverted); and further drafts of the first five stanzas (f. 3r). Also included are photocopies of articles and notes relating to the poem (ff. 4-10). Three stanzas are included in W. Davies and R. Maud ed., Collected poems 1934-1953 (London, 2000).

Worksheets, [1949x1951], (4 ff.), produced by Dylan Thomas whilst composing 'Poem on his Birthday', written to mark the poet's thirty-fifth birthday, and first published in World Review (October, 1951); an extended version subsequently appeared in Atlantic (March, 1952). The four separate sheets contain ink drafts of stanzas 9, 10 and 11, and variant workings of two lines in stanza 3; one leaf (f. 3r) includes two short lists of names, some of which appear to be creditors. In addition the file contains an extensive word list for the poem, (f. 5r), written in ink and consisting of numerous lists of rhyming and assonant words; "Under a hurled" inscribed on verso.

Page proof, [1939], from Wales magazine, no. 6/7, (March, 1939), p. 196, containing two poems by Dylan Thomas, 'On no work of words' and 'Once it was the colour of saying'; both were first published in the journal. On the reverse is a letter in the hand of Keidrych Rhys, dated 28 February [?1939], to Derek Savage. Also included is an undated letter from Derek Savage in which he refers to the proof and letter.

Script, 1966, (21 pp.), entitled '"In country heaven" an unfinished "poem-to-be" by Dylan Thomas', produced by Douglas Cleverdon and broadcast on the Third Programme, December 1966; together with a typescript copy, (6 pp.), of an article by DC, 'Young Aesop fabling by the coracled Towy', and cutting of the published version, 'Dylan Thomas - an unpublished poem', from the Daily Telegraph weekend supplement; and a letter, 1966, from DC to Vernon Watkins in which the former refers to the broadcast and article. Also included is a memorandum, 1963, from DC regarding the programme 'Portrait of Dylan Thomas'.

Six autograph letters (one photocopy), [1953]-1957, from Dylan Thomas's mother, Florence ('Florrie') Thomas, to various recipients including Daniel Jones, J. Oliver Stephens and Vernon Watkins. They mainly relate to her bereavement, to Dylan, Caitlin and the grandchildren, and her health.

Includes letters, 1935-1997, from John Malcolm Brinnin (4), John Davenport (2), Nicolette Devas, George Firmage (2), Alfred Janes (2), Mary Keene, Mervyn Levy, Mably Ceredig Owen (2), John Prichard (to Dylan Thomas, enclosing typescript play, 'The centric part'), Bill Read (2), Lynette Roberts, Stephen Spender (3), Margaret Taylor (2), and Tom Warner (2). Amongst the recipients are Vernon Watkins, Daniel Jones, and Charles Fisher. Also included are press cuttings, [1949]-1999, relating to Alfred Janes, mostly tributes.

Incomplete original score, [1953], of the incidental music to 'Under Milk Wood' composed by Daniel Jones, comprising 'Johnnie Crack' and 'Children's game' (ink & typescript); 'Johnnie Crack' and 'What a dainty life', no. 6, (ink score of vocal parts); 'Mr Waldo's Song', for voice and accordion (ink score, incomplete); 'Children's Voices', no. 5, high, medium and low voices to the words 'It is spring in Llareggub in the sun in my old age and this is the chosen land' (two ink scores); accordion music for pp. 68-9 (ink score); and one page of annotations headed, 'UMW music (order of occurrence)'.

Swansea Intermediate School exercise book belonging to Daniel Jones and labelled 'Ovid Translation. D. J. Jones VIA', [1928x1930], containing holograph school notes, poetry, and doodles, one of which may have been drawn by Dylan Thomas. The volume also contains some collaborative work, including a line in Dylan Thomas's hand, and a pencil draft of chapters of a story, possibly by both friends, written in the hand of Daniel Jones.

Correspondence, January - March 1954, comprising fifteen mainly typescript letters and two telegrams, mostly from E. F. Bozman, Editorial Director, J. M. Dent & Sons Ltd, Publishers, to Daniel Jones, and including four letters from the latter, in which they discuss the publication of Under Milk Wood, a reprint of the Collected poems, and a collection of prose work entitled Early one morning.

Correspondence, 1953-1954 and 1958, comprising twenty-two mainly typescript letters, mostly from the literary agent David Higham, of Pearn, Pollinger & Higham Ltd, to Daniel Jones, and including five replies (two unsigned) from Daniel Jones, one being a 9 ff. draft letter. Among the topics discussed are the collection of Dylan Thomas letters, edited by Daniel Jones and Vernon Watkins; the publication of a collection of radio talks by Dylan Thomas; the radio production of 'Under Milk Wood'; the publication of Under Milk Wood in Mademoiselle, the serialisation of the work in the Sunday Observer, the edition published by Dent containing a preface by Daniel Jones, and the Acting Edition of the play; incidental music to Under Milk Wood, including the composer's rights; the poet's papers in America; the circumstances surrounding his death; and Caitlin Thomas.

Two letters, June-July 1954, from Elizabeth Reitell, with a draft reply by Daniel Jones, concerning the text of the published editions of Under Milk Wood; together with a photostat copy of the script of the play containing a note in pencil on the cover, "Sent Dec[ember] 1954 through [Malcolm] Brinnin".

Manuscript poems, most of which appear to be in the hand of Daniel Jones, together with two typescript poems, [1930x1950], enclosed within a folder inscribed 'Collaborations with D.T.'. The paper surrounding one gathering of eight sheets within the folder is inscribed 'Dylan's own?'.

Seven letters, 1979-1983, from Francis Dufau-Labeyrie to Gwen Watkins, assisting with research for her book, Portrait of a friend (Llandysul, 1983); he discusses correspondence between himself and Vernon Watkins and his recollections of Dylan Thomas. Also included are photocopies of letters, dated [1937]-1963, from Vernon Watkins to Francis Dufau-Labeyrie containing references to Dylan Thomas, and a copy of Dufau-Labeyrie's 'Notes in memory of Vernon Watkins', 1977.

Script, 1954, (73 pp.), belonging to the producer Douglas Cleverdon, of the BBC production of 'Under Milk Wood'. Previously enclosed in a folder labelled 'BBC Script B2', it contains a brief note in pencil on the front page by Philip H. Burton.

Script, 1954, (73 pp.), of the BBC production of 'Under Milk Wood', containing a note in biro on the front page from Richard Bebb, who played the second voice, to Richard Jones; together with three letters, 1995-1996, from the latter to Jeff Towns, and three press cuttings and a programme, 1958-1988, relating to the play.