I
All all and all the dry worlds lever,
Stage of the ice, the solid ocean,
All from the oil, the pound of lava.
City of spring, the governed flower,
Turns in the earth that turns the ashen
Towns around on a wheel of fire.
How now my flesh, my naked fellow,
Dug of the sea, the glanded morrow,
Worm in the scalp, the staked and fallow.
All all and all, the corpse’s lover,
Skinny as sin, the foaming marrow,
All of the flesh, the dry worlds lever.
II
Fear not the working world, my mortal,
Fear not the flat, synthetic blood,
Nor the heart in the ribbing metal.
Fear not the tread, the seeded milling,
The trigger and scythe, the bridal blade,
Nor the flint in the lover’s mauling.
Man of my flesh, the jawbone riven,
Know now the flesh’s lock and vice,
And the cage for the scythe-eyed raven.
Know, O my bone, the jointed lever,
Fear not the screws that turn the voice,
And the face to the driven lover.
Ill
All all and all the dry worlds couple,
Ghost with her ghost, contagious man
With the womb of his shapeless people.
All that shapes from the caul and suckle,
Stroke of mechanical flesh on mine,
Square in these worlds the mortal circle.
Flower, flower the people’s fusion,
O light in zenith, the coupled bud,
And the flame in the flesh’s vision.
Out of the sea, the drive of oil,
Socket and grave, the brassy blood,
Flower, flower, all all and all.
I am busy working to bring Dylan Thomas's "All all and all the dry worlds lever" to life through some unique musical arrangements and will have a full analysis of the poem here for you later.
In the meantime, I invite you to explore the poem's themes, structure, and meaning. You can also check out the gallery for other musical arrangements or learn more about Dylan Thomas's life and contributions to literature.
Check back soon to experience how "All all and all the dry worlds lever" transforms when verse meets melody—a unique journey that makes poetry accessible, engaging, and profoundly moving in new ways.
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