Neo- romanticism cannot be considered as a movement itself as romantic influences are very common during the forties and even the fifties. But what can be cohesive to poets that can be framed into this poetry current is their reaction against the intellectualism and realism of the political and social poetry of the time. They believe in an internal observation of the world, not just in looking at reality in its superficial view. They believe in the unity of man and Nature; therefore it could be said that their view has to do with the belief of the parallelism between every natural living development. That is, the growth of a man leads the same procedure as a natural process of growing.
The most relevant poets are: Dylan Thomas, Vernon Watkins and Laurie Lee.
In this essay we are going to centre our attention in the most important poet of this movement, Dylan Thomas.

(cf. Pujals. 12:.148-147)
(cf. Schmidt, P.867.)

Dylan Marlais Thomas was born in Swansea, Wales in 1914. He was the son of a Grammar school professor, David John Thomas and Florence Hannah Williams who preferred their offspring to speak English instead of Welsh, as many other Welsh families in the area. Dylan Thomas was a Welsh poet who wrote in English, but his “Welshness” can be seen through his works, many of them set in the Welsh landscapes. He attended the grammar school where his father worked and soon he published his first poem in the school magazine, against his father’s wish Dylan Thomas did not attend university and after his secondary education he worked as a reporter in the South Wales Evening Post. During his life he worked as a freelance journalist, as a documentary film script writer for the BBC during World War II, a job which he continued with after the war and gave lectures of his works through the United States. He died of alcoholic intoxication in 1953, at the age of 39.

(cf. http://www.bbc.co.uk/wales/dylanthomas/biography/pages/early.shtml)
(cf. < http://www.bbc.co.uk/wales/dylanthomas/biography/pages/writer.shtml>)
(cf. <http://www.kirjasto.sci.fi/dthomas.htm> )

What is of major interest for us is his works as a poet, his main literary activity, although there are some remarkable prose works such as Under Milk Wood: A Play for Voices, published in 1954 which remained unfinished, among others.
His works are images transcribed into words. This importance given to words may lead to think that Dylan gives more importance to language than to experience. His mastery of the English language makes him able to convey Nature and its procedures through words that become Nature herself.

(cf. Schmidt .865-866.)
(cf.http://www.bbc.co.uk/wales/dylanthomas/bibliography/pages/under_milk_wood.shtml)

Death is something that man and the creatures of Nature, flowers for instance, have in common. All the creatures of Nature, such as men, flowers, trees, animals have ageing and death as conditions and aims of their lives and existence. The images are used to convey defined ideas such as “the relation between man and Nature and the relation of the living to the death and of both to seasonal change in nature” (Daiches,1143). This can be observed in the poem The Force that through the Green Fuse. (18 Poems, 1934). In this poem, the parallel and fusion of man with Nature is shown. We can see the influence of Blake by Dylan’s use of images of the crooked rose and the worm as those in Blake’s poem The Sick Rose.

(cf. Schmidt 867)
(cf. http://www.bbc.co.uk/wales/dylanthomas/bibliography/pages/18_poems.shtml
(cf. Daiches.4: 1143)

In his later works this unity of all life and of life and death as part of a process in which Nature is involved is clearly reflected.
The importance that Dylan gives to imagination and intuition when observing Nature, as well as his religious feeling and conception of Creation, bring to our memory glimpses of Blake’s works and vision of the world. Although it has to be taken into account that Dylan’s religious vision is not only a Christian one, as he believes, as in all developments of life there is a parallelism, some visions of death and divinity can be as valid as the Christian one. Dylan has been considered a prophet of romanticism, the same as Blake was considered, due to his idea of the great importance of imagination and intuition in the process of understanding God’s Creation.
Dylan’s works convey his awareness of the senses and his even mystical love of Nature.The beautifully and intense visionary images he composes can be well seen in poems such as the famous Fern Hill (1946) and Poem in October, where Welsh landscapes are reflected by the images he composes with his language. These poems are included in his collection Collected Poems 1934 – 1953.

(cf. Daiches, 4: 1143-1144)
(cf. <http://www.bbc.co.uk/wales/dylanthomas/bibliography/pages/18_poems.shtml
(cf. Coote. 686).

Dylan Thomas works show clear influence of the metaphysical poets of the seventeenth century regarding his religious imagery. This influence can be considered as well a heritage of Blake’s works. Therefore, a connection between Dylan and the romantics can also be seen in this crafty religious imagery. The connection can be found as well in his love and idea of Nature and his vision of childhood as the ideal age in his life.

(cf. <http://lit.enotes.com/twentieth-century-criticism/thomas-dylan>.