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Under Milk Wood begins “at the beginning” (3), one night in the fictional Welsh coastal town of Llareggub (the town’s name is the vulgar British slang term “bugger all,” which means “nothing,” in reverse). The play employs two narrators, First Voice and Second Voice. First Voice speaks directly to the audience, welcoming them to Llareggub. The town is small and somewhat in decline. The nighttime scene is quiet, the sky is dark and without a moon, and First Voice guides the audience along the cobbled streets and the nearby forest known as Milk Wood. Milk Wood is locally known as a place for secret meetings between lovers.
Together with Second Voice, First Voice enters the townspeople’s homes and describes their dreams and nightmares. Just as First Voice is keen to move on, Second Voice insists that they linger with Captain Cat. The retired sea captain is now blind. His dreams are haunting visions of his friends and colleagues who drowned at sea. They long to return to the land of the living. Captain Cat also dreams of Rosie Probert, a woman he once loved. The narration moves to the town draper and dry goods seller, Mog Edwards, who is “mad with love” for a local dressmaker named Myfanwy Price (7). As Myfanwy sleeps, Mog composes love letters in which he reveals his affection for her. He loves her more than anything else in the world, but he has never told her. Unknown to Mog, Myfanwy feels similarly about him. She writes her own unsent love letters, in which she promises to knit fine gifts for him.
Jack Black is the cobbler in Llareggub. A fiercely moral man, he dreams about “chasing the naughty couples” who meet in Milk Wood and revealing their sins to the town (8). The local undertaker is named Evans the Death. In his dreams, Evans sees himself as a child, stealing currants when his mother isn’t looking and eating them in his bed. Elsewhere in the town, a man named Mr. Waldo imagines all the women he once knew and compares them to his sleeping wife. Their marriage is not a happy one. Mrs. Ogmore-Pritchard has been married two times. Both her husbands are now dead. In her dreams, they are still alive. She imagines herself issuing orders to the dead men, nagging them just like when they were still living. First Voice suggests that this overbearing attitude may have led to the men’s deaths.
The voices of the townspeople overlap and mix. Organ Morgan, the church organist, dreams of “perturbation and music” in the streets (14). The cocklers, Mr. and Mrs. Floyd, sleep “like two old kippers in a box” (15). Mr. Utah Watkins dreams of sheep leaping fences, bleating just like his wife. Ocky Milkman drunkenly vomits into Dewi River and weeps. Cherry Owen dreams of a tankard that turns into a fish.
The local mailman, Willy Nilly, dreams about taking a long walk, while his wife dreams of being late for school. Sinbad Sailors owns the town pub, the Sailors Arms. In his dreams, he hugs his pillow and pretends that it is Gossamer Beynon. A poor, lonely woman named Bessie Bighead dreams of the only time a man kissed her. Mrs. Beynon is married to the local butcher. She dreams of government inspectors coming to arrest her husband for selling “owl meat, dogs’ eyes, manchop” (16), meaning the meat of unsuitable animals. Their daughter, Gossamer, works as a teacher in the Llareggub school. Gossamer dreams about falling in love with a “foxy darling,” a man who has a bushy fox’s tail. The priest, Reverend Eli Jenkins, dreams about an eisteddfod, a small community festival. Sinbad’s grandmother Mary Ann has religious dreams about the Garden of Eden. Polly Garter dreams about babies. A tolling bell signals the end of night.
Under Milk Wood is a play for voices. Intended to be broadcast over the radio, it differs from traditional plays in that there is no staging or physical performance by the actors. Instead, the audience is guided through the play by the narrators. As such, the narrators have an outsized influence on how the narrative is conveyed. The play employs two narrators, named First Voice and Second Voice, who do not always agree on the best method to narrate the play. As they guide the audience through the town of Llareggub, for example, they differ on how long to linger in each person’s dreams. First Voice wishes to move on quickly, while Second Voice interjects and delves deeper into the psyches of characters such as Captain Cat.
Through the tension between the two narrative voices, the play explores the role of narrator and The Nature of Storytelling. Both First Voice and Second Voice are omniscient, knowing everything about the subjects of their narration and able to cross boundaries that exist for the actual characters. They can read the thoughts and dreams of the characters, for example, as they are removed from the events of the narrative itself. Despite this detachment, they are not objective. The tension between First Voice and Second Voice indicates that each narrator is making subjective decisions on what to portray and to what extent something should be portrayed. This tension indicates that the role of the narrator in Under Milk Wood is inherently subjective; there is no objectivity, even for the person or persons telling the story.
The narrators also choose to introduce the audience to Llareggub at a specific time and in a specific way—at night, through characters’ dreams. This choice suggests that the characters’ inner psychology is more important than their jobs, their social relationships, or their actions. Captain Cat, for example, is haunted by the memories of men he once knew who were lost at sea. By introducing Llareggub through the dreams of the town’s inhabitants, the play indicates that understanding the townspeople’s beliefs, fears, and traumas is essential to understanding their community as a whole.
By portraying the sleeping town first, the narrators also create a sense of unity among seemingly disparate people. Captain Cat has little in common with Mrs. Pugh, for instance, while Mrs. Beynon’s fear of government inspectors bears little relation to the material challenges of Bessie Bighead. In spite of their many differences, sleep unites the people: At rest, they are all the same. The play thus illustrates a common humanity that is shared by everyone in Llareggub. For the first and last time in the play, the townspeople are united in their action. They sleep as a community and rise as individuals.
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By Dylan Thomas