Abstract
Throughout his long career — now in its sixth decade — R. S. Thomas has grown accustomed, and has accustomed his readers, to seeing things in terms of mirrors and mirror images. Such images are, as he himself has acknowledged, one of his obsessions.1 Even if such “reflections” are as old as poetry itself, Thomas has worked his own very modern and quite sophisticated variations on them, utilizing them as a way of defining his most insistent theme and as a means of elaborating his rather unique technique, and thus he has brought forward into our day new ways of “looking” at this long poetic tradition as well as having provided us with a fascinating way of looking at, of evaluating, his own considerable poetic output.
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