The Hidden Mother in Bishop’s “One Art” In comparing Dylan Thomas and Elizabeth Bishop’s meditation on the relevance of the poet, it is pertinent to use a sequential analysis of the two poems hereby discussed. Bishop’s “One Art” is the result of a careful development of Thomas’ “Do not Go to Gentle Into That Good Night,” in which she explores her capacity to critique a poet’s speaker with a subtlety that scholars and students may find almost impossible to decipher. In this, rather experimental essay