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The poem “Fern Hill” is interpreted as autobiographical and reminiscent of Dylan Thomas’s boyhood holidays. A reading of the figurative language of the poem, the process of playing with its tropes can be the basis of right interpretation independent of the poet’s life or an historical context. As the poem seeks to be persuasive and objective, it relies more on rhetorics suggesting the sufferings of the fallen poets of the thirties and the war poet of the forties owing to their wild love of the transcendental art of W.H.Auden’s Poems (1930) considered as touchstone of great poetry and a hope for self-advancement in life. However, it is the paradoxical poems of Thomas and his vicarious poetical character that have rehabilitated and revamped the depressed poets. “Fern Hill” reaffirms and reassures the continuation of the same sceptic poetic tradition and culture which Thomas has cherished in all the preceeding and the succeeding poems. What this paper, keeping the contemporary poets’s passion for Auden’s greatness and glory, their dreams and destinations as focal point, strives to convey is the liberating power of Thomas’s moral disinterestedness, his vicarious comic vision and his poetic process of life-in-death contrasted with  the amoral aesthetic disinterestedness of Auden, his historic tradition and his poetic process of death-in-life.