Heaney Poetry Collection

 
Poem Placement within Poetic Voice Theme Diction Poetic Devices Tone and Mood Symbols
Anthology/Contextua Development and Language
l Link Features
Death of a The poem was first The poetic Innocence and The teacher uses ENJAMBMENT Quite a jolly Bluebottles -
All this enjambment
Naturalist published in the voice is Experience - In simple, childlike has a powerful effect and childish they symbolize
collection Death of a presented as this sense, the language to on the reader’s mood and death and
Naturalist in 1966. being poem tracks a explain the lives of experience of the
tone in the decay.
frogs. The language poem. The poem
  extremely change in the  
feels off-kilter, out- first stanza,
  childlike, speaker’s the teacher uses is of- whack, like it’s Frogspawn - it
this progresses
 The main theme of especially in relationship to infantilizing, almost out of control. symbolizes
many of the poems in the first growing up, childish. In the first stanza, for to being a human
this volume is stanza, in the which is  
example, they convey little bit not sexuality and
the breathless
growing up. Growing second stanza represented by Heaney worked to excitement of a mature but sexual
up is about we see childish the frogs. In the develop a curious child. In the definitely not reproduction.
second stanza of the
reconciling ourselves, language but first stanza, the distinctively Irish poem, the speaker’s
adult in the
with our hopes and stuff that speaker regards literature, a poetry attitude toward the second and we
expectations, to the presents them growing up with that responds to natural world see a huge
the innocent the conditions of changes: anxiety and
realities of the world, as a teenager dismay replace shift to a more
  maybe, who curiosity of a life in Ireland, that curiosity and joy. serious and
looks in child. In the uses the kind of  
second, the CAESURA aggressive
disgust at the language that Irish
speaker’s people use, and These caesuras affect tone
frogs the rhythm of the
attitude that reflects the poem—contributing
changes: long tradition of to its sense of energy
growing up Irish poetry. and anxiety.
 
becomes gross ALLITERATION
and threatening. They help the
But the speaker speaker paint a vivid
picture of the “flax-
can’t go back
dam”, with its
and restore the crowded, smelly
uncomplicated natural life, and of
joy of the first the speaker’s
changing relationship
stanza. As the to it.
poem ends, the  
speaker is ASSONANCE
Indeed, when the
trapped in the
poem uses
world of assonance, it
adolescent generally avoids
growth with no soothing, smooth
vowel sounds. It
clear way out. favors sharp, harsh
  vowels—sounds that
Human Beings help it portray the
“flax-dam” and the
and Nature - This speaker’s anxieties
change is related about it.
to the broader  
transformation CONSONANCE
All those consonant
the poem sounds give the
describes: from poem a tough, chewy
childhood to feeling. In turn, this
helps the speaker
adolescence, convey the chaotic,
and from vibrant world of the
innocence to “flax-dam” with its
experience. As overwhelming sights,
smells, and sounds.
the speaker  
learns about METAPHOR
adult life, the It relies on the device
to help describe the
natural world, smelly, stinky world
with its cycles of of the “flax- dam”—
birth, growth, and to characterize
and death, the speaker’s shifting
relationship with it.
ceases to seem  
 so distant, so SIMILE
There is 3 of them.
separate.  
Instead, the IMAGERY
speaker “Death of a
recognizes the Naturalist” uses
imagery throughout
way in which to paint a vivid
human life is picture of the “flax-
also wrapped up dam”: the way it
smells, sounds, and
in those cycles. looks.
 
PERSONIFICATION
There is some
personification in the
first stanza—for
example, Miss Walls
refers to “mammy”
and “daddy” frogs, as
though frogs formed
human families. That
shifts in the second
stanza. The speaker
begins to personify
the frogs much more
intensely: they are
“angry,” their
movements turn into
“obscene threats,”
and they are out for
“vengeance.”
 
DIACOPE
Repeated word that
are somewhat close
together but not right
next to each other.
The use of diacope in
the poem
underscores the
speaker’s obsessive
energy.
 

Blackberr The poem appeared "Blackberry- Growing up and The language used EXTENDED The lines are Blackberries -
METAPHOR
y Picking in Seamus Heaney’s Picking" youth - This to describe The entirety of all quite short, On one level,
first volume of provides an experience of blackberry- "Blackberry-Picking" this gives the the blackberries
poems, Death of a adult point of blackberry- picking is raw and functions as an
poem a rather in the poem
view on a aggressive: the extended metaphor,
Naturalist, published picking serves as represent both
unfolding and immature tone
in 1966, when childhood an extended "briars scratched" developing the youth and the
memory. The and the "wet grass and greater
Heaney was in his metaphor for poem's central loss of that
mid-twenties.  speaker is the tempestuous bleached our comparison (of sets the scene youth. The
  grown up and process of boots." blackberry-picking to for the theme ripening of the
growing up and
  reflecting on growing up, Afterwards, the losing childhood of growing up blackberries
 The main theme of the process something that speaker’s "hands innocence) across the throughout.Th described in
of blackberry- were peppered / poem's two stanzas.
many of the poems in is just as  
e first stanza is lines 3-4 is
this volume is picking, a inevitable as the With thorn ALLITERATION incredibly representative
growing up. Growing seasonal blackberries pricks." The Alliteration occurs in positive and of the maturing
event that getting moldy. children are left multiple instances
up is about throughout filled with fun of a person and
reconciling ourselves, the speaker   with physical the physical
"Blackberry-Picking" and hope but
with our hopes and experienced Adult wisdom marks. Similarly, and emphasizes key development
annually. eating the turning points in the the second
expectations, to the and Acceptance - from childhood
The speaker of blackberries is poem. stanza is
realities of the world, to adolescence
the poem described as
 
drastically
  IMAGERY
describes a "Leaving stains "Blackberry-Picking" different and
childhood upon the tongue." makes extensive use very negative, Wine - The
of rich imagery,
memory from an engaging each one of despite this "thickened
adult’s point of the reader's five negativity the wine" and
view. The senses at one point
narrator still "summer's
or another. For
poem's events example, a ripe berry tries to blood"
all occur in the isn't just "ripe" or
maintain a referenced in
past, and this "purple" but a "glossy
memory is thus purple clot," little bit of Line 6 functions
 painted with the   hope in the as a religious
SIMILE
knowledge of a  Line 4: last line even symbol and an
person who is “hard as a though he allusion to the
aware of the knot”
knows it's Christian
transience of  Lines 5-6: tradition of
“sweet / pointless
youth, who no Like celebrating Holy
longer possesses thickened Communion.
their own wine:” Given that the
 Lines 14-
childhood poem's author,
15: “big dark
innocence, and blobs Seamus Heaney,
who is well burned / was Catholic, he
acquainted with Like a plate
of
would have
life’s inevitable eyes.” been familiar
disappointments  Line 16: with the
. “our palms
tradition.
sticky as
Bluebeard's.” According to
  tradition, at the
ONOMATOPOEIA Last Supper,
"Blackberry-Picking"
makes one prominent Jesus gave his
use of onomatopoeia disciples bread,
with the word telling them
"tinkling" in line 13.
  "This is my
ENJAMBMENT body," and
The poem uses wine, telling
enjambment
frequently
them "This is my
throughout the first blood." The
stanza, driving the reference to the
reader forward in the blackberry as
narration of events.
  having "flesh" in
CAESURA line 5 suggests
Caesura is frequently the berry
used to interrupt the
poem's natural flow symbolizes
and rhythm, calling Christ's body
attention to key while its juice
phrases and turning
points while forcing
symbolizes his
the reader to blood. The fact
momentarily reflect that the phrase
on these moments.
"summer's
blood" is used to
describe the
berry juice
supports this
reading.
Digging The poem was first We learn the Labour and Craft One lexical group is ALLITERATION The tone Handheld Tools
Alliteration is used
published in the voice comes - We also see the to do with labor frequently in indicates that - Handheld
collection Death of a from a long theme of labor and hard work, "Digging." it's worth the author was tools in the
Naturalist in 1966. line of and craft as being words like straining, noting how the
deep in poem
numerous /s/ sounds
Digging is the first farmers and
hugely important stropping, digging
seem to convey the thought while represent
poem in his first here, the idea all serve a purpose dampness of the power and
that despite writing this
collection , it talks that digging not to create the idea earth in which the potential. Both
this he isn't only acts as that not only speaker's father (and through the spades (a.k.a.
about his personal satisfied with grandfather) would reflective
making a living farming is shovels) and
battle associated a life
dig.
nature of the
but as a purpose extremely hard   pens are
with leaving behind dedicated to ASSONANCE middle
to live, the father work but given the presented as
his family of farmers digging to at the start no parallels found
The prominent
stanzas, he important tools
assonance draws the
to become a poet. earn a living longer needs to between poetry and readers' attention to talks with lots for labour—be it
  the sounds of the
be digging as he is farming also acts as of respect and the manual
  words, which
no longer a a way for Heaney to strengthens the admiration labour of the
 The main theme of farmer however show his struggle to speaker's father
many of the poems in
metaphorical link towards his
he keeps digging create poetry that between digging in and grandfather,
this volume is the earth and writing father and
as through this can act as his living or the speaker's
growing up. Growing on a page. grandfatherTh
labor and this and as a craft.   own labour of
up is about craft his life has   CAESURA e last stanza writing.
the caesura makes
reconciling ourselves, purpose. "Digging" into its own however is  
with our hopes and   sentence—again filled with
expectations, to the Family and emphasizing the
word's important hope and
realities of the world, Tradition - Within
place in the poem. promise for
  the poem we see  
the future
the theme of CONSONANCE
Traditions and "Digging" is packed
full of consonance
breaking right from the
traditions and beginning. These are
doing outside of sharp sounds. The
/k/ conveys a sense
what is expected of harshness, while
from you, in this the /p/ sounds have
poem we see a kind of haphazard,
almost humorous
narrator leaving quality which fits
behind the with the image.
tradition of his  
family by END-STOPPED LINE
The poem uses end-
attempting to stopping with
make a living enjambment to great
through poetry or effect. Generally
speaking, the end-
with his pen as stopping is used to
opposed to his provide clear pauses,
father and spaces for thought.
 
grandfather who ENJAMBMENT
have been About half the lines
farmers in the poem are
enjambed. The
enjambment works
closely with the
poem's use of end-
stop to build
momentum and then
insert pauses
throughout.
 
EXTENDED
METAPHOR
In a way, the whole
poem is an extended
metaphor. The poem
sees the speaker
reflecting on his craft
—writing—as he tries
to place it within the
context of where he
is from. He comes
from a line of manual
laborers—people who
dug up the land in
order to cultivate
potatoes and cut turf,
two essential crops in
Irish life. The poem
has to prove the link
between literal
digging and digging in
the mind: creativity,
imagination, and
memory. In order to
prove this link, the
speaker himself has
to do his own form of
digging—that is, he
has to write poetry.
 
ONOMATOPOEIA
It's notable that this
onomatopoeia
happens just before
the speaker re-enters
the present (having
delved deep into his
memory). It's almost
 like a final poetic
tribute to his father
and grandfather,
leaving the reader
with a vivid and living
picture—in image and
sound—of the daily
lives of his forebears.
 
REPETITION
First and last line are
identical. Indeed, the
whole point of the
poem is to find
common ground
between two types
of digging: digging in
the earth and
metaphorical digging
in the mind. "Potato"
is also repeated
throughout,
appearing like a crop
in the surrounding
soil of the poem's 31
lines.
 
SIMILE
One simile "snug as a
gun." its really weird

The The poem was first The narrator The idea of the There are lots of Diction - helps make The narrator  
the diviner seem
Diviner published in the is portrayed importance of aggressive words talks as
really coolRhyme -
collection Death of a to be quite labour is talked like jerked, though eh
there is a very loose
Naturalist in 1966. young about through convulsions that ABAB rhyme scheme isn't really
  that doesn't really
through the the way in which make the reader there, he uses
  work but can add to
wonder in people look up slightly uneasy, the mystery and words which
 The main theme of
many of the poems in which he to the but also create a magic nature of the create this
this volume is looks on in divinerThe sense of respect divinerExtended sense of awe
Metaphor - the
growing up. Growing this work diviner is towards the but rather
diviner is
up is about symbolic of a diviner because of representative of a distances
reconciling ourselves, poet and is the 'nonchalant' poet himself from it,
with our hopes and talking about his way in which he this could
expectations, to the ambition to be a acts show that he
realities of the world, poet himself
believes he
can do
something
similar and
therefore is
above the
amazement
A Shiver This is from Heaney’ The narrator This poem has a Words like Rhetorical Questions This poem has  
- used to make the
district and circle talks about theme of power testudo have a an almost
reader question the
collection, published the man with but also link to military intentions of the man condescendin
in 2006. a hammer in understanding making us believe and possibly g nature but I
a way of the the hammer is themselves believe oit is in
 
almost responsibility symbolic of Simile - better fact just
admiration that comes with military / war illustrates and gives us sympathetic
an understanding of
but also it stuff  the POV of the man
condescendin  
g to an extent Alliteration and
Repetition - used to
draw attention to the
before aspect because
often we only focus on
the aftermath

Storm on The poem was first The narrator humans vs Military words like ALLITERATION A poem that  
an Island published in the seems almost nature: bombardment Alliteration is first gives off the
used in the opening
collection Death of a uninterested On the surface, and strafe show two lines. Here, the vibe that the
Naturalist in 1966. in the way in at least, “Storm that this is speaker discusses the narrator has
  which he on the Island” is representing a
kind of dwellings that
given up and
a poem about the islanders have
 
explains the military / political made on their land is fine with
 The main theme of humankind and
situation that unrestWords like  
accepting the
many of the poems in nature. Though ALLUSION
this volume is he is in, people may savage, tragic, "Storm on the Island" inevitability of
growing up. Growing despite the build their pummels are very makes one allusion, their situation
found in line 8. Here,
up is about words used protected aggressive and the poem likens the
reconciling ourselves, portraying a communities to make the reader sound of a storm
live in, nature is blowing through
with our hopes and very uneasy trees to a "tragic
expectations, to the dangerous so powerful that chorus"—a key
realities of the world, environment no community is component of
ever completely Ancient Greek
  tragedy. A chorus is a
safe from group of actors who
destruction. The speak (or sometimes
poem, then, sing) together and
shows whose role is to
comment on the
humankind as action of the play.
being in The chorus often
constant explains events or
put them into
negotiation with context, as well as
its environment. foreshadowing the
tragic events to
follow.
conflict and  
violence: ASSONANCE
Though the poem Assonance is used
sparingly throughout
doesn’t make "Storm on the Island."
specific The first especially
references to notable example is
the subtle /i/ and /o/
Anglo-Irish assonance in the
political tensions, second line
a number of  
CAESURA
factors suggest Caesura is used
that the poem frequently
can be throughout "Storm
on the Island." On
interpreted as an three occasions (the
examination of colons in lines 1, 7,
these tensions and 14), it serves the
same function. In
each of these
examples, the colon
allows for the
speaker to clarify
their point and add
further information
to their account of
life on the island .
 
ENJAMBMENT
Enjambment shows
up in most lines of
"Storm on the Island."
In fact, only seven
lines don't enjamb
into the following
lines.
The main effect of
this frequent use of
enjambment is to
create lines that
appear to be exposed
to the elements, the
same way that the
speaker's community
is exposed to the
storm.
 
EXTENDED
 METAPHOR
At first glance,
"Storm on the Island"
seems to be a poem
about exactly what
its title suggests: a
non-specified storm
on a non- specified
island.
 
OXYMORON
"Storm on the Island"
uses two oxymorons.
The first of these is
"Exploding
comfortably" in line
13. Explosions are,
almost by definition,
not comfortable
things.
 
PERSONIFICATION
Personifification is
first used in the third
line of "Storm on the
Island." Here, the
speaker describes the
earth as "wizened,"
adding ironically that
it has "never
troubled" the
islanders with good
crop-growing
conditions.

District District and Circle is            

and Circle part of a poetry
collection, named
after the poem,
published in 2006.
The collection
explores the world´s
difficult times and
celebrates poetry´s
ability to give
pleasure and delight.
The Barn This is from Heaney’s The majority The theme of Use of words like Rhyme - there is a There is a very  
vague rhyme scheme
first collection, Death of this poem personal gulfed, narrow, intense and
in this poem, aided
of a is stated in a entrapment is and clogged give somber feel
by assonance and
Naturalist (1966).  descriptive developed the idea of an consonance at the about this
  end of the lines
manner throughout the unsettling poem, it
   
piece environment Simile - lots of similes makes the
 The main theme of
many of the poems in which the narrator used to help the reader reader anxious
understand the
this volume is feels trapped in situation from the and interested
growing up. Growing narrators point of view as to what is
up is about happening,
reconciling ourselves, also the
with our hopes and uniformity of
expectations, to the the stanzas
realities of the world, creates a very
rigid
atmosphere
The Forge This is from Heaney’ The narrator The idea of the Jargon helps Diction - shows the The set  
virtue in his work and
second collection, is set up blacksmith create a more structure with
to create a more
door into the dark again with a being accurate picture in accurate image  1 short
(1969) childlike representative the mind of the powerful line
sense of of a poets work readerWords followed by 5
wonder is present relating to longer lines
 towards this throughout the childlike wonder help to create
crucial part of novel developed help show the structure to
Irish and rural in the mystical virtue in his the poem
life way Heaney craftLots of words
describes the describing hard
process labour are used as
well
Churning This is from Heaney’s This poem is He develops the Words like ached, Onomatopoeia - It's quite an  
words like plash,
Day first collection, Death written by theme of loss of blistered show odd
gurgle bring to life
of a someone a childlike that the boy was atmosphere
the process and
Naturalist (1966).  looking back wonder through not suited to farm make us more aware that Heaney
  of the mundanity of
on their past the way in which life (something creates, he
  it
experiences the second half Heaney talks   talks about
 The main theme of
many of the poems in of helping of the last about quite Personification - gold how hard the
this volume is out on a farm stanza describes often)Also words flecks dancing gives the
poem a sense of
process is and
growing up. Growing the aftermath of like bomb which wonder about the how terrible
up is about the process relate to military process early on, this is the aftermath
done to show the
reconciling ourselves, show the difference in attitudes is but he
with our hopes and influence of of the narrator includes the
expectations, to the growing up in the  
Cacophony -
gold flecks
realities of the world, north of Ireland throughout the poem dancing, which
the harsh sounding makes the
letters are thrown
together to make the reader
reader uneasy and question
understand the
narrators point of view
whether it's
worth it. To
Heaney it
wasn't but he
feels some
regret
Thatcher This is from Heaney’ The narrator The idea of Causal words The thatcher is Very relaxed (if  
symbolic of Heaney
second collection, starts out expertise and create that sort of I get this one
with the straws being
door into the dark worried due appreciation for environmentWord his thoughts and the I'll be pretty
(1969). to the workmanship s like Midas touch roof a poem, the way sad)
unexpected are always and well honed in which he tests the
straw for strength
arrival of the present in give the illustrate that in my
thatcher but Heaney poems, impression of the opinion
later they are thatcher being  
Assonance creates a
becomes very developed very good at what nice flow leading to us
relaxed and through the way he does being more relaxed
merely in which he and able to appreciate
the craftmanship of the
admires the describes the thatcher's work
workmanship situation
Follower This is from Heaney’s We learn that The relationship Language that is ASSONANCE By highlighting Ships and
"Follower" contains a
first collection, Death his father was between likely to be used great deal of
his inability to Navigation -
of a a farmer but is parents and around the sea is assonance. In replicate his While this
Naturalist (1966).  now old and children - used in this poem general, the vowel father's poem is not a
  "Follower” sounds that echo methods and highly symbolic
unable to do to liken the father
throughout the poem
  so, this means tracks the way figure to a ship. The add texture and suggesting poem, the
 The main theme of that he is also that the speaker goes on to feeling to the that his father speaker does
many of the poems in probably a relationship use language that atmosphere, while works repeatedly
also drawing
this volume is fully grown between parents likens the field to attention to
effortlessly, compare his
growing up. Growing man now. We and their the ocean, important words and the speaker father to a
up is about learn that children changes emphasizing its the ideas they creates an ship. This, in
over time. The represent. atmosphere of turn, is meant
reconciling ourselves, although he vastness and  
with our hopes and idolized his speaker begins drawing out the ASYNDETON childlike awe. to glorify his
expectations, to the father and the poem with comparison The poem's use of At the poem’s father's
deep admiration asyndeton allows it conclusion, agricultural
realities of the world, closely and respect for between his father to flow smoothly and however, the labour.
naturally,
  watched and his father, and a ship over uninterrupted by
reader learns
followed him contrasting his many lines. conjunctions. The that the
everywhere he father’s poem's first line, for speaker’s
exceptional example, could have father has lost
was always
ended with a period
seen as a bit of farming skills rather than a comma, his dominance
a problem with his own but that would have and now
shown by the stumbling cut the line off from follows his
the rest of the
way he ineptitude as he sentence, indicating a
son, who
described follows behind. longer pause and assumes the
himself as But by the interrupting the leadership
poem’s end, rhythm's momentum role.
yapping like a rather than letting it
dog, this is there’s been a build.
Heaney's link major role
to his own reversal: the CAESURA
distant father final lines reveal Caesura is essential
who at the that the to steering the
speaker’s father, rhythm throughout
time was still "Follower."
alive having grown  
weak with age, CONSONANCE
eventually trails Consonance
permeates the poem
behind the and therefore serves
speaker. a multitude of
  functions. Taken as a
The virtue of whole, it creates a
pleasant lyricism and
nobility and allows one image to
farming - Seamus flow into the next by
Heaney grew up linking them with
similar sounds
on a farm and  
was expected to END-STOPPED LINE
carry on the The poem's many
end-stopped lines not
farming
only visually
traditions of his resemble the
father but failed trenches that are cut
to do so. He into the land over the
course of the poem,
shares these but they also provide
traits with the a natural pause that
poem’s speaker, comes to be
anticipated at the
who celebrates
end of each line,
such traditions helping to establish a
and regular rhythm.
immortalizes  
ENJAMBMENT
them in verse. About one-third of
Thus, although the lines in
the speaker "Follower" are
enjambed, meaning
does not
that their meaning
practice spills across the line
traditional breaks. Enjambment
farming is used primarily to
control the poem's
methods, he rhythm and build
showcases their momentum.
beauty and  
IRONY
deems them
The role reversal
worthy of between the speaker
preservation. and his father that
occurs in the poem's
final lines upends the
family dynamic that
the rest of the poem
works diligently to
make known.
(situational irony)
 
JUXTAPOSITION
Throughout
"Follower," highly
 contrasting images
are juxtaposed, or
placed side-by-side
to exaggerate their
differences.
 
ONOMATOPOEIA
onomatopoeia
provides important
texture and depth to
the setting by
providing other
sensory details—i.e.,
sounds, which allow
the readers to better
picture what it would
be like to walk
around the farm
 
REPETITION
Usually, they are
applied first to the
speaker's father and
then to the speaker
himself or vice versa,
helping to compare
and contrast the
poem's two
characters.
 
SIMILE
Although this poem
contains only one
simile, it plays an
important role. The
simile occurs in lines
2-3 and compares
the speaker's father
to a ship's sail. At one
end, his body is
tethered by the
hands to the plow’s
handles, and at the
other, it is tethered
by the feet to the
earth he plows.
 

Mid Term This is from Heaney’s We learn that The Nature of Use of words like Assonance & The tone is  
Alliteration - used
Break first collection, Death the poet is a Grief - sick bay make us quite
early to mimic the
of a young child   immediately dethatched
funeral bells
Naturalist (1966).   
through the confused due to   and very
 
way they He talks about the title of the
Diction - words like
somber.
corpse instead of
 
describe their the alienating poem we would brother or
 The main theme of effect death of a
many of the poems in surroundings assume it is a embarrassed make us

and the loved one can happy poem

feel like the author is
this volume is emotionally
interactions have, there is a however sick bay dethatched from the
growing up. Growing
with other distinct lack of tells us something
situation
up is about
reconciling ourselves, characters emotional words is wrong 
 
Enjambment - is used
with our hopes and which makes us lots in the piece to
expectations, to the aware that the show the immaturity of
the narrator and is
realities of the world, poet is used less later in the
emotionally piece because it shows
dethatched as a him coming to terms
with what happened
cause of the  
death Assonance - Used
heavily in the first few
stanzas but as we are
made aware something
is wrong it stops the
flow of the poem