Analysis Of Follower By Seamus Heaney

Heaney continues to do this by glorifying the frogspawn, using alliteration “jam pots of the jellied specks”. This creates a soft and gentle rhythm for the reader, portraying Heaney’s fascination with nature a child.

Children are often too juvenile and ignorant to comprehend all that is done for them. The narrator of this poem is now a grown man and is looking back on his childhood. He says that he would “[speak] indifferently to [his father], who had driven out the cold, and polished my good shoes as well.” (Hayden) After working hard all week to provide for his family, the narrator's father would wake early Sunday mornings to tend to his family. As a grown man, he sees how much effort his father put in to keep him content. Sometimes it was difficult to see this because he was overcome by fear: “...slowly I would rise and dress, fearing the chronic anger of that house.” (Hayden). Though the narrator was intimidated by his father, he still loved and appreciated him. This father- son relationship is unique because the bond grows and develops as a strong connection throughout time, with the help of maturity. The narrator of this poem recognises the unappreciated family sacrifices that are made which only improves the bond between a boy and his

The poem ‘Follower’ by Seamus Heaney is a poem expressing the great admiration that Heaney had for his father as a child. He was brought up on a farm, and often watched his fathers skill in awe as he ploughed the fields. The poem is made up of six quatrains, and a regular rhythm is present, much like that of a horses plodding, across the fields. Also, the poems rhyming pattern is precise, possibly referring to

Like a shovel to dirt as a pen to paper. In “Digging,” Seamus Heaney uses specific elements such as diction, and imagery to convey his meaning that children don’t always want to be like their past generations of men.

In the first half of the poem the poet draws a vivid portrait of his

Heaney’s attitude towards death is presented in different perspectives within Funeral Rites. A pun, based on a homonym, embedded within the title itself, suggests one’s right to have a funeral : for there to be an occasion for family and friends to mourn one’s death whilst celebrating their life. In Funeral Rites, Heaney demonstrates the beautiful serenity associated with death, while also highlighting the tragic aspect of death and dying. Funeral Rites is composed of three parts (the first of which I am going to focus on in this essay), with Heaney focusing on different attitudes towards death and dying within each section. For example, in the first section, Heaney concentrates on funerals in the past, as established by use of the past tense. The transition to present tense in the second section is confirmed by the strong adverb ‘Now’, and future tense in the third section highlights the change in customs within the change in time period. With Funeral Rites’ distinct structure, Heaney is indicating his nostalgia for the past, as well as highlighting his outlook on the situation in Ireland.

“You always think ahead. I was a boy who kept his clothes on numbered hangers… bothered my teachers for homework assignments far ahead their due dates...I thought ahead.” This shows that the father’s son always thinks ahead and was organized, responsible, and mature. “...my mother was still angry with him for sneaking me into a nightclub during his last visit, to see Thelonious Monk… Don’t ever try this yourself.” This shows that the father is the opposite of the son and is more rebellious and fun. “He promised, hand on heart, to take good care of me and have me home on Christmas Eve.” This shows that the father really does love his son and will protect him and bring him home in time. Going home was difficult in the snow but the father managed to drive through it and make it

Family members will sometimes disagree with one another, but no matter what they say, love is always present. In Robert Hayden’s, “Those Winter Sundays”, love is always shown, no matter the circumstances. Throughout stanzas one, two, and three, the speaker and his father are shown caring for one another; however, at times, the speaker dislikes his father and isn’t grateful for all of the work his father does for him. In “Those Winter Sundays”, diction clears a path to show us signs of love between the speaker and the father, even though they are not clear.

This arising tone of regret and distance is also formed by the speaker’s depiction of his father having “cracked hands that ached,” (1. 3) which further signifies the father’s struggle with the severe coldness. The concept of self-sacrifice is apparent in this portrayal of his father’s disregard to his own pain in order to provide warmth and light for his family’s home. The stirring of “banked fires blaze” (1. 5) within the house,

As the speaker casually calls their parents, a setting of calm expectations is established. While greeting the speaker, the mother’s decision to “run out and get” (1) the father highlights the lack of urgency that is present. The mother is calm and fetches the father in an expected and relaxed fashion, further establishing the calm expectations of the ongoing call. The mother additionally states that “the weather here’s so good” (2). Heaney’s use of the word “good” reflects the setting of the mother and father’s home; the atmosphere of where they live is pleasant and unperturbed. The “weather” serves as a projection of the father’s own state, implying that the father is in good health and that death is not yet looming over him. The last spoken words in the poem reveal that the father was conducting “a bit of weeding” (3). The word “weeding” highlights the capability of the

This poignant dichotomy is seen explicitly in two poems in Seamus Heaney’s Field Work. One poem, “The Strand at Lough Beg” is written for “Heaney’s cousin Colum McCartney (ambushed and shot in a sectarian killing)” and is rich with pastoral scenery, dark tones, and religious imagery (Vendler 60). Another poem, “A Postcard from North Antrim” is about “his friend the social worker Sean Armstrong (shot by a ‘pointblank teatime bullet’)” (Vendler 60). These two elegies, both with a strong presence of Heaney’s personal voice, are imbued with a sort of ambiguity as Heaney struggles with the death of two people who were both very close to him. In both poems, Heaney “tries to converse with and question the dead” in an attempt to rationalize, or at least display his sentiments on the untimely deaths (Parker 159). It is interesting to watch Heaney oscillate in imagery, tone and diction as he progresses through both poems. This wavering can be seen as a result of Heaney’s background.

conversation. It isn't like a poem at all. It says "By god the old man

is the idea of the bone as stone, with the mind as a catapult. This

Seamus Heaney is a widely celebrated poet from Northern Ireland and was well known for writing about his culture and song-like pieces that touched on historical and ethical natures. In “Punishment”, the piece focuses on the image of a dead girl, now a preserved piece of history, who was supposedly killed for committing adultery in Germany. In the dark, dramatic, and historical poem “Punishment” by Seamus Heaney, he uses overt words and phrasing, internal rhyme, as well as alliteration, metaphors, and other literary devices to uncover the brutality, injustice, and chilling exposedness of the murder of the young girl, who is the subject of the piece.

Seamus Heaney uniquely constructed his poem “The Forge” to tell a story of an inspired outcast scrutinizing a man while he conducts true art. This poem is not only about an outsider fantasizing about the unknown, but also about a blacksmith’s every move and more. The audience is left questioning “who is this mysterious blacksmith?” and “who even is this being of inspiration?” After profound research was done, it was uncovered that the narrator is actually Heaney, and the blacksmith is his dexterous neighbor, Barney Devlin. Heaney’s definitive word choice was significantly influenced by his young, budding mindset as a child, leading him to speak so strongly about someone that he hardly even knew.