Essay on Imagery and Allegory in the Seamus Heaney's Poem, The Skunk

In Seamus Heaney’s poetry, there is a recurring theme of his talking of the past, and more predominantly about significant moments in time, where he came to realisations that brought him to adulthood. In “Death of a Naturalist” Heaney describes a moment in his childhood where he learnt that nature was not as beautiful as seem to be when he was just a naive child. Heaney does this on a deeper level in “Midterm Break” describes his experience of his younger brothers funeral and the mixed, confusing feelings he encountered, consequently learning that he no longer was a child, and had no choice but to be exposed to reality. Robert Frost in one sense also describes particular moments in time, where his narrator comes to realisations. However,

As the narrator looks back at his memory of Doodle’s death, he describes Doodle with a “vermillion neck” and “little legs, bent sharply at the knees” (564). With a shirt “stained a brilliant red” and legs “so fragile, so thin,” the narrator compares Doodle to the dead scarlet ibis they encountered earlier (564). The narrator “[lies] there crying, sheltering [his] scarlet ibis from the heresy of rain” (564). The narrator realizes that a fragile boy like Doodle had beauty within him and he weeps at the loss of this beauty. Although Doodle is crippled, he still has a hopeful imagination and a warm heart. The scarlet ibis is described as “a broken vase of red flowers,” dead, but beautiful (562). The narrator feels guilt because it was his fault that something elegant, like the scarlet ibis, was now dead. He was not able to accept Doodle for who he was when he was alive and now that he is dead, he realizes that Doodle is beautiful just for being his one and only brother. By depicting the narrator in a heresy of rain, as if his past wrongdoings are continuously falling on his head, it represents his guilt. Therefore, the comparison of Doodle and the scarlet ibis portrays a loss of beauty that causes the narrator to feel

While reviewing “Stopping by Woods on a Snowy Evening”, it should be noted that the key is the rhythm of the language. The first, second, and fourth sentence rime while the third sentence of each rimes with the 1st, 2nd, and 3rd sentence of the next stanza. In relation with the cryptic language draws the question, there is a more sinister back drop of loneliness and depression in this poem much deeper than the level of nature orated by the Narator.

Two of the poems written by Seamus Heaney, “Digging” and “Blackberry Picking”, contain recurring themes while both discussing entirely different scenes. The first poem, “Digging”, talks about Heaney’s memories of hearing his father digging in the potato garden outside the house. The second poem, “Blackberry-Picking”, carries a similar solemn tone, while describing another memory of Heaney’s of his experience with picking blackberries. These poems by Heaney share similar themes of reflection of his past experiences in which he dissects important life lessons from everyday events such as the passage of time and the uncertainty of life.

A Comparison of Death of a Naturalist and Digging by Seamus Heaney The poems 'Death of a Naturalist' and 'Digging' have many similarities, and contrasts. Some of the reoccurring themes in the two poems include memories of childhood and changes in the life of the writer. There are contrasts too, in 'Death of a Naturalist'; the writer is concentrating on himself and his own experiences in life, rather than the experiences of others. In 'Digging', the opposite is true, as the writer concentrates mainly on the events in other people's lives, namely his father and grandfather.

The imagery in the poem, specifically natural imagery, helps use the reader’s senses to develop a vivid depiction of the speaker’s connection to nature and dissatisfaction with the surrounding reality. The speaker’s continued use of the “moon” reflects her attribution of feminine identity and idolistic character to the moon. As opposed to referencing herself and her personal insomnia, she uses the imagery of the moon “beyond sleep” to convey her internal struggles with insomnia and her reality. Throughout the poem, the speaker also refers to shining, reflective surfaces, such as “a body of water or a mirror”, to describe the inverted reality in which the speaker experiences reciprocated love. Reflective surfaces often invert the image that is projected into them, seemingly distorting the true nature and reality of the projected image. The speaker’s reference to this reflective imagery highlights her desire to escape the burden of a patriarchal society and assume an independent and free feminine identity. Specifically, the use of natural imagery from the references to the “moon” and “a body of water” convey the speaker’s desire to take refuge within the Earth or in the feminine identity of the Earth, Mother Earth. Feminine identities are often related and associated with aspects of nature due to the natural cycle of the menstrual period and the natural process of procreation. The speaker takes advantage of these connotations to suggest Earth and natural imagery as an escape from the man-made terrors of male dominated society. In the second stanza, the speaker uses extensive imagery to develop metaphors conveying the speaker’s experience of jealousy of the moon

In the beginning of the short story, as Brother reflects on Doodle’s life, the author uses personification and foreshadowing to create a mood of remorse. As he gazes out of the window into his backyard, Brother states that “the graveyard flowers were blooming. ...speaking softly the names of our dead” (Hurst 1). The flowers provide flashbacks of the past, and foreshadow a loss of life. The loneliness felt by Brother causes readers to consider how they would feel if their loved one was gone. As Brother observes the seasons, it is noted that “summer was dead but autumn had not yet been born” (Hurst 1). The personifications of the seasons as stages in the cycle of life and death creates an unsure and uncertain mood. The shift between seasons creates an idea of change and uncertainty of events to come. Hurst creates a mood of remorse through

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.

because he is so much smaller than his father, but he also looks up to

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.

How much does an artist’s life affect the art they produce? One’s art certainly can be an expression of one’s surroundings and in this manner the surroundings are woven like a thread into their body of work. Seamus Heaney, born and raised in Northern Ireland, has grown up with many strong influences in his life that are visible in his poetry. As Robert Buttel claims in his article on Seamus Heaney “the imprint of this poet’s origins is indelibly fixed in his work” (180). Living in the “bogland” as Heaney has described Northern Ireland left an imprint on his poems, as he often depicts the lush green countryside and pastoral scenes of his youth. However, he also acknowledges his modern society.

The night symbolized death, and the walk was the person's journey to find their lost life. This poem was somewhat disturbing to me. I thought of a lost soul, thirsting to finish a mission that was not completed in life. Frost depicts death in a frightening manner with the contents of this piece of work.

This essay will analyse the challenges Seamus Heaney faced during the process of translation and writing, including his own conscious effort to make the play suitable for a modern audience. It will demonstrate how Heaney’s use of language and poetry aided in presenting modern ideas through the timbre of Irish/English diction and idiom in an attempt to make the play more ‘speakable’. Identifying features of Greek theatrical conventions and how Heaney used these to shape his play. Heaney also presents social and political issues through The Burial at Thebes in a way that resonates with a contemporary audience.

At the end of the poem, Lowell contrasts as well as likens the character to the nocturnal skunk.

Immediately beginning stanza 2 the “stain” is introduced, which easily relates to male, female, or shared semen. Eroticism is obvious with the “horned branches” which are piecing a smooth purple sky, just how a penis “leans heavily” against a vagina. The sky can is also the barrier between the branches and that beyond the sky, just how it can be taken as the inside of the vagina, it can too be considered the outside, right before penetrating. Saying there is no light puts the situation into an even more suitable location for sex. The honey-thick stain is relevant to the texture of fluids involved in sex and its dripping from leaf to leaf and limb to limb may easily equate leaves to the delicate body of a woman, and limbs to the robust physique of a man. His fourth stanza relates to the events before and during the climax of the man. He has been “buoyed up” and his head-a name that is used to describe the tip of the penis- has knocked against the vagina-relevant “sky”. In the fifth stanza the surrealism and dreamlike dimension covered in the beginning has its attention shifted to the speaker. He wants her to see him, “dripping with nectar” and finally with his arms and hands idle, implying they were once busied up. The last stanza can either be one of true love for this woman, as he asks the question or one of disposal. He might be saying that he is done with her and doubts he’ll love her after this sex-where his connection to her was greatest.