Alayna Chisholm - Poetic Language

Carter, M. (2023).  Poetry Seamus Heaney: Life, Themes, Style, Philosophy.  [online] Class with Mason. Available at: https://www.classwithmason.com/2023/05/poetry-seamus-heaney-life-themes-style.html [Accessed 11 Oct. 2023]. Carvalho, P.E. (1996). About Some Healthy Intersections: Brian Friel and Field Day.  Hungarian Journal of English and American Studies (HJEAS) , [online] 2(2), p.47. Available at: https://www.jstor.org/stable/41273938 [Accessed 22 Oct. 2023]. Chisholm, A (2023) Seamus Heaney ‘Blackberry Picking’ Irish landscape video Corcoran, N. (1998).  The Poetry of Seamus Heaney : a Critical Study . London: Faber. Frängsmyr, T. (1996).  The Nobel Prize in Literature 1995.  [online] NobelPrize.org. Available at: https://www.nobelprize.org/prizes/literature/1995/heaney/biographical. Green, A. (2000). Seamus Heaney and the Earth.  The English Review , 10(4). Imperial War Museum (2022).  What You Need to Know about the Troubles . [online] Impe...

(O’Brien, 2009) ‘Blackberry Picking” ‘Blackberry Picking’ takes the reader on a journey that explores the innocence of childhood into the depths of disappointment in adulthood.   The poem is written in iambic pentameter with each line being 5 feet with 2 syllables and is structured into two stanzas that follow an AABBCC rhyme scheme. However, most lines are shown to be half rhymes “sun/ripen” (Heaney, 1966, lines 1 and 2) whereas “clot/knot” in stanza one (Heaney, 1966, lines 3 and 4) and “rot/not” in stanza two (Heaney, 1966, lines 23 and 24) are rhyming couplets. Although the rhythmic tone of the poem can create a musical feel that may mirror childhood, Heaney’s clever use of half rhymes throughout the poem could create a sense of disorganisation and lack of direction, reflecting the non-linear path that you may take through adult life.   In the first stanza, Heaney uses a direct pronoun which draws attention to the reader; “You ate that first one and its flesh was sweet/ Li...

Video edit (Chisholm,2023) Blackberry-Picking BY  SEAMUS HEANEY Late August, given heavy rain and sun For a full week, the blackberries would ripen. At first, just one, a glossy purple clot Among others, red, green, hard as a knot. You ate that first one and its flesh was sweet Like thickened wine: summer's blood was in it Leaving stains upon the tongue and lust for Picking. Then red ones inked up and that hunger Sent us out with milk cans, pea tins, jam-pots Where briars scratched and wet grass bleached our boots. Round hayfields, cornfields and potato-drills We trekked and picked until the cans were full, Until the tinkling bottom had been covered With green ones, and on top big dark blobs burned Like a plate of eyes. Our hands were peppered With thorn pricks, our palms sticky as Bluebeard's. We hoarded the fresh berries in the byre. But when the bath was filled we found a fur, A rat-grey fungus, glutting on our cache. The juice was stinking too. Once off the bush The fruit f...

Critics have engaged in literary discussions of Heaney’s political symbolism in his poetry, writing on the idea of Heaney’s poetry glamorising the political violence in Northern Ireland and having a one-sided approach to the conflict. Edna Longley writes of the ‘introverted’ Catholic and Nationalist terms of the poem ‘Kinship’ in Heaney’s collection of ‘North’(Heaney, 1966) in her essay “Poetry and Politics in Northern Ireland” (Longley, 1985.) Longley believes that poetry and politics shouldn’t intertwine and should remain separate whilst expressing that “Ulster poets today are sometimes the victims of improper 'expectations'” but “This does not let the poet off of particular 'responsibility' towards political events. (Longley, 1985) Longley implies that ‘Ulster poets’ should strive for ‘complete truth’ within their poetry and take no political sides to maintain their social responsibilities as a poet.   Similarly, critic Conor Cruise O’Brien states that politics and l...

(McManus, 1971) Seamus Heaney at Co.Wicklow   In April 1939, Heaney was born into a Catholic family in Derry, Northern Ireland. Heaney describes the earth as being a “continual inspiration” (Green, 2000) for his writing and weaves primitive Irish wilderness and identity through his poetry whilst simultaneously exploring life, loss and political conflict. Throughout his poems, Heaney uses his Irish identity as a voice for those who faced discrimination during ‘The Troubles’ in Northern Ireland. He used poems such as ‘North’ and ‘Punishment’ to illustrate the conflict that occurred while he was growing up.   Heaney’s poetry digs into the complexities of human experience and frequently uses natural imagery to paint this extraordinary picture. He expresses that the memory of his childhood physical environment was a “sensation rather than an intellection that returns to him” (Heaney, 2013) which is why his poetry can capture the natural world so vividly. For Heaney, his poetry was ...