Heaney’s poems explore by varied poetic means the enduring significance of family and childhood in human life

Much of Heaneys meter, peculiar(a)ly from his proterozoic selections, explores puerility and family. Heaney perhaps manipulations these topics as a means of discovering his true egotism by travelling back to his roots. His puerility experiences brook for certain had a deep impact and acted as inspiration for m any(prenominal) of the poetrys from his archetypical book, expiry of a Naturalist, plainly there be to a fault poesys in later books that explore this theme. Aside from giving us an taste into Heaneys early life, his exploration of childhood and family in addition reflects the rural Irish culture at the m and the political situation in Ireland.The poet too explores the themes of childhood and family through the riding habit of non-homogeneous poetical devices, including vivid tomography and structure. The first poetry that I have decided to examine is Digging from Heaneys first collection, finis of a Naturalist. This poem focuses on the poets father an d grandfather, and his admiration for their digging skills. It also shows the great business between father and son, in that Heaney has no spade to follow custody like them his talents lie in piece. Digging is the first poem in the selection, and certainly depicts Heaneys insecurities about his writing c atomic number 18er and his early struggle to define himself as a poet, and break the family tradition of rural labour. The poem is littered with various poetic devices, which help to bring the poem and the poets feelings alive to the reader. Firstly, Heaney uses the allegory, snug as a ordnance to describe the modal value the pen feels when he holds it. This suggests that it fits his overturn well and is very powerful.It could also mean that, whereas his father and grandfather use the spade as their weapon, Heaney uses the pen. Some have also proposed that the chassis of the gun is a rebuke of the violence in Northern Ireland. However, this idlernot be so, because this poem was published in 1966, before the troubles started. He also chooses to use quite vivid spoken terminology to describe his fathers actions while digging in the garden. For spokesperson, a clean rasping sound is almost onomatopoeia, as the give voice rightfully sounds like the noise a spade directs when it sinks into hard ground.Further examples of onomatopoeia are, chat up, slap, sloppily and gravelly. Straining rump is also a good choice of language, as the reader can instantly get a line how hard the man is working and feel his pain. A further poetic tool is the use of technical language, such as lug and nip, which show their technique and skill in their trade, as they know on the nose now what they are doing and thoroughly understand every part of their tool.Colloquial language is also utilise, such as By God, the old man could wangle a spade. This is perhaps used as a modality for Heaney to connect with the rural population of Ireland and associate himself with his roots. The structure of the poem is also a very important feature, as it helps to illustrate Heaneys insecurities with his writing career. The stanzas are very irregular, suggesting that the poets thoughts are wandering aimlessly as he is attempt to discover his true identity and accept his trade.However, the structure could also be said to portray the idea of digging, in that the first four stanzas pay back in length, almost like a spade travelling deeper into the ground. Heaney uses the theme of Digging and roots as an extended metaphor, as through writing this poem, he is attempting to get back and identify with his own roots and dig into the then(prenominal) and his childhood, in order to discover his true self. He demonstrates the significance of family and childhood experiences and the impact they have on your actions in later life.Heaney was clearly hard put that he was disappointing his father by not continuing the family trade, and this poem seems to act as an apology for this. The last stanza of Digging is very similar to the first stanza, but instead of the pen being as snug as a gun, Heaney resolves that he will dig with it. This implies that the pen is Heaneys tool, just like the spade was his predecessors tool. The occupations may be vastly different, but they p all in alliate require a great deal of expertise.The second poem that I have chosen to explore is Personal Helicon, which is also from Heaneys first collection, Death of Naturalist. This poem contains many double meanings. On the surface, it would appear as if Heaney is reflecting on his favourite pastime as a child, which was playing with water and wells. This, indeed, is true, but he is also using the theme to talk about writing poetry. The word Helicon in the title refers to a place in ancient Greece where there are springs that supposedly give inspiration to anyone that drinks there.This suggests that, for Seamus Heaney, the memories of his childhood and his love for water and w ells are his personal inspiration for his poetry. It is also an interesting choice of word because both sources of inspiration are associated with water. So deep you saw no reflection in it describes one particular well that Heaney encountered as a child. However, the image of the bottomless well also portrays what a poem is like, filled with different meanings. A further example of a double meaning can be found in the line, A white face hovered over the bottom.This refers to the literal reflection of Heaney that could be seen in the water, but could also mean that he is always evident in his poems each poem connects in some way with the poet, no matter what the theme is. An important poetic device that the poet uses in Personal Helicon is highly expressive and vivid language, which helps the reader to envision incisively what the wells were like. Good examples of this are fungus, dank moss and finger slime, which all conjure up wonderful, yet repulsive images of exactly what well s are like and the enjoyment that children find in wet, dirty places.Heaney has also combine a clever metaphor into the poem, which is the trapped sky. The sky is seemingly not trapped within the well in a tangible sense, but it appears to be due to its reflection in the water at the bottom of the well. The last two lines of Personal Helicon are extremely significant, as they represent the motivation behind Heaneys poetry and illustrate exactly what he is like. I rhyme to see myself, to set the darkness echoing. This would imply that Seamus Heaney writes poetry in order to discover himself and approach subjects that cannot be approached in any other way. A critic once proposed that the darkness refers to the unknown, the things that remain hidden, concepts that have not been brought into the light and expressed in words. Whether it is personal fears or friendly and political injustices, poetry is a medium to bring these unspoken attitudes and opinions to the world, and to make t hem echo and resound with force.The mention of the word, darkness also links in with Heaneys next book, entitled Door into the Dark, suggesting that he was very unassured and apprehensive about his debut collection of poems and how successful it would be. Overall, Personal Helicon gives the reader an insight into Seamus Heaneys childhood and the features of rural Ireland, and shows, similarly to the previous poem, what effects childhood experiences can have on a persons later life.The final poem that I have chosen to study is The Other Side from Heaneys third poetry collection, Wintering Out. This poem chronicles the poets childhood experiences of the vast divide between Catholics and Protestants in Northern Ireland, and tells the study of a Catholic family (Heaneys family) and a Protestant neighbour living on the other side of the stream. Heaney uses a great deal of sacred imagery within this poem, perhaps in order to reinforce the theme of unearthly divide. A good example of t his is, Its poor as Lazarus, that ground.Lazarus is the name of a poor man in the bible, so this is a clever fable that not only depicts the poor quality of Heaneys farmland, but also underpins the general theme of the poem. There are a number of other religious images within the poem also. That tongue of chosen people is a acknowledgment to Protestants and the fact that they are supposed to speak properly and in a superior manner to Catholics. Chosen people is a biblical image and promised furrows links in with the bible and the idea of the promised land. Tares is another word used in the poem that suggests religious significance, as in the bible, these were weeds that the enemy deliberately planted to ruin others crops. Another interesting simile within this poem is, as if party to lovemaking or a strangers weeping. This is an excellent use of imagery, as it really portrays to the reader the cessation of the neighbours embarrassment at having interrupted Heaneys familys praye rs. Another poetic device used in the poem is onomatopoeia, shown through the expression utter of prayers.The word moan really does sound like the chanting of prayers often heard in churches, as it is a rather extended, droning word, reflecting what the prayers were like. To conclude, The Other Side depicts the significance of family and childhood experiences, as Heaney has undoubtedly gained much inspiration from his memories of the division between religions in Ireland when he was a child. Overall, it is evident that a number of Heaneys poems explore the abiding significance of family and childhood in human life, as he openly acquires a good deal of inspiration from his early years.Within these poems, he uses various poetic devices as a means of expressing memories, feelings and objects in a highly vivid and engaging way. His fascinating and intelligent use of language is certainly at the forefront of all of his poems, whether it is shown through imagery, onomatopoeia or realis tic descriptions. Heaney once said that, Words themselves are doors, suggesting that they can open up new ways of understanding, expressing and interpreting situations and feelings.