Bog Bodies Into the Public Light, Heaney’S Poems Magnified Their Meaning, Giving Them a Contemporary Resonance
72 4 Crossing the bog Mossbawn Mossbawn is the name of Seamus Heaney’s family home: a farm in Co. Derry, located at the edge of bogland near Lough Beg (Heaney 1980). Though ‘bawn’ is the anglicised word for a cattle enclosure, the notion of his being ‘moss-b orn’ seems fitting. Of the bogs he once said, ‘It is as if I am betrothed to them’, remem- bering an earthy ‘initiation’ of swimming in a moss hole, from which he emerged steeped in the peat, marked from then on by ‘this hankering for the under- ground side of things’ (Heaney 2002: 5–6). If the iconic work by Glob ([1969] 1971) brought the bog bodies into the public light, Heaney’s poems magnified their meaning, giving them a contemporary resonance. Yet those poems also made people look again at the bog landscape. Heaney brought a dwelling eye to the place, making us see them again, not as a marginal landscape or cultural backwater, but as the place he was born and brought up: an omphalos, the navel of the world that surrounded it (Heaney 2002: 1). He did not shy away from their dangers but showed how such fear could be mobilised in the cultural imagin- ation, while also bringing to light its riches and treasures. This chapter attempts to achieve the same re- envisioning of the bog, through palaeoenvironmental, archaeological and archival evidence. The bog, the moss, the mire and the moor Peat forms under waterlogged conditions where plant matter grows faster than it can decay, due to an oxygen-ex cluding environment that slows the normal break- down of organic matter (van der Sanden 1996: 21).
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