The Haw Lantern Free

Total Page:16

File Type:pdf, Size:1020Kb

The Haw Lantern Free FREE THE HAW LANTERN PDF Seamus Heaney | 64 pages | 15 Jun 2006 | FABER & FABER | 9780571232871 | English | London, United Kingdom The Haw Lantern by Seamus Heaney Several of the poems—including the sonnet cycle "Clearances"—explore themes of mortality and loss inspired by the death The Haw Lantern his mother, Margaret Kathleen Heaney the "M. Several critics have remarked that the poems contained in The Haw Lantern are among Heaney's most abstract, and here he seems to lack the poetic precision and incisive attention to detail that he displayed in previous collections Wintering Out and North. The title of the collection refers to the haw fruit. The fruit is an important symbol of defiance against winter, a symbol of, the dignity of the Northern Irish in the face of violence and trouble, The Haw Lantern offering a small piece of light and hope in the darkness. The image of the lantern evoked by the title is a reference to the traditional account of the Greek cynic philosopher Diogenes of Sinope. According to the story, Diogenes carried a lantern through the streets in The Haw Lantern of an honest man in the light. The implication is that there is little hope of finding an honest man, especially in the dire political situation in Northern Ireland at that time. From Infogalactic: the planetary knowledge core. Jump to: navigationsearch. Works by Seamus Heaney. Selected Poems — New Selected Poems — Navigation menu Personal tools Log in Request account. Namespaces Page Discussion. The Haw Lantern Read View source View history. This page was last modified on 19 Marchat This article's content derived from Wikipedia, the Free Encyclopedia See original source. Privacy policy About Infogalactic: the planetary knowledge core Disclaimers Mobile view. Station Island. The Haw Lantern: Poems by Seamus Heaney | NOOK Book (eBook) | Barnes & Noble® I don't know that I can add any more illumination to poem after reading what Daniel posted. I was thinking that Diogenes was a myth, so I was surprised to read that he had been real and a philosopher. I thought it was interesting that Diogenes believed in a life of self-sufficiency and disdained the artificiality of human civilizations. In connection with Heaney's poem, I am wondering if Heaney is saying that Ireland should be self- sufficient, seperate from Britain? I don't know. By bringing in Diogenes, is Heaney also saying that Ireland should use the "haw lantern" to do a little soul searching? Like I said, I The Haw Lantern add a lot more to the great insight that Daniel provided. But those questions were just a couple of musing that I had. After reading about Diogenes, Heaney's poem gained more depth, at least for me. I also looked into the "haw" and diogenes, and found essentially the same info as what Daniel wrote about. The "haW" is a berry. I was thinking of some kind of lantern post or lighted branch like Melissa said as well. I think that the berry as a symbol of that light is really cool. I appreciate the pics for the realism they provide. Saturday, 28 March "The Haw Lantern". Just a reminder: I would like a progress report from The Haw Lantern by Friday April 3detailing how you are getting along with your term paper. I came home and re-read the poem several times, then looked up the reference to Diogenes, then read the poem a few more times. He is most famous for walking through the streets of The Haw Lantern carrying a lamp, looking for an honest man among the masses. But of course it is The Haw Lantern than this. The implication is that its people can also be narrow-minded, near-sighted, petty, etc. The Haw Lantern was published induring a time when Sinn Fein was actively seeking to negotiate an end to the Northern Ireland conflicts, The Haw Lantern those conflicts were still bloody and ongoing, if less frequent than they had been in the 70s. Indeed, the fact that there is no honest man to be found is a denunciation of everyone involved. Heaney's stance is that no one is blameless think of the story we discussed from his Nobel Lecture. He is more concerned with the wrong-ness of a climate that creates and allows bloodshed, taking Ireland "out of season. It may also be the realization, as you look at its blood-red fruit, that the fruit of wrong-seasoned, present-day Northern Ireland is bloody. This should indeed prick us. You want that prick to "clear you," much like The Haw Lantern clean blood test can tell you you don't have an infection, or a disease. The Haw Lantern you are found wanting. You are not cleared. If we let ourselves be pricked, we will be honest enough to admit that we are The Haw Lantern no means blameless. Calling all critics…. Posted by Daniel at Janel 30 March at Unknown 6 January at Newer Post Older Post Home. Subscribe to: Post Comments Atom. Johny Driessen Melissa Zelig brandon. ENGLISHR: "The Haw Lantern" Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview The Haw Lantern a Problem? Details if other :. Thanks for telling us about the The Haw Lantern. Return to Book Page. The Haw Lantern by Seamus Heaney. Seamus Heaney describes the haw lantern as "small light for small people" but there is more than tiny illumination emanating from one of Ireland's premier poets. Get A Copy. Paperback51 pages. More Details Original Title. Whitbread Award for Poetry Other The Haw Lantern Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Haw Lanternplease sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of The Haw Lantern. Oct 20, Cindy Rollins rated it it was amazing Shelves: Absolutely stunning. I was surprised to find how accessible these were. Heaney was the oldest of 9 children and I am the mother of 9. His series of poems to his mother under the heading Clearances were naturally an unexpected highlight for me. I found number 4 on his changing his grammar to relate to his mother lovely. These will be read over and over again. May 02, Samir Rawas Sarayji The Haw Lantern it liked it Shelves: nobel-laureatpoetryirish-lit. This was a much more abstract collection than I am used to The Haw Lantern Heaney. The poems about his mother's passing were more in tune with his established style, they were moving and brilliantly executed; they make up about a third of the collection. I had mixed feelings about the other poems, some were abstract to the point that I simply could not grasp; others, with some effort, became accessible. Still, I prefer his other collections. Oct 15, The Haw Lantern McDermott rated it really liked it. Call me basic but the lyricism and art of Heaney as a poet has yet to be matched in modern poetry I am open to be persuaded otherwise. Heaney era coltissimo e al tempo stesso legatissimo alla propria infanzia, alle proprie radici innervate nella terra irlandese, arcaica e ruvida: convinto, dunque, di poter fare della subcultura rurale di Eireann una risorsa culturale per tutti. I suoi versi non sono sempre agevoli, specie se letti in lingua originale: sono ricchi di regionalismi dell'Ulster, colmi di simbologie e riferimenti non sempre immediati alla storia irlandese, impreziositi da un vocabolario visionario ma a tratti arduo. Risulta quindi necessario avere sempre in mente i temi prediletti dell'autore per comprendere il contesto e il senso dei versi: l'origine rurale e arcaica del poeta stesso, il suo essere sospeso tra due lingue l'Irish gaelico e l'inglese letterariola sua partecipazione alle tensioni storiche e sociali dell'Ulster degli anni ''80 del Novecento. We lived deep in a land of optative moods, under high, banked clouds of resignation May 28, The Haw Lantern Karnehm-Esh rated it it was amazing Shelves: poetry. This little book took me a long time to read, because I had to read every poem at least The Haw Lantern. And now I'm a better person for it. When I need to remind myself of God's love, it's the fact Seamus Heaney was with us for so long. Feb 08, Richard rated it it was ok Shelves: poetryre-reads. At the The Haw Lantern of this, Heaney's ninth volume, is "Clearances", a sequence of thoughtfully beautiful sonnets in memory of the poet's The Haw Lantern. Perhaps this should be enough. However, there are many that simply defeat me, frustrate with their abstractions and allusions, irritate with what seem to me to be mannerisms: all those "or"s and "X and Y"s "sift and At the heart of this, Heaney's ninth volume, is "Clearances", a sequence of thoughtfully beautiful sonnets in memory of the poet's mother. However, there are many that simply defeat me, frustrate with their abstractions and allusions, irritate with what seem to me to be mannerisms: all those "or"s and "X and Y"s "sift and fall", "waft and pressure", "heft and hush" Heaney is undoubtedly a great poet, certainly one whose work I do not cannot? As I make my way through Heaney's poetry, one of the more fascinating aspects is seeing how consistently he seeks to portray Ireland, its landscapes and people, while making subtle shifts in the poetry styles he uses to convey these ideas.
Recommended publications
  • The Haw Lantern Free Ebook
    FREETHE HAW LANTERN EBOOK Seamus Heaney | 64 pages | 15 Jun 2006 | FABER & FABER | 9780571232871 | English | London, United Kingdom Books similar to The Haw Lantern I like the poem a whole lot, but can you tell me what a haw lantern is? The The Haw Lantern says haw is the hawthorn berry, and the poem certainly refers to shrubbery, but what is a haw lantern? An alternate definition says a haw is a covering of the eye which fits lantern toobut I'm thinking there really might be a type of lantern called a haw, and are they really "made of pith and stone? I'm pretty sure the lantern is in fact the berry. I see it as a berry left on the bush in winter, a small red lamp The Haw Lantern the gloaming. A long time since I bin to the Dope; good to see that folks are still pounding away at Ezra. Kinda like "the holly bears the crown," huh? Does the hawthorn berry The Haw Lantern a stone? I think lapsed sdmb members can post free for 30 days if they start posting again, but no worries. The thread doesn't really The Haw Lantern much to the one we did before; I just like rehashing stuff because it makes me rethink. Shakespeare spells lantern,lanthorne. Was this a reference to ancient lanterns made from bunches of hawthorn possible burning? The moon in 'A midsummer Nights Dream' also carries a thornbush. A hawthorn? Does anyone out there know? Post a Comment. Follow Mumbling Jack, my new blog.
    [Show full text]
  • Housman Lecture O'donoghue 2018 Final 02.Indd
    UCL DEPARTMENT OF GREEK AND LATIN UCL Housman Lecture 2018 ‘Chosen Ancestors’ Aeneid 6 and Seamus Heaney’s Pieties by Bernard O’Donoghue A.E. Housman (1859–1936) Born in Worcestershire in 1859, Alfred Edward Housman was a gifted classical scholar and poet. After studying in Oxford, Housman worked for ten years as a clerk, while publishing and writing scholarly articles on Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he returned to the academic world as Professor of Classics at University College London (1892–1911) and then as Kennedy Professor of Latin at Trinity College, Cambridge (1911–1936). Housman Lectures at UCL The Department of Greek and Latin at University College London organizes regular Housman Lectures, named after its illustrious former colleague (with support from UCL Alumni). Housman Lectures, delivered by a scholar of international distinction, originally took place every second year and now happen every year, alternating between Greek and Roman topics (Greek lectures being funded by the A.G. Leventis Foundation). This is the tenth Housman Lecture, and it took place on 14 March 2018. Bernard O’Donoghue is a poet and an Emeritus Fellow of Wadham College, Oxford. Cover images: Attic black-figured amphora: Aeneas’ flight from Troy © The Trustees of the British Museum HOUSMAN LECTURE ‘Chosen Ancestors’ Aeneid 6 and Seamus Heaney’s Pieties Bernard O’Donoghue A complete translation by Seamus Heaney of Aeneid 6 had long been rumoured, so its posthumous appearance in 2016 was a major event. Heaney had said that he wanted to produce a ‘poetic remaking of Book VI’, by contrast with his more dutiful translation of Beowulf, which he said to begin with he did ‘not know or love enough’ to remake poetically.
    [Show full text]
  • 151 the Multiple Roles of Heaney's
    IJHS, e-ISSN 2597-4718, p-ISSN 2597-470X, Vol. 1, No. 2, March 2018, pp. 151-162 International Journal of Humanity Studies http://e-journal.usd.ac.id/index.php/IJHS Sanata Dharma University, Yogyakarta, Indonesia THE MULTIPLE ROLES OF HEANEY’S LANDSCAPES: A MIRROR OF LIFE AND ITS DILEMMA David C. E. Tneh Tunku Abdul Rahman University, Malaysia [email protected] DOI: https://doi.org/10.24071/ijhs.2018.010202 received 25 November 2017; revised 2 Dec 2017; accepted 19 February 2018 Abstract This paper discusses the timeless appeal of the poetry of Seamus Heaney, the poet laureate of Ireland and Nobel Prize winner for literature (1995). This paper traces the early developments of Heaney’s poetry and highlights how the creative genre offers a dialogic platform (even in the 21st century) for national and political issues. Heaney’s poetry transcends geographical boundaries with its evocative imagery and fluidity of time and space that is alluring, enigmatic, and striking. This paper will then discuss how multiple roles of Heaney’s metaphorical landscapes from his five collections of poetry (from 1966 to 1979) namely Death of a Naturalist, Door into the Dark, Wintering Out, North, and Fieldwork are not merely poems about the nature, the environment, and Ireland but are instruments about his socio-economic/political views concerning idyllic Irish rural life, memories, nationalism, sectarian violence, colonial British rule, and his Catholic faith. The discussion of his selected poetry offers a deep intimate insight of Heaney’s earlier poetry that mirrors Irish life and its struggles with nationhood.
    [Show full text]
  • Heaney's 'Impure' Translation in "Ugolino" and Sweeney Astray
    "Through the Wall": Heaney's 'Impure' Translation in "Ugolino" and Sweeney Astray Maristella Gatto University of Bari Abstract The purpose of this article is to investigate Heaney's activity as a translator with particular reference to what the poet himself calls 'impure' translation, so as to show to what extent translation represents the first step towards assimilation of translated texts into his works, the first moment of a movement aimed at a fecund intertextual dialogue. As examples of 'impure' translation, Heaney explicitly inentions his version of the Ugolino episode from Dante's Inferno, and "to some extent" also Sweeney Astray, a version of the medieval Irish poem Buile Suihhne: this is the reason why attention is here focused on these two works. There is, however, another fundamental reason for selecting them: these translations are used together as pre-texts-as something existing before the text-in the poet's reworking of the Dantesque journey and the Sweeney legend in Station Island, where the Divine Comedy is literally translatedbansferred to Ireland (Lough Derg, County Donegal), and they thus unequivocally testie to the indeed fertile osmosis between poetry and 'impure' translation in Heaney 'S works. 1 would like to start this brief discussion of Heaney's activity as a translator by referring to that peculiar condition which was very aptly defmed by Claudio Guillén as "latent mdtilingualism": The most evident mdtilingualism is that of writers who actually expressed themselves in more than one language . But there is another multilingualism, latent, characteristic of societies, towns and whole countries, as well as of the poet, dramatist, and narrator, for whom the relationship with more than one language was the humus of his culture .
    [Show full text]
  • Carmen Bugan
    EnterText 4.3 Supplement CARMEN BUGAN Taking Possession of “Extraterritorial” Poetics: Seamus Heaney and Eastern European Poetry in English Translation Most of Heaney’s prose deals with the dichotomy between “life” and “art;” this chapter briefly looks at how the poet nuances and attempts to solve this dichotomy through his reading of Eastern European work.1 Osip Mandelstam, Joseph Brodsky, Czeslaw Milosz and Zbigniew Herbert appear prominently in Heaney’s prose written during the 1980s. Additionally, the Irish poet wrote dedicatory poems to each of them. Heaney presents his critical work as a form of autobiography, saying that the poets he discusses have become part of his memory.2 In particular, he sees his relationship with the poets he writes about as a form of immersion, where their work, over time, comes to bear on his poetics.3 Another metaphor for this form of influence emerges from Heaney’s discussion of his translation practices. He speaks of two motives: the “Raid” occurs when the poet looks for something specific in the foreign text and ends up with a “booty” called “Imitations.” This is a more superficial appropriation of the text. The “Settlement approach” happens when the poet “enter[s] an oeuvre, colonize[s] it, take[s] it over” (changing it) and remains with the text, allowing himself to be changed by it in return.4 I argue that Carmen Bugan: Taking Possession 77 EnterText 4.3 Heaney’s relationship with Eastern European poetry, though one of reading translations rather than translating, is a “Settlement;” this poetry has, over time, become part of his memory and he has allowed himself to be changed by it.
    [Show full text]
  • Seamus Heaney: Electric Light Review Essay by Eugene O’Brien
    Connecting Bits and Pieces - Seamus Heaney: Electric Light Review essay by Eugene O’Brien ‘Connecting Bits and Pieces: Review essay on Seamus Heaney: Electric Light in Nua: Studies in Contemporary Irish Writing, Volume III, Numbers 1 & 2, pages 139-146. Eugene O’Brien 5 keywords Ireland, Heaney, language, memory Abstract This review essay examines the recurrence of different themes in Seamus Heaney’s Collection Electric Light. It retraces influence of T.S. Eliot in the book and also the ongoing preoccupation with classical references. The book looks again at different themes from the Heaney canon, but sees them in a new light. ____________________________________________________________________________________ Electric Light has been the subject of a number of reviews since its publication, many of which can be seen to damn the book with faint praise. John Carey, one of Heaney’s strongest critical supporters in the past, has made the point that this is Heaney’s “most literary collection to date – which may disconcert his admirers,” and he goes on: “caring about life, especially primitive rural life, rather than literature has always seemed a hallmark of his poetic integrity” (35). Such a reading is quite a commonplace among Heaney criticism, and it seems to me that it is stuck in a sort of critical time-warp as it misses the growing surety of tone, theme and allusive range that is the hallmark of Heaney’s later poetry. Has this view taken any cognizance of the Heaney who can allude to over twenty authors in North, or who can say “I swim
    [Show full text]
  • Moving Backwards to Reach Forwards: Seamus Heaney and the Living Past
    MOVING BACKWARDS TO REACH FORWARDS: SEAMUS HEANEY AND THE LIVING PAST Juan Ráez Padilla Universidad de Jaén Abstract Resumen Internecine violence and sectarianism, La violencia fratricida y el sectarismo, unfortunately, represent an desafortunadamente, representan un pesado encumbering yoke from which yugo del que Irlanda del Norte ha intentado Northern Ireland has been struggling liberarse durante los últimos cincuenta años to liberate itself for the past fifty years (desde el comienzo de los llamados Troubles, (since the Troubles began in the late a finales de los años sesenta). La poesía de 60s). Seamus Heaney’s poetry is no Seamus Heaney no es una excepción en este exception. This paper focuses on sentido. El presente artículo se centra en el some of his poems dealing with these análisis de algunos de los poemas que issues, especially those written in the exploran tal temática, especialmente en years following the first cease-fire in aquellos publicados en los primeros años tras Northern Ireland (1994), which, by el primer alto el fuego en Irlanda del Norte revisiting the past, foresaw a new (1994), los cuales, a través de la revisitación future for Ireland. This move del pasado, vislumbraban un nuevo futuro backwards to reach forwards is para Irlanda. Este movimiento hacía detrás practised at different levels. Not only para progresar hacia delante es explorado a does Heaney look back in history diferentes niveles. Heaney no sólo mira hacia (ancient Greece, for example) to atrás en la historia (hacia la Grecia clásica, rediscover
    [Show full text]
  • The Political Commitment in the Poetry of Seamus Heaney
    THE UNIVERSITY OF HULL "PROTECTIVE COLOURING" - THE POLITICAL COMMITMENT IN THE POETRY OF SEAMUS HEANEY BEING A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE UNIVERSITY OF HULL BY ALAIN THOMAS YVON SINNER, BA APRIL 1988 PREFACE I came to Heaney's poetry through FIELD WORK, which I read for a seminar on contemporary British poetry when I was studying English at the University of Hull. At the time I knew nothing whatsoever about post-Yeatsian Irish poetry and so I was agreeably surprised by the quality of Heaney's work. Initially, it was not so much the contents of his poems, but the rhythms, the sound patterns, the physical immediacy of his poetry which I admired most. Accordingly, I concentrated on Heaney's nature and love poems. His political verse requires the reader to be more or less well informed about what was and still is going on in Northern Ireland and it was only gradually that I acquired such knowledge. After FIELD WORK, I read the SELECTED POEMS 1965-1975 and they became a kind of journey through the diverse aspects of Heaney's multi-faceted work. In the course of six years' research on Heaney I have come to study other poets from Ulster as well and, though I still feel that Heaney is the most promising talent, it seems to me that Ireland is once again making a considerable contribution to English literature. Heaney is definitely on his way to becoming a major poet. The relevance of his work is not limited to the Irish context; he has something to say to ENGLISH ' ********************************************************* 1 1 A1-1-i 1988 Summary of Thesis submitted for PhD degree by Alain T.Y.
    [Show full text]
  • SOCIAL SCIENCES Identity, Language and Culture in Seamus Heaney's
    Integr. J. Soc Sci., 2014, 1(1), 14-20 . Article . INTEGRATED JOURNAL OF SOCIAL SCIENCES Identity, language and culture in Seamus Heaney’s The Haw Lantern Haris Qadeer a* aGautam Buddha University, Greater Noida, 201312, India Received: 28-Jan-2014 ABSTRACT The present paper attempts to study Nobel Laureate Seamus Heaney’s poetic collection The Haw Lantern (1987) from postcolonial lens. The paper explores Heaney’s negotiations with the hegemony and the compromises and compensations which he makes in the process. It explores Heaney’s quest for reclaiming his original Irish identity which is profoundly imbedded in native culture. The desire and need of a single reliable version of the past and the need to revise past in the light of new historical circumstances are among the strategies employed by Heaney to re-write history and scrutinize the misrepresentations of Irish culture and traditions in hegemonic records. Heaney’s effort of dismantling the hegemony and deconstructing colonialism will also be dealt with. Keywords: Postcolonialism, Irish, Identity, Culture, Language Heaney's early allegories subvert Britain's patriarchal social and political identity is a significant issue which he powers so that the silenced, matriarchal voices of his heritage considers in the collection The Haw Lantern (1987). Helen can speak. In The Haw Lantern, Heaney again summons the Vendler claims that “The Haw Lantern is a book of strict, British power brokers to the debating table, and although the even stiff, second thoughts”.2 Heaney embellishes the talk is perhaps more metaphysical in tone and subject, the collection with parables, allegories and satires on the social, underlying political and linguistic issues are similar to earlier political and religious aspects of Irish life.
    [Show full text]
  • On Seamus Heaney's Wintering
    Journal of Literature and Art Studies, June 2017, Vol. 7, No. 6, 648-655 doi: 10.17265/2159-5836/2017.06.002 D DAVID PUBLISHING In Search of Identity in Language and Irish Geography: On Seamus Heaney’s Wintering Out WU Kai-su Tamkang University, Taipei, Taiwan Seamus Heaney in his lifespan of 74 years is lauded not only for his great accomplishment in the field of poetry, but also for his translation, editing and literary criticism. Yet, when it comes to socio-political affairs, the poet is not a unanimous favorite. Far from being an influential political activist sometimes anticipated by his friends and countrymen in Ireland, Heaney resorted to his search for identities and for answers to his nation’s predicament in the world of words. As a poetic collection published during the political unrest in the seventies, Wintering Out discloses Heaney’s composition of the dialectic between the aesthetic and the historical. In this essay, the author will look into Heaney’s four poems in the collection, in which the poet’s linguistic as well as geographical survey of his hometown is indispensible for readers who intend to discern his attitude in the critical period of his artistic formation. Keywords: language, geography, identities, Ireland, Wintering Out Introduction As the fourth Irish writer winning the 1995 Nobel Prize in Literature, after William Butler Yeats, Bernard Shaw and Samuel Beckett, Seamus Heaney has been regarded as one of the most successful poets in the world. Throughout his productive artistic career, Wintering Out, his third collection of poetry, is equally acclaimed for its achievement like most of his other collections, but more for its graphic imagery in terms of its delineation of the triangular relations among landscape, language and human beings.
    [Show full text]
  • A Contemporary Voice Revisits the Past: Seamus Heaney's Beowulf
    Estudios Irlandeses , Number 2, 2007, pp. 57-67 __________________________________________________________________________________________ AEDEI A Contemporary Voice Revisits the Past: Seamus Heaney's Beowulf By Silvia Geremia Pavia University, Italy Copyright (c) 2007 by Silvia Geremia. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. Heaney’s controversial translation of Beowulf shows characteristics that make it look like an original work: in particular, the presence of Hiberno-English words and some unexpected structural features such as the use of italics, notes and running titles. Some of Heaney’s artistic choices have been brought into question by the Germanic philologists, who reproached him with his lack of fidelity to the original text. Moreover, the insertion of Hiberno-English words, which cause an effect of estrangement on Standard English speakers, was considered by some critics not only an aesthetic choice but a provocative act, a linguistic and political claim recalling the ancient antagonism between the Irish and the English. Yet, from the point of view of Heaney’s theoretical and cultural background, his innovations in his translation of Beowulf appear consistent with his personal notions of poetry and translation. Therefore, his Beowulf can be considered the result of a necessary interaction between translator and original text and be acclaimed in spite of all the criticism. Key Words. Translation, ‘self’, ‘other’, Hiberno-English, ‘further language’, (act of/process of) ‘appropriation’, Scullionspeak. Resumen. La controvertida traducción de Beowulf de Heaney posee características que la hacen parecer una obra original: en particular, la presencia de palabras en hiberno-inglés y algunos elementos estructurales inesperados como el empleo de la letra cursiva, de notas y de títulos en el poema.
    [Show full text]
  • The Poetry of Seamus Heaney
    Following their Stars – Astrological Correspondences in the World of Poetry Presentation by Anna May Harkin at The Faculty of Astrological Studies Faculty Day, 21st March 2015. London • Firstly, to what extent is there an artistic dimension to the practice of astrology or at least parallels in the two fields of art and astrology; • Secondly, to what extent can we see a reflection of their astrological charts in the imagination of artists as revealed in their work (in this case poetry). Both poetic composition and an astrological reading involve a way of seeing, a mode of perception and, in an ideal outcome, an articulation of that seeing in a way that resonates with the poem’s readers in the first case and the astrological client/situation in the second. Astrology and (most times) poetry work through: symbols, metaphors, images, analogies and correspondences and in this way, through their respective languages, can access the deeper structures of the human mind, what some would call the archetypal layers of the unconscious. Fintan O’Toole*, speaking of the poet Seamus Heaney (of whom more later), writes of “his lifelong quest - for images and symbols adequate to the predicament of being alive in his own time”. Incidently O’Toole starts off his contribution with the following sentence: “Like all great poets Seamus Heaney was an alchemist”. *Fintan O’Toole in an obituary entitled The Great Citizen p. 105 of Irish Pages – Heaney Memorial Issue. Vol.8, No.2. 2014. eds. Chris Agee and Cathal O Searcaigh. The astrologer is working with the given and evolving set of symbols of our tradition – s/he must choose which symbols are the best fit for the issue in hand e.g.
    [Show full text]