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Abbreviations Used Throughout the Notes to Refer to Works by Seamus Heaney, Published by Faber and Faber

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Abbreviations Used Throughout the Notes to Refer to Works by Seamus Heaney, Published by Faber and Faber Notes Abbreviations used throughout the notes to refer to works by Seamus Heaney, published by Faber and Faber. DN = Death of a Naturalist, 1966 DD = Door into the Dark, 1969 WO = Wintering Out, 1972 N = North, 1975 FW = Field Work, 1978 Sf = Station Island, 1984 SA = Sweeney Astray, 1984 HL = The Haw Lantern, 1987 See = Seeing Things, 1991 and P = Preoccupations: Selected Prose, 1980 GT = Government of The Tongue, 1988 plus S = Stations, 1975 (published by Ulsterman Publications, Belfast) Interviews conducted by the author are prefixed with the initials MRP, and took place on the following dates. with Harry Chambers, Cornwall, 9 March 1985 with Michael Longley, Belfast, 11 June and 27 November 1985 with Raymond Gallagher, Derry, 12 June 1985 with Ann and Hugh Heaney, Bellaghy, 13 June 1985 with Seamus Heaney, Dublin, 2 September and 28 November 1985 with J. B. S O'Kelly, Belfast, 27 November 1985 with T. P. Flanagan, Belfast, 27 November 1985 with David Hammond, Belfast. 28 November 1985 with Frank Ormsby, Belfast, 11 June and 27 November 1985 with Seamus Deane, Dublin, 28 November 1985 with Philip Hobsbaum, Glasgow, 1 and 2 February 1986 1: A Good Anchor: Home and Education, 1939-61 1. Daniel Corkery, The Hidden Ireland, Gill and Macmillan 1924, p. 24. 2. Seamus Heaney, interviewed by John Haffenden, Viewpoints, Lon­ don: Faber, 1981, p. 69. 222 Notes to pp. 1-6 223 3. See Benedict Kiely, 'A Raid into Dark Comers: The Poems of Seamus Heaney', The Hollins Critic, Vol. 4, 1970, p. 8. The cattle dealer's stick was his lance, his sabre, his staff of office. Civilization, law, has disarmed him, deprived him. .. The open markets, with dung and din of bargaining, and hand slapping, and drink to clinch the bargain have been replaced by roofed-in marts where matters are conducted in an orderly fashion by one auctioneer. 4. Phoenix, No. I, ed. Harry Chambers, March 1967, p. 35. 5. E. Estyn Evans, Irish Folk Ways, London: Routledge, 1957, p. 260. 6. Michael Longley, 'The Northerner', Sunday Independent, 26 Septem- ber 1976, p. 2. 7. N, p. 59. 8. Seamus Heaney, interviewed by John Haffenden, art. cit., p. 63. 9. HL, 'The Stone Verdict', p. 17. 10. P, p. 45. 11. Quoted in Polly Devlin, All of us There, London: Pan, 1984, p. 22. 12. HL, p. 27. In an earlier version of this poem, appearing in The Honest Ulsterman, No. 80, Spring 1986, p. 4, Heaney's opening line begins, "When the other woman was away at Mass." This refers, no doubt, to his Aunt Mary, and implies that at times he longed for the exclusive company of his mother. 13. There may be a faint echo of Othello, Act Two, scene i, "They met so near with their lips that their breaths embraced together." 14. Seamus Heaney, interviewed by John Haffenden, art. cit., pp. 60-61. 15. HL, 'Clearances', VI, p. 30. 16. St Paul's Epistle to the Hebrews, Chapter 6, v. 19. 17. Seamus Heaney, 'A Raindrop on a Thorn', interview for Dutch Quarterly Review, 9, No.1, 1979, p. 30. 18. Seamus Heaney, interviewed by Caroline Walsh, Irish Times, 6 December 1975, p. 5. 19. P, p. 21. 20. Seamus Heaney, interviewed by James Randall, Ploughshares, Vol. 5, part 3, 1979, p. 18. 21. 'A Poet's Childhood', The Listener, November 11, 1971, p. 661. 22. In 'Epic', by Patrick Kavanagh, the Monaghan poet asserts the significance of 'parochial' events, arguing that Homer "made the Iliad" from "a local row." Collected Poems, London: Martin Brian and O'Keeffe Ltd, 1972, p. 136. Dan Taggart appears in 'The Early Purges', Big Jim Evans in 'Mid-Term Break', Henry MacWilliams in 'Obituary', an unpublished poem from the first Group meeting. MacWilliams' bed became part of the fencing at Mossbawn and is referred to in several later poems, including 'Mother' (~O) and 'The Harvest Bow' (FW). The precedents for these celebrations of neighbours lie in Kavanagh's and Montague's verse. In Station Island, 'An Ulster Twilight', yet another carpenter features, Eric Dawson. 224 Notes to pp. 6-10 23. Seamus Deane, 'Talk with Seamus Heaney', New York Times Re'1'iew, 84, No. 48, 1979, p. 79. 24. Seamus Heaney, Statiolls, Belfast: Ulsterman Publications, 1975, p.18. 25. Seamus Heaney, 'William Wordsworth Lived Here', BBC 1974. 26. The pump appears in 'Rite of Spring' and 'Mother' in Door into the Dark; in 'Sinking the Shaft' in Stations; in 'A drink of water' and 'The Toome Road' in Field Work, and in 'Changes' in Statioll Island. 27. N, 'Kinship', p. 43. 28. P, p. 17 and Statiolls, p. 4. 29. P, p. 19. 30. Ibid., p. 35. 31. Seamus Heaney, interviewed by James Randall, art. cit., p. 17. 32. William Wordsworth, The Prelude, 1805, III, 1.192. 33. 'A Poet's Childhood', art. cit., p. 660. 34. S, 'Hedge School', p. 6. 35. Daniel Corkery, op. cit., p. 67. 36. Seamus Heaney, 'The Poet as a Christian', The Furrow, xxix, 10, p. 604. cf. 'The Holy Spirit is in the fields', Patrick Kavanagh, Tarry Flynn, p. 30, and see Mark Patrick Hederman, 'Seamus Heaney, the Reluctant Poet', Cmlle Bag, 3, No.2, 1979. 'Landscape' Heaney says, 'is sacramental, a system of signs that call automatically upon systems of thinking and feeling '. He talks of discovering 'a poetic voice' as though that voice were somewhere between his ordihary consciousness and some other consciousness beyond any that is presently available to us' (p. 65). 37. N, 'Kinship', p. 45. 38. Seamus Heaney, 'The Poet as a Christian', art. cit., p. 604. "Words for me have always become instinct with a fresh energy when they are hovering over my home ground in County Derry." 39. P, p. 20. 40. Ibid., p. 25. 41. Seamus Heaney, 'Le cIivage traditionnel', Les Lettres Nouvelles, March 1973, p. 87. 42. Among Schoolchildren, A Johll Malone Memorial Lecture, Belfast, 1983, p.7. 43. See P, pp. 22-24. 44. SI, p. 73. "You'd have thought that Anahorish School was purgatory enough for any man." 45. S, p. 19. Heaney's renewed interest in Anglo-Saxon is evident in the pared down style of North. The title of Heaney's poem and a number of images - those of the ring-giver, the burning halls, the deserted benches, the splintered fellowship - are derived, of course, from the marvellously atmospheric Anglo-Saxon poem. 46. William Wordsworth, The Prelude, 1805, III, line 141. Notes to pp. 10-17 225 47. Theodore Roethke, 'The Favourite', Collected Poems, London: Faber, 1985, p. 26. Heaney returns to the image in Station Island, p. 58 and p.119. 48. P, pp. 21-22. 49. Barry White, John Humc: Statesman of the Troubles, Belfast: Blackstaff Press, 1984, p. 12. 50. Ibid. 51. MRP interview with J. B. S. O'Kelly. 52. Barry White, op. cit., p. 12. 53. MRP Interview with Ann Heaney. 54. N, p. 63. The phrase originates in The Prelude, l, 398. 55. MRP Interview with Ann Heaney. 56. Details of timetable from MRP interview with Raymond Gallagher. Detail concerning confessions from Heaney's review of An Duanaire 1600-1900 Poems of the Dispossessed, ed. Sean O'Tuama and Thomas Kinsella, Tribune Review of Books, p. 38. 57. Seamus Heaney, 'Old Derry Walls', The Listener, 24 October 1968, p.521 58. MRP interview with Seamus Deane. 59. Barry White, op. cit., pp. ]2-13. 60. MRP Interview with Seamus Deane. 61. Ibid. In N, p. 64. 'Freedman', p. 61, also emphasises subjugation, 'I was under that thumb too like all my caste', and the lack of Christ-like compassion in the 'groomed optimi'. 62. MRP Interview with Raymond Gallagher. 63. Barry White, op. cit., p. 13. 64. Among Schoolchildren, op. cit., p. 7. 65. T. S. Eliot, 'Little Gidding', Four Quartets, The Complete Poems and Plays of T. S. Eliot, London: Faber 1969, p. 194. 66. S, p. 22. 67. HL, 'Alphabets', p. 2. 68. John Hume quoted in Barry White, op. cit., p. 43. 69. HL, pp. 46-47. The first version of 'From the Canton of Expectation' appeared in The Times Literary Supplement, 24 January 1986. 70. Tim Pat Coogan, The I.R.A., Glasgow: Fontana, 1980, p. 371. 71. Ibid., p. 375. 72. Seamus Heaney, 'Le clivage traditionnel', art. cit., p. 187. 73. Seamus Heaney quoted in 'The Poet who came back', Brian Bell, Belfast Telegraph, 23 November 1971. 74. Seamus Heaney, 'Le clivage traditionnel', art. cit., pp. 187-188. 75. N, p. 63. 76. MRP interview with Seamus Deane. 77. MRP interview with J. B. S. O'Kelly. 78. See P, p. 44. 79. Detail from an album of documents and articles collected by Seamus Heaney'S mother. 80. MRP interview with J. B. S. O'Kelly. 81. P, p. 35. 82. William Wordsworth. The Prelude, 1805, I, 305-309. In contrast to 226 Notes to pp. 17-20 Wordsworth's 'beloved vale', Heaney at St Columb's looked down to the valley of the unbeloved Bogside. 83. William Wordsworth, 'Preface to Lyrical Ballads', from Poetical Works, ed. de Selincourt, Oxford University Press, 1967, p. 738. 84. William Wordsworth, The Prelude, 1805, VIII, 390-395. 85. P, p. 41. 86. Seamus Deane, Celtic Revivals, London: Faber 1985, p. 174. 87. Seamus Deane, op. cit., p. 174. 88. William Wordsworth, The Prelude, 1805, II, 328. 89. MRP interview with Seamus Deane. 90. T. S. Eliot, Murder in the Cathedral, from The Complete Poems and Plays, ed. cit., p. 147. 91. William Wordsworth, The Prelude, 1805, X, 437-440. 92. Another phrase from Wordsworth. For the importance of his moth­ er's stress on 'patience' in the shaping of his sensibility, see Seamus Heaney, interviewed by John Haffenden, art.
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