Kobe Shoin Women’s University Repository
Title
Setting the Darkness Echoing : Seamus Heaney's
Poems and Ireland
Author(s)
Haruki Takako
Citation
Shoin Literary Review，No.26：27-44
Issue Date
1993
Resource Type
Bulletin Paper / 紀要論文
Resource Version
URL
Right
SettingtheDarknessEchoing
SeamusHeaney'sPoemsandIreland
HarukiTakako
I.Introduction SeamusHeaneyclaimstwomainfunctionsforthepoet:torevive thepasteventsinourmemoryandtopreservethepresenteventsto handthemdowntothefollowinggeneration.BeinganIrishpoet, especiallyanIrishpoetlivinginNorthernIreland(atleastduringthe firsttencreativeyears),Heaneyhasfoundthelatterfunctiontobean importantbutdifficultonebecauseofthedisruptionsandviolent conditionsinhishomeland.(1)Theformerfunctionofpreservationhas requiredperseverance,becauseIrishhistorydatesbacktotheMedieval agebeforetheEnglishcolonizationoreventoarcheologicaltimes beforethearrivaloftheCeltsandChristianity. DeathofaNaturalist,DoorintotheDarkandWinteringOut,thefirst threebooksofpoetrybyHeaney,clearlyshowthatthereisnodoubt aboutHeaneybeingan`archeologist',diggingdeepintohistorytoput thebottomlayersofthecountrybeforeoureyes.Thereisalsono doubtaboutHeaneybeinga`recorder'oftherurallifeofrecentpast NorthernIreland.HisgreatpopularityandestimationinJapanseems toowealottothesequalitiesinhispoems.(2) Astohispoeticattitudetowardtheexacerbatingsituationinthelate 1960s,however,criticsaredividedonwhetherhispoems`transcend'theactualgoingson(3)orsimply`escape'fromtherealityandendupin historica1`cliche'.(4) Therearepoetswhoovertlyrecognizethefiltrationoftheviolent incidentsintotheirpoems.MedbhMcGuckian,forone,speaksofher attemptto`controlhorrorandevil'bywritingpoetry.Referringin particulartoarecentmurder,theshootingofayoungmotherin Belfast,shesays,`IfeelitissomethingIhavetomakeastatement about.Whatinspiresmearethethingsthathappenandhowyoucope withthem,orhowyoumakesenseofthem.'(5)Thisiscertainlyoneof thewaysapoetcopeswiththeeverydayviolence.TerenceBrown remarksaboutPaulMuldoonandCiaranCarsonthat`bothpoetsaccept theartisticchallengeofseekingtoencompassinartthehorrorsof politicalviolence.Theydoso,furthermore,withakindoffreedom fromhumanistmoralconcernwhichmakestheirworkimaginatively exhilaratingwhenitsostensiblesubjectmightbereckonedwholly appalling,'(6) WhataboutHeaney?Mymainconcerninthisessayistoseehowhe useshistoryinhispoetryandwhatwecanreadintheparticularword , `dark' .Whetherwecanreadthepoet'sattitudetowardstheactual politicalandsocialsituation.Iwillsearchintotheimageryof`dark-ness'inthefirstfourmainvolumesbyHeaneypublishedbetween1966 and1975,duringwhichperiodHeaneysteadilypushedforwardthe processofestablishinghisownvoiceandstyle,earningareputationof beingamongthegreatestlivingpoetsintheEnglishlanguage . Heaney'slaterpoemswillbemyconcerninanessaytocome. II.Imagesofthe`dark' Theapplicationoftheword`dark'or`darkness'cangenerallybe groupedintothreecategories:1)thenameofthecolourwecan
physicallyseeofathingwithoutabrightqualityorofaplacewhere thereisverylittleornolightatall,asaftersunset;2}afeelingfelt, metaphorically,inasituationwhensomethingishiddenfromoureyes, orwhensomethingisgoingonwithoutourknowledge;3)afeeling felt,evenmorekeenlyperhapsthanthepreviousone,whensomething orsomesituationisbeyondourcomprehensionbecauseo itscomplex-ity.Weoftenfeelthreatenedbythedark,andthisfeelingleadstoour closeassociationofdarkwithsomethingbadorevil.Usually`dark-ness'isacomplicatednotioncontainingtwoorthreeoftheabove meaningssimultaneously.Buttheimagesof`darkness'thatappearin Heaney'spoemsgofartherthanthatintheircomplexityanddepth. Theirmetaphoricalaswellasphysicalsenseisexpandedtosuchan extentthatthereaderfeelsthecentralityoftheimageofdarknessin Heaney'spoems. Myconcernhere,then,istoseethedegreeofextensionandthe meaningsthepoetconveysthroughhisintricatelyexpandedimagesof `darkness' . III.The`dark'inDeathofaNaturalist When`dark'isemployedasanadjective,itdescribesthesombre colourstraightforwardly:theearthapotatodiggercultivatesis`a darkshowerofrootsandmould'(`AtaPotatoDigging',p.31);the viewofthecultivatedlandfromtheskyisinterceptedbジdarkhems ofhedge'(`HoneymoonFlight',p.49).Still,asinthecaseofthe descriptionofripeblackberriesontopofgreenones‐`andontopbig darkblobsburned/Likeaplateofeyes'(`BlackberryPicking',p.20)‐ thereisanelementofthreatintheberries'darkcolour,hencethe surrealisticcomparisonofberrieswithburningeyes.Thiselementof threatisallthemoreaparentintheuseofdarknessasnominals.The
barninHeaney'schildhoodhouse,depictedin`TheBarn',isanunfre-quentedandclosedplacewithnowindowsexceptforthetwohigh narrowair-holeslits.Thepoetexperiencesafearfulfeelingmixed withasenseofthesmallnessofhisexistence Thedarkgulfedlikearoof-space.Iwaschaff Tobepeckedupwhenbirdsshotthroughtheair-slits. Ilayface-downtoshunthefearabove.(DN,p.17) Butthenhisfear-oriented,sharpimaginationgetsholdofhimandhis eyesseegreatblindratsinsteadofthesacks.Interestingly,this darknessinthebarngivesusanimpressionofcrowdedness.Heaney usestheword`hoarded'whichimplieswealth.Thepresenceoftoolsis feltmorekeenlyinthedarkofthebarn.Thesenseofabsenceofother humanbeingsandmorefamiliarlightisbalancedwiththecurioussense ofthepresenceoffarmyardimplements. Thedarkcanbeanimageofaharsherthreatasin`thedarkofbunks andhatches'onthegovernmentship`Eliza'{`FortheCommanderofthe "Eliza"' ,p.35).Onlythosesixfaminevictimsareinthedark,andthe poemasawholegivesthestrongimpressionthattheCommander,the InspectorGeneraland`good'Whitehallarealtsafefromthedark.The darkistheplaceaswellasthedesperatesituation,and,`thosepoor brutes',astheCommandercallsthem,areinthe`dark'.Thereisno humansympathyonboard.Whatisthereisacold,mechanicalofficial. Thedarkofbunksandhatchesisareflectionofthemindofthe Commanderandinhumancolonialpolicy. IfHeaneyseestheevilsideinthedepthofthehumanmind,healso acknowledgesvariegatedsides.In`PersonalHelicon',thefinalpoemof thefirstbook,Heaneytellsthereaderaboutvariouswellsinhis
childhooddaysonaDerryfarm,howhelovedadarkwell.Hereagain
thedarknessispopulatedwiththings
l
Ilovedthedarkdrop,thetrappedsky,止esmells Ofwaterweed,fungusanddankmoss.(DN,p.57) ...Irhyme Toseemyself,tosetthedarknessechoing,(DN,p.57) Thedarknessishimself,ormoreprecisely,thestilluncultivated, unrevealedmindofhimself.Whathealsoadmitshereisthatthe darknessistheinspirationforhimasapoet. IV.The`dark'inDooyintotheDark Whatisremarkablethroughoutthesecondbookisthatthedarkness isrepresentedwithapositivepower. Atdusk,horizonsdrinkdownseaandhill, Theploughedfieldswallowsthewhitewashedgable Andyou'reinthedarkagain. (`ThePeninsula',DN,p.21) Thedarkhereisneitherthreateningnorstraining.Owingtothe drinkingandswallowingmetaphors,ourfamiliardailyactivities,there isnosenseofabsenceherebutasenseofroutineclosureunderlaidwith asenseofroutineopeningaftertheclosure.Thisdarkisagainfilled withnumerouskindsoflandscape. Someofthethingsthatfillthedarkareofacreativekind.Oneof themisliterallycreativeofanewbirth.Anunlicensed,breedingbull livesin`thedark'andcomesoutfromthere,whenneeded,to`slamlifehome'{`TheOutlaw',p.16).Althoughthebusinessisclandestinely done,theeasewithwhichthebuilperformshisservicegivesthedark , towhichthebullreturns,akindofdignity WhileKellywhoopedandproddedhisoutlaw Who,inhisowntime,resumedthedark,thestraw .(DD,p.17) Theeelisanotherproductiveresidentofthedark .Afemaleeelis depictedtopassthrough`thewelteringdark'andreturntowhereshe camefromsoastolayhereggsandtoletthembecarriedawaybythe current(`ALoughNeaghSequence,6.TheReturn',p.44) . Thedarknessinsidetheforgeisalsoendowedwithpotentialcreativ-ity.Wearenotallowedtoseetheactualsceneofbeatingandbellowing butareinvitedtoimagineforourselvesthemysteriousandsacred spherededicatedto`musicandshape'(`TheForge',p .19).Thework oftheforgerissuccessfullyparalleledwiththeworkofapoet;`the unpredictablefantailofsparks'canbecomparedwithunexpected sparksofpoeticinspiration.Butthesteady,tirelessexertionofthe forgertooisunderlined. Notonlytheresidentsbutdarknessitselfisshowntojoinintheact ofcreationinthebook.Amaleeelburieshimselfinsiltandsand `beyond/lightandtidalwater'(`AL oughNeaghSequence2.Beyond Sargasso',p.39).Itisasafeplaceexceptthatthereisadangerfrom thedrainmaker'sspadeandthemudpaddlerinthedaytime .Butwhen nightfalls, ...Dark delivershimhungering downeachundulation.(DD ,p.39)
V.The`dark'inWinteringOut-Thepopulateddarkcanalsobeseeninthethirdbook,Wintering Out.Lowsills,fragrantladysmockandcelandinefillthedarkin`May' (p.75).Moresignificantly,thebookshowsthedevelopmentofthe imageofthe`dark'intwodimensions:thehorizontalonewhich overwrapstherelationshipofhumanbeings;theother,vertical,which goesdownintogeographical,culturalandpoliticalsoil. 'TheOtherSide'showsthedifficultyofthecommunicationoft wo peoplewhoarereligiouslyondifferentsides.Thesetwowouldmingle eachothersomehoworotherintheoldtimes,butnowthepoetfinds himselfhesitatingtoexchangewordswiththeoneontheotherside. Heaney,asBlakeMorrisonobserves,`patientlygropestounderstand thelanguageandcustomsofhisProtestantneighbour'"andrecallsthe oldcustomsbetweenthem.Butintheendhedoesnotknowhowto communicatewithhim.The`darkyard'wherethetwostandsymbol-izesthedifficultyofevenasmallexchangeofcommunication. ButnawIstandbehindhim inthedarkyard,inthemoanofprayers. ShouldIslipaway,Iwonder, orgoupandtouchhisshoulder andtalkabouttheweather orthepriceofgrass-seed?(WO,p.36} Theverticalexpansionofthemeaningofdarknesscomeswiththe newfindingsin1968,findingsofevidenceofpeatpreservationin JutlandandthepublicationofthebookTheBogPeoplebyP.V.Glob. Thebook`tellsofthediscoveryinDanishbogsofanumberofremark-ablyintacthumanbodiesdatingbacktotheIronAgeandevidentlythe
sacrificialvictimsofanancientnorthernreligion.'(8)`TheTollundMan' occupiesthecentralpageoftheentirebookandplaysaveryimportant roleinthatittriggersanewdimensiontothedarknessimageandthus toHeaney'spoetry. Shetightenedhertorconhim Andopenedherfen, Thosedarkjuicesworking Himtoasaint'skeptbody, Troveoftheturfcutters' Honeycombedworkings.(WO ,p.47) Thisisadescriptionofhowthesacrificedbodyhasbeenreceivedby thefemaleearth.AlthoughapparentlyitisabouttheearthinJutland , wordssuchas`tore,`fen',`darkjuice',`asaint'skeptbody'and`turfcut-ters'inevitablyleadustooverlapthemwithIrishlandscape,history andpolitics.・The`darkjuice'oozingfromtheearthinescapably remindsusofHeaney'sreferringtotheIrishbogasthe`Atlantic seepage'{'Bogland',DD,p.56).Notethatthelandisworkingasa preserver,notasadestroyer.Thisnotionoftheearthaspreservercan naturallybeexpandedtotheearthasahoarder,wherenotonlythe remainsofhumanlivingbutalsohumanactivitiesgoodandevilare traceable.Indeed,whatHeaneyenumeratesisindicativeoftheancient historyofIreland:`loam,flints,musket-balls,/fragmentedware,/ toresandfish-bones'(`Toome',WO,p.26,lI.9-11}.Thosefindingsgo backfromthenearpastof`loam'and`flints'(asin`Whinland'(DD ,p. 48)and`Tinder'(WO,p.43)}througheighteenth-centuryBritish militaryinstrumentsofIrishoppression,`musket-balls' ,toIreland's Celticorigin,`torcs'∫9) Thisaddedverticalconnotationisnotascasualasitfirstappears .
FurtherbackinDoorintotheDark,Heaney'sreferencetoa`coreofold dark'(`InGallarusOratory')(10)alsoreflectedtheideathatthedarkis thenurseryfromwherepeoplearesprungandtowhichpeoplewill return.Theoratoryisacoreofthissource,andwhenoneisalone there,`youmighthavedropped,areducedcreature/Totheheartofthe globe'{p.22).Hence,itisanunderstandabledevelopmentfromthis extendedimplicationofdarknessthatHeaneymakesitamaintheme touncoverwhatispreservedunderthegeologicallandscape.Conse-quently,hetriestoconnectlostoralmostdisappearingcultureand historywithNorthernIreland'scontemporarytroubles.Thepoem previousto`TheTollundMan',`ANorthernHoard',alsopreparesfor thisextension.Herethedarkistheearthwhereeverything,human beingsincluded,isrooted.Facedwithviolence,allwecandoisbe `petrified'and`uprooted' .Buttobeuprootedistoopainful. 1'vesoakedbymoonlightintidalblood Amandrake,lodgedhumanfork, Earthsac,limbofthedark; AndIwounditsdampsmellyloam Andstopmyearsagainstthescream.(WO,p.39) Althoughthisisallinthepoet'sdream,Heaneyhasintermingled feelingsofrecurrentviolencewiththesenseofapeopleandculturethat hasspreadsubterraneanrootsinthe`dark'earth. VI.Historyandthe'dark' Itisworthnotingthattheimageofdarknesscomestobefusedwith historyatthisstage.BeforeWinteringOuttheimageofdarknessand thehistoricalcontentwereseparatelyexpressed.Thefirstcollection,
forexample,setsoutwiththe`gun'metaphor,Heaney'schoiceofpen todigtheearth('Digging',pp.13-14).Themetaphor,however , remainedundevelopedinthebook.Hisdeclarationoftakingoverhis father'sworkinhisownway,thatis,totoilwithhispentogofurther beneaththesurfaceofthepresentsituation,hasbeenfulfilled;various aspectsoftheruralIrelandofhischildhooddaysandhisinnerfeelings arerepresentedinamannerwhichassignsthemahighdignity. TwopoemsdealwiththespecifichistoryofIreland'sfamineof1845 `AtaPotatoDi gging'(pp.31-33)and`ForTheCommanderofthe "Eliza"'(pp .34-35).`AtaPotatoDigging',thefiguresofworkerswith amechanicaldiggerspinningupa`darkshowerofrootsandmould'are depictedasthefiguresofperseverance.Behindthemwerethelong-linedworkers(notfarmers)ofthepast.Thedarkcolourisclosely connectedwiththeharsh,demandinglandandnatureofruralIreland, the`blackmother'.Heaney'ssympathyiswiththesufferingofthose workersandtheirsustainingreverencetowardsthefaminegoddess. `FortheCommanderofthe"Eliza"'istheonlypoemofallth epoems inthebookwhose`dark'isstronglyassociatedwithpolitics,asIhave alreadymentioned.Inthesetwopoems,`dark'symbolizesdisasters bothnaturalandimposedthroughhumannegligence.Whicheverthe case,therearethefiguresofsufferingpeoplewhoperseverethrough thecatastrophies. Thesenseoflurkingviolencecanbeseeninthe`Docker' .The sustaining,unrelentingpossibilityofviolenceisrevealedbytheuseof metallicsoundsofmechanicaldevices,`gantry'scrossbeam',`sledge-head',and`vice'.Theintolerenceofthedockerispresentedthroughhis feelings,`TheonlyRomancollarhetolerates.'Thepoetdetectsthat ThatfistwoulddropahammeronaCatholic‐
Ohyes,thatkindofthingcouldstartagain;(DN,p.41) ThemostobviouslypoliticalpoeminHeaney'ssecondbookisthe `RequiemfortheCroppies' .Thoughitistitled`requiem',itisnotthe poet'svoicewehearcelebratinginremembranceofthecroppiesbutthe voiceofoneofthekilledsoldier's'.ThisrisinggoesbacktoMay23, 1798.FourthousandnorthLeinsterfarmersarmedwithscythesrosein concertwiththeUnitedIrishmenandfoughtagainstthecolonizationby theBritishgovernment.TheyoccupiedtheHillofTarabuttherising wassuppressedwhenthreehundredandfiftyofthemwerekilledbythe endoftheday.(11)OneofthecroPPies,socalledbecauseoftheir close-croppedhairstyle,tellshisexperienceinthepoemandhisisthe voiceofresentment:`Wemovedquickandsuddeninourowncountry', `Terracedthousandsdied ,shakingscythesatcannon',and`Theyburied uswithoutshroudorcoffin.'`RequiemfortheCroppies'conveysthe senseoftheindomitablepresenceofhistoryandthesenseofthe repetitivenatureoftheinsurrectioninIrishhistory.Nopleafor vengeancecanbedetectedinhisvoice,butapleaforremembrance resounds.PersistenceandperseverancemustbewhatHeaneytriesto verbalize. Althoughnotasmanifestlyasinthispoem,Heaneytouchespolitics inanotherpoem,`Whinlands'.Heskillfullyexposestoviewthefact thatwecannotoverlookthepresenceofhistoryevenatthesightofthe veryIrishlandscape,whinlands.Theword`whinlands'itselfconveys Irishness(theequivalentinEnglishis`gorse').Moreover,theimageof stalksofwhinburnedandcharredbutresistingcompletedestruction givesthereadertheimageofwhinasasymbolofanationviolatedby asuperiorforce.Thethreelinesattheveryendofthepoemconfirm thisview
Thisstunted,dryrichness
Persistsonhills,nearstoneditches,
Overflintbedandbattlefield.(DD
,p.48)
Eventhisreticentkindofhistoricalpoemissurprisinglyrare
.The
scarcityofpoemsloadedwithhistoricaleventsisnotthecasewiththe
followingcollection.Thesenseofviolationofthethingsindigenousto
Irelandgainseminence.The`HattieofBogside'inDerryandthe
subsequenteventsof1968-69surelychangedthetone."z'AsIhave
alreadypointedoutinthecasesof`TheOtherSide'and`ANorthern
Hoard',theimageofdarknessandHeaney'spoliticalresponsecometo
interpenetrateandreinforceeachother,The`dark'andviolenceare
unitednow.The`darkjuices'of`TheTollundMan'bringusbackto
Ireland,andthevictimizedfourofPartIImakethereaderconnect
furtherthedistantpastwithmorerecentpastinIreland.(13}Thevery
laststanzaofthepoemdemonstratesthepoint
OutthereinJutland
Intheoldman-killingparishes
Iwillfeellost,
Unhappyandathome.(WO,p.48)
Thisexpressesaverybitterfeeling.Theveryplain
,word,`mankil-ling',hasacallousnote.Isitarelieftoknowthatbarbarouskillings
havebeendonenotonlyinyourowncountrybutsomewhereelse?Can
itbethatthelastlinesuggeststhepoet'snoncommitalattitude?
Ananswertothisquestionisfoundinthepoem`SummerHouse'with
theolddarknessinit.Thisisanintimatepoemaboutarancour
betweentwopeopleandaboutthosetenderfeelingsinmanwhichmake
reconciliationpossible.
-38
Yesterdayrockssangwhenwetapped Stalactitesinthecave'sold,drippingdark Ourlovecallstinyasatuningfork.(WO,p.61) Yesterdaythetwopartookoftapping,androcksorstalactites, inanimatethings,respondedtotheirappeal(tapping).Thereverbera-tionmaybetinynow,andyetthepointisthatahumble`tuningfork', theirspirit,sustainedtheirlovingtuneandtheirdignity.Admittedly thisisasmallincident,happeningnotinagrandway,nortomenofany greatimportance,butthereisareciprocityoflove,andthereisan abidingreverberation.Thisisnotatallaheroicorhigh-sounding solution,butitdefinesanessentialqualityinman'slife.(14)AsCorcoran justlypointsout,`thelittlehumannoiseresonatingintheolddarkof personalunhappinessandofhumblingnature,asithasearlierresonat-edintheolddarkofIrishhistoricalandpoliticalexperience,isthetrue noteofWinteringOut:comfortlessenough,butwithanotionof survivalinittooノ(15)Apresentationofthis`notionofsurvival'iswhat weseeemergefromthe`dark'ofHeaney'spoems. VII.The`dark'inNorth Theimageofdarkasapreserver,nurturer,andhomeinWintering OutishandedontoハToyth,thefourthcollectionofpoems.`BogQueen' isbasedonthefindingofaskeletoninabog,andthepoemisabout persistence.Againtheboglandservesasthecentrewhereoldhistory, thecountry'smemory,iskeptburieddeepdown.WhatIrelandhasto know,andwhatthepoethastorecord,isthatIrelandwasbornfrom thebog,fromthe`dark'. Theplaitofmyhair,
aslimybirth-cord ofbog,hadbeencut andIrosefromthedark,(N ,p.34) However,theexacerbatedsituationinNorthernIrelandfoundits waydeeperintotheimageof`dark'inNorth.Heaney,morethanever , carefullyuncoversandrevealsthelayersofmeaninginlanguage.The woundof`TheGrauballeMan',aslashedthroat'thathastanned',has ahistoricalovertone:theviolentsuppressionoftheRepublicanArmy bytheBritishemploymentofBlackandTansinthe1920s. Theheadlifts thechinasavisor raisedabovethevent ofhisslashedthroat thathastannedandtoughened. Thecuredwound opensinwardstoadark elderberryplace.(N,pp .35-36} Althoughthelinesays`thecuredwound',itsoundsasifitwasnot cured.Itstill`opens'.Theenjambementemphasizestheword`dark' andsuggeststherepetitivenessofthiskindofatrocity .Theloaded languageandthetightenedunionofthepast'dark'andthepresent `dark'inthispoemandotherb ogpoems(`Iamtheartfulvoyeur/of yourbrain'sexposed/anddarkenedcombs,'in`Punishment';`Her brokennoseisdarkasaturfclod'in`StrangeFruit';and`Groundthat willstrip/itsdarkside'in`Kinship')accountfortheurgencyofthe present`dark'.TheurgencyalsochangedHeaneゾsattitudetoa waveringone:heis`theartfulvoyeur'who`wouldhavecast .,,/the
stonesofsilence'and`whowouldconnive/incivilizedoutrage/yet understandtheexact/andtribal,intimaterevenge'{`Punishment',N, p.38)inthefaceofthecruelpunishmentexecutedbythoseofhisown sideononewhohadbetrayedthem.Heappearstobeneutraland noncommittal,but,infact,headmitsthathesharesthenecessityofthe tribe'sabidinglaw,revenge.BlakeMorrisoncommentsthatthisis`a courageouspieceofself-analysis'{op.cit.,p.fi4),anditmaybeso.But itcertainlyisadifferentattitudefromtheJoyceanoneofWintering out. MoreoverinNorth,outofthesameold`dark'ground,aswehave seensofar,HeaneygeneratedtheheroAntaeus.Theemergenceof AntaeusasasymbolicheroofIrelandmarksanotherphaseinHeaney's poems.PoliticalattitudebecomesfixedasheintroducesGreek mythologyintothecollection.Antaeushasasuitableattributetoserve asasymbolforIreland:heisbornfromtheearth.Themorepotent aggressorisHercules. Downhereinmycave Girderedwithrootandrock Iamcradledinthedarkthatwombedme Andnuriuredineveryartery Likeasmallhillock.(N,p.12} ThispoemopensPartIofNorthand`HerculesandAntaeus'closes it.TheclosingpoemreemphasizesAntaeus'origin andorigins‐thecradlingdark, theriver-veins,thesecretgullies ofhisstrength, thehatchinggrounds
ofcaveandsouterrain, hehasbequeatheditall toelegists.(N,p.52) Theorigin,the`dark',hasallthequalitieswehaveseenintheprevious books.Thenewphase,theintroductionofmythology,tomymind,has madethesetwopoems`programmatic',thedangerthatRichardMur-phytalksof Onecannotwriteanypoemthatisnotpoliticalinsomesense, inmyopinion,butthereisaspecialdangerwithasetpiecelike abattle,whereyouknowwhathashappenedinthepast,thatthe poemitselfcanbecomeprogrammatic.(16) VII[.Conclusion Asthedevelopmentofthedarknessimageclearlyshows,Heaney's poemsareanattempttoprobeintothecultural,geological,historical andpoliticaldarkness.Asheextendstheimageof`darkness',Heaney takesgreatpainstolettheimagerevealitsownmany-layerednature. Sysodoing,Heaneyachievedwhatheintendedtodo:setthedarkness ofhumanityechoing.TheassertionofGeoffreyHillisverytrueof Heaneytoo Thepoet'struecommitmentmustalwaysbetothevertical richnessoflanguage.Thepoet'sgiftistomakehistoryand politicsandreligionspeakforthemselvesthroughthestrataof language.{TerenceBrown,op.cit.,p.207) Notes PagereferencestoHeaney'smainversecollectionsaregiveninthetext, usingthefollowingabbreviations NNorth,London,1975
WOWinteringDut,London,1972 DDDaoyintotheDayk,London,1969 DN1)Bathげ α ハnaturalist,London,1966 (1)`EachpersoninUlsterlivesfirstintheUlsteroftheactualpresent,and theninoneorotherUlsterofthemind.'SeamusHeaney,Placeand Displacement,{Grasmere:DoveCottage,1985),p.4. (2)Sincearound1987Heaneyhasbecomeoneoftheestablishedpoetsat themeetingsofEnglishLiteraryConferenceofJapanandIASAIL, Japan. (3)RichardMurphy,forexample,writes,`Ireaditasatriumphofartover terror.'(TheNewYorkReviewofBooks,Sep.30,1976)p.40.The word`transcend'isborrowedfromR.S.Foster,ModernIreland1600-19Z2,(Harmondsworth;Penguin,1988),p.585. (4)See,forexample,EdnaLongley,PoetryintheWars(Newark:Univ. ofDelawarePress,1987),pp.140-169,andGeraldDawe,How'sthe PoetryGoing?(Belfast:LaganPress,1991),pp.84-87. (5)Ed.byGilleanSomerville-ArjatandRebeccaE.Wilson,Sleeping・with Monsters(Dublin:Wolfhound,1990),p.2. (6)TerenceBrown,Ireland'sLiterature(Mullingar:TheLilliputPress, 1988),pp.218-219. (7)BlakeMorrison,SeamusHeaney(London:Methuen,1982),p.41. (8)BlakeMorriso叫op.(瀦.p,46 (9)Flinthassomeolderlayers.In`BannClay'(DD,p.53}`theclutchof Mesolithic/Flints'ismentionedasanewerlayerthanthewhitened clay,whichisundertheflints.ForfurtherdetailsseeBlakeMorrison, op.cit.p.44. (10)NeilCorcoran,SeamusHeaney{London:Faber,1986),p.60. (11)ForthemeaningofthisrisinginIrishhistorysee,forexample,J.C. Beckett,Theルfaking〔 ゾModern」Breland1609--Z923(London:Faber
