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Seamus Heaney,[object Object],1939-,[object Object]
Biography,[object Object],Roman Catholic in Protestant North Ireland,[object Object],Seamus Heaney was born in Castledawson, County Derry, Northern Ireland, on April 13, 1939.,[object Object],In 1963, he began teaching English at St. Joseph’s College in Belfast. He earned his teaching certificate in English at the same school.,[object Object],In 1965, he married Marie Devlin, and in 1966, he published his first book, Death of a Naturalist.,[object Object],In 1995, he received the Nobel Prize in Literature.,[object Object],He has spent part of every year since 1981 teaching at Harvard University.,[object Object]
Poetry,[object Object],Poetry captures the colonial struggles of Ireland,[object Object],Defining his relationship to his country and his people – an ongoing process…,[object Object],Dilemma of cultural identity,[object Object],Fascinated by history and its depth,[object Object],explores what it is to be a human being during times of joy and times of struggle.,[object Object],uses literary allusion throughout his poems, often alluding to Greek gods and figures,[object Object],Many of Heaney’s poems serve as his way to discover his place as a writer in a world where physical action is the traditionally accepted symbol of strength.  ,[object Object]
Punishment,[object Object],Poem inspired by 1951 discovery of a young girl from late 1st century CE ,[object Object],Strongly influenced by P.V. Glob’s The Bog People,[object Object],Irish bog as memory bank,[object Object],The bog body has the “ability to compress time and to render the past visible in the present”,[object Object],Girl appears to have been punished by Germanic peoples,[object Object],Most likely drowned on purpose,[object Object],mirrors what Tacitus reports was done to adulterous Germanic women,[object Object],“Tribal” thinking vs. the public responsibility of the individual,[object Object],Ethical responsibility in the face of political turmoil,[object Object]
Punishment - Background,[object Object],sequence of eight "bog poems“:,[object Object],"The TollundMan“, "Nerthus”, “Come to the Bower”, "Bog Queen”,  "The GrauballeMan”, "Punishment”, "Kinship”, "Strange Fruit”,[object Object],read about the bodies in a work of archaeology, P.V. Glob's The Bog People, published in Danish in 1965 and translated into English in 1969. ,[object Object],moved by Glob's lyrical descriptions of the sometimes beautifully preserved Iron-Age bodies that turned up from time to time in the peat-bogs of Northwestern Europe,[object Object],intrigued by the archaeologist's recourse to theories of ritual human sacrifice in order to explain their presence in the bogs.,[object Object],“They are not skeletal remains; they have flesh on their bones and that flesh bears the marks of their living and their dying. They have hair and beard stubble and faces with expressions we think we recognize. They have stomachs that still contain the grains and seeds and plants they ate as their last meal. In a word, with their peculiar capacity to compress time, bog bodies …speak of a life anchored in an everyday that was then but is also now. To an extraordinary degree, bog bodies allow us to see time.” (Purdy 2002),[object Object]
Punishment – Close Reading,[object Object],First stanza:,[object Object],Speaker imagines the victim’s internal feelings,[object Object],Second stanza:,[object Object],External description,[object Object],Both erotic to some extent and fragile,[object Object],Next stanzas:,[object Object],Continue the description with a mixture of empathy and pity,[object Object]
Punishment – Close Reading,[object Object],Stanza eight: the “twist”,[object Object],“I almost love you/but would have cast, I know,/the stones of silence,[object Object],Reference to New Testament John 8:7,[object Object],“He that is without sin among you, let him cast the first stone”.,[object Object],Implicates himself in the “metaphorical stoning” of the Belfast women,[object Object],Tenth stanza:,[object Object],Accuses himself more implicitly:,[object Object],“I who have stood dumb/when your betraying sisters, cauled in tar, wept by the railings” (37-40).,[object Object]
Punishment – Close Reading,[object Object],Final Stanza: - pushes further,[object Object],Previous stanzas – ,[object Object],the speaker feels guilty for condoning brutality through silence/passivity,[object Object],Outwardly “coniving” in “civilized outrage”,[object Object],Tacit approval?,[object Object],Final lines: - suggest something more?,[object Object],Guiltless endorsement?,[object Object],Secret enjoyment of its cruelty?,[object Object],Does this nullify the previous feelings of empathy and compassion?,[object Object],Is it a perfect “balancing act” of emotion?,[object Object],Note that the speaker separates his intellectual response from his emotional reaction,[object Object],Does this absolve the speaker from blame?,[object Object]
Punishment,[object Object],Commentary on the IRA’s treatment of Irish Catholic women in Belfast accused of fraternizing with the enemy:,[object Object],Shaving, tarring feathering,[object Object],Relates the Iron Age act of “collective vengeance” to the Irish Nationalist community’s public humiliation of these women,[object Object],Does it condone the IRA’s actions?,[object Object],Does it exonerate sectarian violence in general?,[object Object]
Punishment,[object Object],Background:,[object Object],Violence in Northern Ireland,[object Object],Especially 1960s and 1970s,[object Object],Brutal pagan rites in the Iron Age,[object Object],Ritualized punishment for sexual and social transgression,[object Object]
Punishment,[object Object],poetic speaker feels the “tug”,[object Object],Speaker can see her body drowned in bog,[object Object],Notes her shaved head and blindfold,[object Object],“little adultress” ,[object Object],Calls her a “poor scapegoat”,[object Object],Imagines himself as the artful voyeur,[object Object],references her betraying sisters today,[object Object],Suggests these women could empathize,[object Object]
Punishment – Broader Questions,[object Object],What is the cultural function of ritualized violence?,[object Object],Punishing a breach of social conduct,[object Object],Consolidate the social group,[object Object],Establish rules of conduct,[object Object],Construct a shared identity,[object Object],What are the implications of lumping the IRA’s actions into a larger anthropological framework?,[object Object],Does it condone it as a comprehensible, or even natural occurrence?,[object Object]
Seamus Heaney
Digging,[object Object],How can the pen be used as a weapon?,[object Object],“Gravelly” : may refer to the “One Crop Law” that was imposed on Ireland by England.  ,[object Object],This law was later blamed for the famine that struck Ireland when the potato crop failed. ,[object Object],Heaney shows the ground as ‘grave like’ because it was the physical cause for the famine.  ,[object Object],The soil retained too much water resulting in the potato crop rotting.  ,[object Object]

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Seamus Heaney

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