Form and Structure in Seamus Heaney's Poetry

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‘Form and structure are essential elements of poetry. From a close reading of at least three poems, compare and contrast the use made of form and structure.’ (2000 word analysis) Seamus Heaney was born in 1939 and lived in a farmhouse with eight younger brothers and sisters along with his parents. The Irish ancestry of the land has a tremendous influence on the structure and form of his poetry. The structure and form of Heaney’s poetry, however, is often overlooked but it plays a very important role in the development and portrayal of his poetry. Punishment, Blackberry-Picking and The Tollund Man all come from separate collections of Heaney’s work. Despite this, Heaney is able to evoke fundamental emotions of change as well as a reluctance to embrace change throughout all of his collections. This need for change within Heaney that is expressed through a multitude of his poetry, stems from ‘The Troubles’ that were occurring in Ireland at the time. This period lasted for three decades, with sporadic violence still continuing. The basis of this conflict and violence was the divide between Northern Ireland, who were identified as the Irish as well as Roman Catholic, and the Unionist community who were British and Protestant. This conflict was a large part of Heaney’s personal life, and influenced his views on many issues. Hence a vast majority of his poetry is a reflection of this conflict within Heaney himself as well as the world around him. Punishment comes from Heaney’s ‘North Collection’, and throughout the poem Heaney offers his own account of the bogs of Northern Europe where a preserved body – known as the Windeby girl – was found. The poem consists of eleven four line stanza structure, which was considered unconventional at the time the poem was written. The unusual structure emphasizes the poets longing to break away from the patterns shown in his

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