Death of a Naturalist: A study of Seamus Heaney’s first book of poems.
Seamus Heaney, the famed Irish poet, was the product of two completely different social and psychological orders. Living on “a small farm of some fifty acres in County Derry in Northern Ireland” (Nobel eMuseum), Seamus Heaney’s childhood was spent primarily in the company of nature and the local wildlife. His father, a man by the name of Patrick Heaney, had a penchant for farming and working the land. Seamus’ mother Margaret, in contrast, was a woman born into a family called McCann, who’s major dealings were with business dealings, trade and “the modern world” (Nobel eMuseum). Patrick Heaney was a man of few words, and preferred the quiet life of a farmer to the vocal world of trade and industry. Margaret Heaney was in fact quite the opposite and believed in speaking out, being heard and was seldom shy in expressing her feelings (Nobel eMuseum). These two extreme contrasts were enormously influential in the shaping of Seamus as a man and as a poet, and his first book Death of a Naturalist is a testament to this. Death of a Naturalist focuses on nature and wildlife as well as human emotions, and using poetry as his medium, Seamus Heaney shows his readers with specific reference to love and death, the images of nature that are associated with his father, and intertwines them with the human feelings and emotions that are closely linked with his mother.
Love is a prominent theme in Seamus Heaney’s first book of poems, and it is worthwhile noting that just one year after Heaney married the love of his life, a woman named Mary Devlin, that Heaney wrote and released Death of a Naturalist (Nobel eMuseum). It might be confusing for one to imagine a relationship between the wild and natural world and a human characteristic such as love, but Seamus Heaney manages to bring the two themes together in a deeply poetic and fitting fashion.
In the poem Twice Shy, love is the governing premise. Twice Shy revolves around the idea of new lovers playing a game of hunter and the hunted, and with references to both nature as well as human emotions, Heaney displays the influences that were instilled in him as a young man by his parents. In the second stanza, the influence is unmistakable as Heaney describes a situation in which two lovers are trying to conform to the traditions of courting, but are consumed ...
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...ons in drills.” (Heaney 23). The men aboard the drifting ship are starving to death and demand to be fed by the captain, but when he refuses them food, “in whines and snarls their desperation / Rose and fell like a flock of starving gulls” (Heaney 23). By describing the men’s eyes as being like “spring onions” and by comparing the men as being like birds, Heaney brings nature into a mix of human feeling once more, thus creating a poem where impending death can be a topic that is both animalistic as well as human and emotionally expressive.
Within Death of a Naturalist, Seamus Heaney explores many different aspects of life in Ireland. With his constant references to both the natural world and the very different topic of human emotion, Seamus Heaney designed a book of poems that shows readers that a connection between the two can exist. Death of a Naturalist is a book that in a totally unique way bonds love, death, nature and emotion in a fashion that echoes both Patrick and Margaret Heaney’s dominant character traits.
Works Cited
Heaney, Seamus. Death of a Naturalist. Chatham, Kent: Faber and Faber Limited, 1999.
“Seamus Heaney Biography” Nobel eMuseum.
November 15, 2001.
My initial response to the poem was a deep sense of empathy. This indicated to me the way the man’s body was treated after he had passed. I felt sorry for him as the poet created the strong feeling that he had a lonely life. It told us how his body became a part of the land and how he added something to the land around him after he died.
Many find reverence and respect for something through death. For some, respect is found for something once feared. In a passage from The Crossing by Cormac McCarthy, a man cares for a wolf that has died. The prominent religious motif and the paradox contrasting beauty and terror create a sense of awe that is felt by the narrator as he cares for the wolf.
The poem “Thanatopsis” by William Cullen Bryant reveals a very unusual aspect of nature. While most people think of nature as beauty and full of life, Bryant takes a more interesting approach to nature. He exposes a correlation between nature, life, death, and re-birth. Using nature as a foothold, Bryant exercises methods such as tone, setting, and imagery in a very intriguing way while writing “Thanatopsis.”
Seamus Heamey begins the poem with an image of isolation, confusion, and the loss of safety. Heaney describes what happen the night that his cousin was killed:
More than death itself, Harwood’s poetry shows how many people fail to accept death. Their belief in immortality and fear of the end is also potrayed in Nightfall. Although when the subject of the poem is death, the words describe life, as if reluctant to face up to reality. The images are of suburbs, lights, birds and trees. Even with so many experiences, many of us will forever be ignorant seems to be the truth ringing perpetually though Harwood’s verses.
I will discuss the similarities by which these poems explore themes of death and violence through the language, structure and imagery used. In some of the poems I will explore the characters’ motivation for targeting their anger and need to kill towards individuals they know personally whereas others take out their frustration on innocent strangers. On the other hand, the remaining poems I will consider view death in a completely different way by exploring the raw emotions that come with losing a loved one.
The constant process of life and death, driven by an indestructible progression of time, explains the attitude of carpe diem expressed in three poems focused on human love being a fickle matter. Within the poems “To His Coy Mistress” by Andrew Marvell, “To the Virgins, to Make Much of Time” by Robert Herrick, and “Youth’s the Season Made for Joys” by John Gay, the concept of how a shy attitude towards the inevitable end of all life is exposed as an inherently useless view. Nevertheless, though their primary themes and ideas of this constant procession of time are obviously expressed, the manner in which they do this, through figurative language and imagery, is the main point in which each of these three poems can be contrasted and examined
The second and third stanzas of Funeral Rites are highly descriptive, as Heaney describes ‘their puffed knuckles’. This close, sensory description of the body is present in many of his bog poems, but specifically in The Grauballe Man, as, similar to Funeral Rites, Heaney dedicates multiple stanzas to the direct, det...
In Mary Oliver’s poem “The Black Snake,” the narrator contemplates the cycle of life with the unpredictability of death. Mary Oliver’s work is “known for its natural themes and a continual affirmation of nature as a place of mystery and spirituality that holds the power to teach humans how to value one’s life and one’s place” (Riley). In the poem, The Black Snake, the narrator witnesses a black snake hit by a truck and killed on a road one morning. Feeling sympathy for the snake, the narrator stops, and removes the dead snake from the road. Noting the snake’s beauty, the narrator carries it from the road to some nearby bushes. Continuing to drive, the narrator reflects on how the abruptness of death ultimately revealed how the snake lived his life.
In ‘All the Pretty Horses’ Luis states ‘among men there was no such communion as among horses and the notion that men can be understood at all was probably an illusion’, by this he means the relationship man has with nature is totally unique, it is sacred; the relationship between men is a misapprehension. In some respects the reader may agree with the statement because it is true, man’s relationship with animals and nature is fairly simple compared to man’s relationship amongst each other which is far more complex due to conflict of opinion and other complications. John Grady Cole’s relationship with Alejandra faced much turmoil and complication, one of the biggest issues they faced was the fact Alejandra’s family condemned their relationship and forbid her to be with him. To a certain extent John’s romance with Alejandra mirrors Shakespeare’s Romeo and Juliet in respects to their forbidden love, however their story does not end in tragedy. Wordsworth shows nature to be more of a companion for man in ‘The Solitary Reaper’. The woman reaps the crops alone in the field singing with a voice so ‘thrilling’ it resonates ‘Long after it was heard no more’. Although she is lonely, she is wholly reliant upon the sustenance she receives and the relationship she has with nature. The poet proceeds to compare her to the Cuckoo and the Nightingale stating ‘No Nightingale did ever chaunt more welcome notes to weary bands’ being compared to birds with such beautiful song surely displays her oneness with nature. Unlike the ‘maiden’ Victor tries to control and dominate nature, this resentment could stem from the fact his mother died of the fever, making him go to extreme lengths in constructing this figure from different body parts to create a cre...
In "Death of a Naturalist" we find that the poem is about being out in
Elegy in a Country Courtyard, by Thomas Gray, can be looked at through two different methods. First the Dialogical Approach, which covers the ability of the language of the text to address someone without the consciousness that the exchange of language between the speaker and addressee occurs. (HCAL, 349) The second method is the Formalistic Approach, which allows the reader to look at a literary piece, and critique it according to its form, point of view, style, imagery, atmosphere, theme, and word choice. The formalistic views on form, allow us to look at the essential structure of the poem.
... Nature, including human beings, is `red in tooth and claw'; we are all `killers' in one way or another. Also, the fear which inhabits both human and snake (allowing us, generally, to avoid each other), and which acts as the catalyst for this poem, also precipitates retaliation. Instinct, it seems, won't be gainsaid by morality; as in war, our confrontation with Nature has its origins in some irrational `logic' of the soul. The intangibility of fear, as expressed in the imagery of the poem, is seen by the poet to spring from the same source as the snake, namely the earth - or, rather, what the earth symbolizes, our primitive past embedded in our subconsciouness. By revealing the kinship of feelings that permeates all Nature, Judith Wright universalises the experience of this poem.
Nature is often a focal point for many author’s works, whether it is expressed through lyrics, short stories, or poetry. Authors are given a cornucopia of pictures and descriptions of nature’s splendor that they can reproduce through words. It is because of this that more often than not a reader is faced with multiple approaches and descriptions to the way nature is portrayed. Some authors tend to look at nature from a deeper and personal observation as in William Wordsworth’s “I Wandered Lonely as a Cloud”, while other authors tend to focus on a more religious beauty within nature as show in Gerard Manley Hopkins “Pied Beauty”, suggesting to the reader that while to each their own there is always a beauty to be found in nature and nature’s beauty can be uplifting for the human spirit both on a visual and spiritual level.
Through the ingenious works of poetry the role of nature has imprinted the 18th and 19th century with a mark of significance. The common terminology ‘nature’ has been reflected by our greatest poets in different meanings and understanding; Alexander Pope believed in reason and moderation, whereas Blake and Wordsworth embraced passion and imagination.