Seamus Heaney: Comprehensive Research and Study Guide by Harold Bloom

By Harold Bloom

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Extra resources for Seamus Heaney: Comprehensive Research and Study Guide (Bloom's Major Poets)

Sample text

The officer rides away, though, unknowing, with his bicycle making a portentous ticking sound, perhaps foreshadowing the ticking bombs that will be used when Ireland’s passivity wears out. The third poem, “Orange Drums, Tyrone, 1966,” has Protestant sectarianism showcased in the streets, where a parade honors the triumph of William of Orange. The Catholics are still passive, yet there is an irony, for the drummer described here struggles to carry his instrument. While his side may be in control, he certainly is not, as he fights to hold up the drum, indicating an ability to be weak but still in control or perhaps inspiring the realization in the onlookers that these rulers could be overpowered.

As the poem progresses, one could assume that the person described could be an early lover. For in the first stanza, the bow is described as a “loveknot,” and later the poet/narrator says he is “homesick” for the evenings spent walking with this unidentified person, passing, among other things, “old beds” in hedges. From other descriptions in the poem, some have assumed the “you” is someone from an earlier generation; Heaney himself, when queried, said his intention was that the person be his father.

The tools, raw material, and sculptor are as one. ” This description refers to the schools that the Irish Catholics created out under the trees and alongside the hedges in the nineteenth century before formal education was allowed for them. It refers not only to the narrator’s wanting to learn from the nature available in Glanmore but also refers to political rebelliousness. The third sonnet continues like its predecessors with a thorough appreciation of the natural surroundings and with a merging of these surroundings and poetry.

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