The difficulty that poets face in negotiating between the local and the universal, between a wish to be true to one's place and cultural heritage and a desire to create an art that will reach beyond the confines of locality, particularly troubles Irish poets, writing, as they do, out of an especially singular culture and writing for an audience largely estranged from that culture. Yeats, of course, provides the most obvious example of an Irish poet able to reach from the particular to the transcendent, but in the decades following Yeats's death, no other Irish poet, with the questionable exception of Patrick Kavanagh, seemed able to fashion a poetic that was both rooted in its native soil and, at the same time, of notable appeal beyond the shores of Ireland.
In the past few years, however, Ireland seems to have produced, in Seamus Heaney, a poet possessing this rather rare capacity…. [By the time that Heaney published Field Work], he was matter-of-factly being described in British and American journals as the most important contemporary voice in Irish poetry and being compared, even, to the great Yeats himself. The question, of course, is why? And, more important, what does Heaney's rather astonishing success among non-Irish readers say about the larger problem of how Irish poets—or poets in general, for that matter—create an art of universal import out of the sticks and stones of their own culture and locality?
This is a free excerpt of 236 words. There are 955 words (approx.
3 pages at 300 words per page) in the full critical essay.
Read the rest of this Criticism with our Heaney, Seamus (Justin) 1939–: Critical Essay by Gregory A. Schirmer Access Pass.
