Date of publication: 2017-07-09 12:06
Seamus Heaney's Northern Ireland is a generally land-locked interpretation. Nowhere in Northern Ireland is far from the sea. Much of Northern Ireland's coastline is magnificent. A poor poem, 'Wolfe Tone' ('The Haw Lantern') has an unmemorable mention of the sea:
Include the author's last name and the page number of the poem in parentheses for MLA style in-text citations. Put this citation at the end of a sentence but before the period after a short quotation, or on a separate line after the block quotation. Do not put in-text citations inside the quotation marks.
'Heaney I was in my first context somewhat hard on, true to my irked reaction to the clogged poetry of most of his last volume North, where his remarkable talents seemed put to mistaken repetitious use self-consciously quarrying preoccupations marginal to the central human experiences. The more relaxed openly topical poems of Part II of North are hardly preferable: Heaney worrying that
This guide provides basic explanations and examples for the most common types of citations used by students. For additional information and examples, refer to the MLA Handbook .
Love, I shall perfect for you the child
who diligently potters in my brain
Digging with heavy spade till sods were picked
Or puddling through muck in a deep drain.
Quoting poetry in your writing is a bit trickier than quoting prose. Style guides (like MLA) tell us more about quoting poetry, but this handout goes over the basics.
'Mr Kenny said: 8775 For us, Seamus Heaney was the keeper of language, our codes, our essence as a people 8776 .' (Reported in 'The Irish Times' and innumerable other places.) The claim was misguided. In my pages on Seamus Heaney I show why he was unsuited to be a keeper of language, despite his gifts, and I also show why he was unsuited to be a keeper of Ireland's codes and Ireland's essence as a people. Politicians, such as the Taoiseach of the Irish republic, are no more suited to be 'keepers' of literary reputations and arbiters of literary value, although the reasons for the Taoiseach's claim may be understandable enough, in the circumstances.
This is an effect not generally used in prose. Prose writers generally regard what's within a prose paragraph as having a degree of unity. The next paragraph gives continuation, very often, of subject or argument but not of phrase or sentence.
I use the term 'line-enjambment,' for the carrying over of material from one line to the next. I use the term 'stanza-enjambment' for the carrying over of material from one stanza (or verse paragraph) to the next. These terms refer to the boundary which is crossed, the end of a line or the end of a stanza. In the page on metre I extend the classification of enjambment to include the different kinds of material which may be carried over, such as a sentence, phrase and metre.
Geoffrey Hill has been phenomenally industrious in creating the essays which make up his large volume, 'Collected Critical Writings' but it has been peculiar, obscure, murky, subterranean, mole-like work, largely unrelated to our very different world above-ground.
Shakespeare wasn't content to give an indelible portrait of rural Warwickshire, as Heaney in his earlier books was content, on the whole, to give an indelible portrait of rural Ireland, with a few perfunctory foreign visits, such as the visit described in 'Night Drive' in 'Door into the Dark:'