Critical Analysis- Sheeney Flashcards

Secure A05 for poetry

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1
Q

Is the poets public duty to act offensively or remain in the shadows.

A

“if a poet must turn his resistance into an offensive, he should go for a kill and be prepared, in his life and work, for the consequences.”

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2
Q

The identity of the community appears through the isolated character attempting to rejoin the tribe.

A

“these voices from a colonial and agricultural desolation must be attended to in the search for a more satisfactory future.”

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3
Q

A representation of the poet’s faith in poetry.

A

“Art has a religious, a binding force, for the artist. Language is the poet’s faith.” (Andrews)

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4
Q

Poetry appears weak in a violent world.

A

“a view of poetry as secret and natural even though it must operate in a world that is public and brutal.” (Andrews)

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5
Q

The masculine appearance of the Craft.

A

“In the masculine mode, the language functions as a form of address… a labour of shaping.” (Anderson)

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6
Q

The masculine physicalisation and inability to articulate language, this is the poet’s duty.

A

“Toughen up, don’t whine, be a man!’ It’s the face of someone who hands down the rage and pain of what it is to be a man.”

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7
Q

Heaney presents the natural occurrence of poetry that is divided into the presets of masculine and feminine. (Apollonian and Dionysian.)

A

“masculine will and intelligence and feminine clusters of image and emotion.” (Heaney)

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8
Q

Progression to the light from roots in the earth.

A

“A move from Antaean darkness into Herculean light.” (Davies)

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9
Q

The base nature of poetry.

A

“The act of writing itself is political.”

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10
Q

The move to Glanmore acts as an act of freedom.

A

“Heaney is liberated in the space of exile.”

“rediscovers a strength in the firmer ground.”

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11
Q

Both poets attempt to find a middle-ground between art and duty.

A

“the intertwining of the creative and the responsible is… interrogated.” (Heaney)
“poised on the brink… standing Janus-like with one eye on life and one on death.”

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12
Q

Poetry and violence are intertwined at the base.

A

“the roots of poetry and of violence grow in the same soil… nature of guilt and its intimacy with the act of writing.” (Deane)

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13
Q

The poets search for self-mastery.

A

“the area that is his by choice and not dictated by circumstance… “Poetry is out of the quarrel with ourselves .”

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14
Q

The agricultural- ploughing nature of poetry.

A

“turning the unresolved conflicts and turmoil of one’s life into something realised, artistic, whole.”

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15
Q

The community desire the poet to represent their voice.

A

“the composer became public property… as part of the community desirous of a leader, a representative, a symbol.”

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16
Q

The appearance of love in poetry.

A

“that life is more than death, that there are places of peace, that hate and vengeance may not be the only possible ruling passions, that love exists.”

17
Q

The presentation of the incertus voice.

A

“does not denote uncertainty (in the usual sense… a shy soul…) but expresses the dialectical polarity in language and in the world.”

“questions of failed articulacy” (Sheers)

18
Q

Presentation of division and boundaries

A

“the sights he hones in on are linked by their liminality” (Crown)
“the fraying love” (Sheers)

19
Q

Sheers draws together the voice of his surroundings

A

“the ongoing dialogue between man and nature” (Sheers)

20
Q

Expression of unearthing poetry

A

“bodies from out of the bog” (Heaney)