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Placing Ireland: Some Lyric Poets

  • Jonathan Hart
Chapter

Abstract

The relation between theory and poetry, the critical and creative word, is the focus of this section of my study. Interpretation and recognition are key concerns through this book. The writers and figures have grappled with what it means to write in the experience and thought of modernity. Who can sign and interpret signs in an industrial and technological world? In the Atlantic world, Northrop Frye wrestled with his theoretical imagination, exploring the borderlands between the creative and critical. His quest in print is in the framework of interpretation and recognition. The film version of Death of A Salesman also attempts to represent the tragedy of the common man between dream and actuality, expressionism and the apparently realistic or everyday medium of film. Willy Loman’s realization and self-realization find many interpretations, even among his family members, such as Linda and Biff This section is built on an examination of wide-ranging texts in the opening section on recognition and a discussion of history in New France, the Thirteen Colonies, and Canada as well as women of different backgrounds writing in and about Canada and the relation between T.E. Lawrence and others, such as the Shaws, in his quest for and against recognition. Framing these discussions of those mainly in the North Atlantic basinfrom Canada, the British Empire, the United Kingdom, the United States, and Ireland—I have centered much of the discussion on poetry and poetics, theory and practice, on the ways and means of recognition and the role of blindness and insight from Greek, whether it be the language, philosophy, literary criticism, and various genres.

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Notes

  1. 1.
    Line 1, p. 7. All quotations from the poetry of Yeats are, unless otherwise indicated, from W.B. Yeats, The Poems: A New Edition (New York: Macmillan, 1983).Google Scholar
  2. Jonathan Hart, “Some Thoughts on Irish Lyric Poetry,” New Delta Preview 19(1) (Fall/Winter 2001), 92–107Google Scholar
  3. Sister M. Bernetta Quinn, “Symbolic Landscape in Yeats: County Sligo,” Shenandoah 16(1965), 37–62Google Scholar
  4. Deborah Fleming, “Landscape and the Self in “W.B. Yeats and Robinson Jeffers,” Ecopoetry: A Critical Introduction, ed. J. Scott Bryson (Salt Lake City, UT: University of Utah Press, 2002), 39–57.Google Scholar
  5. 54.
    Seamus Heaney, New Selected Poems 1966–1987 (London: Faber and Faber, 1990), p. 1.Google Scholar
  6. 61.
    Seamus Heaney, Hailstones (Dublin: Gallery Books, 1984), 11.Google Scholar
  7. 62.
    Seamus Heaney, Station Island (London: Faber and Faber, 1984), 11.Google Scholar
  8. 63.
    Seamus Heaney, Seeing Things (London: Faber and Faber, 1991), 11.Google Scholar
  9. 64.
    Seamus Heaney, Sweeney’s Flight: Based on the Prevised Text of “Sweeney Astray. “Photographs by Rachel Giese (London: Faber and Faber, 1992), 11.Google Scholar
  10. 65.
    Seamus Heaney, Opened Ground: Poems 1966–1996 (London: Faber and Faber, 1998), 11.Google Scholar
  11. 66.
    Seamus Heaney, Wintering Out (London: Faber and Faber, 1972), 14–15Google Scholar
  12. 71.
    Seamus Heaney, An Open Letter (Derry: Field Day Theatre Company, 1983), stanza 33, p. 13.Google Scholar
  13. 72.
    Seamus Heaney, Sweeney Astray (1983; London: Faber and Faber, 1984).Google Scholar
  14. 84.
    Seamus Heaney, Among Schoolchildren: A Lecture Dedicated to the Memory of John Malone (Belfast: John Malone Memorial Committee, 1983), 11.Google Scholar
  15. 85.
    Seamus Heaney, Opened Ground: Poems 1966–1996 (London: Faber and Faber, 1998), 447.Google Scholar

Copyright information

© Jonathan Hart 2006

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  • Jonathan Hart

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