Abstract This paper reviews SeamusHeaney's poem, "FuneralRites". The paper illustrates how this poem reflects Heaney's attempt to show the process required for the violence to end, while also challenging people to rethink their views on the violence. The central theme presented in this paper, is how the chaos of death and violence is understood and processed through the use of rituals. The paper also discusses the extensive use of imagery and symbolism in the poem.
From the Paper "The symbols in the poem are also important to the meaning. The most significant symbol is the funeral procession itself. This procession has two meanings. Firstly, it represents the ritual that allows the real meaning of the violent events to be overlooked. Secondly, it represents the process of coming to understand and deal with the reality of the events. In the poem, the funeral procession leads to the river of knowledge and then to the grave site where the mythical figure Gunnar is invoked. Gunnar is a Viking hero who sacrificed himself to end a long fight. The reference to the violence in Ireland is clear, with Gunnar a symbol of sacrifice. The funeral procession as a whole, represents the path that needs to be followed for Ireland to return to peace. Just as a funeral procession leads to the acceptance of an individual's death, the funeral procession represents a process of coming to an understanding of the situation in Ireland and the way to overcome the violence and find the path to acceptance and forgiveness."
Abstract This paper discusses the Irish poet ,SeamusHeaney, who is the most prolific poet of our times and one of the best Irish literary figures to emerge after Yeats. The author points out that "Digging" refers to "a passion" that give a meaning and purpose to life. The paper examines his unassuming, non-aggressive approach that makes his work standout among heaps of conventional political poems. The references are annotated.
From the Paper "Born in 1939, Seamus rose to the heights of international fame when his first collection of poems appeared in 1966 titled, "Death of the Naturalist". It was in this collection that his most widely read poem appeared which gives a reason to believe that Seamus? past is important to him and his rural background has always been a source of pride. This is one reason why we notice references to his past deeply embedded in many of his poems most noticeably in Digging, a poem that talks about Seamus? life on a farm in Mossbawn, a place ?30 miles northwest of Belfast?."
An analysis of several poems by SeamusHeaney, illustrating the condition of Ireland, with its poverty, ignorance and brutal civil unrest, as still possible to be redeemed by the spiritual capacity of its people.
1,549 words (approx. 6.2 pages), 0 sources, 2002, $ 50.95
Abstract This paper discusses and compares the poems "Bye-Child", "The Outlaw", "Bogland", "Limbo" and "The Harvest Bow", by SeamusHeaney. The paper illustrates how each poem evokes a powerful sense of the Irish perception of Ireland, a love-hate relationship in which kinship to the land is deeply felt, along with profound spiritual loneliness. The paper explains that although the overall tone of these poems creates a feeling of tragic alienation, isolation and sterility, there remains a hint of hope.
From the Paper " "Bye-Child" tells the story of a feral child found shut up in a henhouse, the ultimate symbol of ignorance, isolation and alienation. The squalor of his condition is expressed in "the dust,/ The cobwebs, old droppings/ Under the roosts"; he is fed on scraps thrown through a trapdoor "morning and evening". This image is an extreme dramatization of Irish poverty and deprivation. The child lives for the arrival of the scraps, his only link with the unnamed "she" (his mother?) and for the sight of the lamplight in the window, the symbol of comfort and companionship from which he is inexplicably excluded. His uncomprehending patience is compared to that of a dog; he is "kennelled and faithful". Thus, in spite of the misery and neglect of his parents ("their" implies his mother has companionship), there is no resentment in his acceptance of his situation. He loves the light; thus the Irish, in spite of their hardships and lack of comfort, still love their motherland."
Abstract In this article, the writer compares SeamusHeaney's translation of 'Beowulf' to two other translations of the epic poem. The writer discusses what makes some translations unreadable. Further, the writer discusses the use of modern language to make sense of the poem to contemporary readers.
From the Paper "Michael Alexander has identified 'Beowulf' as the first substantial work in English and pointed out that it has both a severe artistic dignity and a penetrating understanding of human life. This long poem has been translated by any number of individuals beginning with Alfred Lord Tennyson and continuing through the translation by Seamus Heaney. Heaney was initially commissioned by the W. W. Norton Publishing Company to represent this famous Old English poem to undergraduates in a free standing and relatively faithful translation that would also appear in an ... "
Abstract In this article, the writer explores the Roman funeralrite and the ability of the Romans to successfully inculturate elements of this ritual into the other cultures that they touched. The writer supports the thesis that the successful inculturation of funeralrites into mainstream society is a result of the willingness to adapt the ritual to include elements of the culture that they wished to acquire, rather than getting them to submit by sheer brute force. The new funeralrite then represents a perfect blend of two cultures.
Outline:
Understanding Inculturation
Roman FuneralRites Past and Present
Inculturation of Roman Funerary Rites The Jewish Funerary Liturgy
Developing a Plan for Inculturation
On Liturgy and Faith
Inculturation Methodology
From the Paper "As the pagan practices of the Roman Empire became entangled, and later replaced by Christianity, many of the pagan practices became obsolete. In some cases, they were no longer allowed, particularly those that honored pagan gods. However, as the Roman religion transformed into the Roman Catholic Church, many elements of the old funeral rites survived. The survival of these elements demonstrates a high degree of inculturation of the old Roman practices. The modern Catholic funerary service still maintains the basic structure of the old Roman ceremony.
"The modern Roman Catholic Church requires that burial rites contain three distinct lithurgical sections. A funeral must contain all three sections."
Abstract This paper explains the importance of the myth of Osiris, and his wife, Isis, to developments in Egypt that distinguished the Nile civilization from other north African peoples, established ideas of the afterlife and funeral rituals towards it, while ushering in the day of Horus. The paper primarily makes reference to two of AWF Budge's works in Egyptology.
From the Paper "The Myth of Osiris, Isis, and the Importance of Egyptian Funeral Rites. Introduction to Osiris The myth of Osiris is really a myth of Isis, too. Osiris seems to have been the most popular of Egyptian deities, associated with joy and sorrow and the vagaries of nature, and especially, of corn, for reasons soon explained. His immense appeal led to numerous attributions and powers, as borrowed from other Egyptian gods, so that debate continues as to what really belongs to the myth of Osiris, and what has been adapted from elsewhere."
Abstract This paper examines "Station Island" by the Irish poet SeamusHeaney, It looks at how Heaney is also a spiritual writer, and his "Station Island" is a deeply spiritual work that tries to portray the spiritual hunger often felt by the people in this modern and technological world and how the title, "Station Island", itself has a association with spirituality and pilgrimage. It analyzes how Heaney uses many poetic devices throughout his writing to good affect and how it helps the reader to imagine the feelings and actions of Heaney that are going on in his mind. The words Heaney uses enrich the poetry; he uses much onomatopoeia to create atmosphere in his writing.
From the Paper "The third part of "Station Island" is a series of monologues on the voice of Sweeney a mysterious and scary figure from Heaney's childhood, the poems in the third part are dramatic and Heaney creates images from the past to tell the story of religious confusion. Sweeney was also a character in previous Heaney poems and in "Sweeney Returns" Heaney depicts the return of the mysterious figure with an altered tone, this time the tone of Sweeney is more political than religious. "On the Road" is the last poem which concludes the book and states that "all roads are one." The voices of Sweeney-Heaney merge, as the religious and aesthetic quests join in the volume of final words [O'Connell, 1985]."
Abstract This paper opens with the full text of SeamusHeaney's poem "Mid-Term Break," after which the writer details the poet's unique style of writing. This paper discusses Heaney's use of iambic pentameter in the text, which serves as the sound structure for this particular poem. This paper examines Heaney's use of emotion, rhythm and literary imagery to convey the feeling of sadness throughout the poem. The writer of this paper also breaks down each line and stanza while clearly describing the author's intention.
From the Paper "In the first sentence, the speaker relates spending a whole morning in a college infirmary as bells outside sound the end of classes. The speaker states, "I sat all morning in the college sick bay." This first image shows the speaker as sympathetic rather than dispassionate. The fact the speaker spent "all morning in the college sick bay" indicates some sort of hardship, either physical or mental, resulting in that person's inability or lack of desire to move to a more comfortable location, such as a dorm room or cafeteria. This also introduces the concept of the speaker as an alienated character. The term "sick bay" connotes not only sickness but also contagion and quarantine. Also, the speaker was, "Counting bells knell classes to a close," suggesting a pessimistic, darkly shaded outlook. The word "knell" denotes "to ring slowly and solemnly, especially for a funeral...A signal of disaster or destruction" (American Heritage), thus adding a mournful tone to the poem reflected by the speaker spending the morning isolated in a college sick bay."
Abstract This paper looks at how the poem "Digging" is one of SeamusHeaney's earlier and cruder poems, reflecting a much rougher style. It looks at how his themes are very direct and the impact created is not as significant as some of his later work. It discusses how the poem reflects an internal struggle as Heaney comes to terms with his career, that of a poet, and breaks with his family tradition of farming.
From the Paper "Heaney's poem has a quality of honesty, as it conveys farm life as it really is, rather than a cover-up. He portrays it as hard work, performed with simple pride, with no pretensions whatsoever, amongst "the cold smell", "the squelch and slap". He relives his childhood experience, yet he doesn't want to follow in his forefather's footsteps. Though his roots are farming, he honestly admits that he has "no spade to follow men like them". His reason for choosing another vocation is not that he feels it is beneath him or ashamed of it, rather on the contrary, he feels great pride for his family traditions. However, he feels that he is not cut out for that life, and since he has more choices than his father or grandfather had, he exercises those choices."
Abstract This paper discusses how, on the surface, the poem by Nobel Prize Laureate SeamusHeaney called "Churning Day", is a wonderful journey into the past, into the old ways of making butter when technology and the corporate world were far from becoming part of Europe. The paper looks at how the poem is both a history lesson and a reflection of Heaney's agricultural upbringing. It also shows how the poem is in a very real way a testament to his sharp eye and attentive ears towards the culture in rural Ireland in which he grew up.
From the Paper "In the poem it is clear that Heaney sees his boyhood old-world family lifestyle as a metaphor, and all the things that were part of those experiences are building blocks for his storytelling. But he shows how highly intelligent he is by his strategic use of words - just enough descriptiveness and emotion. Still, he does not let the tools of poetry overpower the poem. As a poet he has the license to pour forth with images and metaphors, but he handles this poem with grace, the same as his family handled the chores of making food with grace and deliberation. His poetry is, according to The New York Times, "...accomplished, predictable" (Unterecker, 1967). "
Abstract This essay compares and analyses the poems "Dockery and Son" by Philip Larkin and and "Follower" by SeamusHeaney for the theme of family, regret and guilt as well as the structures of the two poems. The analysis is supported by appropriate quotes.
From the Paper "In the poem Follower, Heaney is writing about his father, since, in the first line, he says, ?My father worked with a horse plough.? In fact, for the first three stanzas, the poet talks about his father's skills as a ploughman, and this shows just how much he admires his father. He shows his father's skill in many ways, like when he personifies a full sail strung to his father's shoulders: "His shoulders globed like a full sail strung", which is a good use of simile; this shows how intense his father's work was. Also, he tells us that ?The horses strained at his clicking tongue,? and that ?with a single pluck of reins, the sweating team turned round and back into the land,? and I realize that everything is at his father's command, and his father seems to be one with the field, thus showing the theme of unity with the field."
Abstract This paper tackles the reception of and reaction to, artists and their works by society, paying particular attention to the consequences of this towards the freedom of speech. It includes close references to, amongst others, the works and observations of Eminem, Oscar Wilde and SeamusHeaney.
From the Paper "The culture of apportioning blame onto those artists who may or may not have had a negative influence upon an individual is one that I feel to be totally flawed and in some cases completely unfair. Marshall Mathers has used various alter egos to put across his opinions and views, and through Slim Shady or Eminem I feel that many of his observations and experiences of society have been conveyed using the satire and parody these characters purvey. Unfortunately members of the public have taken it upon themselves to adjudge the responsibility of the actions of individuals who have interpreted his material in a literal manner onto Marshall Mathers himself."
An examination of the funeralrites in Chinese culture points compared to some of the ways in which the social structure in China is maintained and transmitted in the rites themselves and in the accompanying observances of the community.
1,575 words (approx. 6.3 pages), 2 sources, 1992, $ 55.95
From the Paper "Funeral rites provide a community with a ritual observance of the passing of individuals, a communal expression of religious and social beliefs, and a sense of the continuity of social structures through time. An examination of the funeral rites in Chinese culture will point to some of the ways in which the social structure is maintained and transmitted in the rites themselves and in the accompanying observances of the community. The family stands as the central motif in Chinese funerary rites, standing as a form of family worship and providing the individual in the present with a direct link to his or her past.
The family, and family structure, is a central issue in the religion of China and in popular culture. As Thompson (1989) notes, ancestor worship, filial piety, both in the present and in terms of the past, hold an important position in Chinese society. In..."
Abstract This paper explains that Confucian funeral tradition in Korea is complex and requires many stages as well as the participation of several degrees of the extended family. The author points out that the deceased, who becomes an ancestor-god at the moment of death, is honored for the next several years with several 'chesa' ceremonies or family ceremonies used to honor ancestor-gods. The paper relates that, often today, Koreans live in large cities where a truck is used to transport the body instead of a hand-carried platform or bier accompanied by chanting bearers.
From the Paper "Burial usually takes place on the third day. The family mourners dress in special tan clothes made of hemp. The oldest son is the chief mourner, and he demonstrates his grief openly, crying out. Other family members join in the open displays of grief. Friends of the family express their sympathies and offer money to help pay for the funeral. They join the family for meals and to help make all the funeral arrangements. So, while the family has great responsibilities toward the new ancestral god, the funeral is a community affair."
This paper reviews writer Barbara Ehrenreich's "Blood Rites:The Origins and History of the Passions of War", an account of war from its beginnings to today, with an emphasis on its emotional aspects.
1,860 words (approx. 7.4 pages), 0 sources, 2005, $ 59.95
Abstract This paper explains that Barbara Ehrenreich in her book, "Blood Rites: The Origins and History of the Passions of War" traces war's origins back to Paleolithic man's struggle against predators on the African savanna. According to the book, war soon required a symmetrical form that resembled sacrificial rites, which gradually developed into a merger of religion with militarism that transformed battle into a religious rite. The author points out, in the closing chapter, that Ehrenreich pointedly cites the horrifying figure that there have been 160 wars since World War II, which took the lives of 22 million people. The paper contends that mankind is prey, who, through its own efforts, has become a predator; thereby, society continues to prey upon itself, not for sport, but from a residue of insecurity and blood lust that no society yet has managed to suppress.
From the Paper "The following chapters address the notion of the warrior elite. The author uses the example of General MacArthur's evocation of the long, gray line of West Pointers and Hitler's fantasy of a "race of Aryan god-men." However, the warrior elite has disappeared with the modern army, because when everyone has a gun, everyone is equal on the battlefield. The elite doesn't start wars anymore, since anyone can access the massive international arms market. Wars are free to everyone now. One example is the Russian war in Chechnya that was fought by special-forces soldiers."
