Senior Seminar DeRoche Introduction William Butler Yeats The Nobel Prize in Literature 1923 Seamus Heaney The

Nobel Prize in Literature 1995

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Two giants of Irelands literary landscape were awarded the ultimate literary accolade at the Swedish Academy in Stockholm seventy two years apart. Both men are products of a rich tradition that has produced Wilde, OCasey, Joyce, Beckett and many others. While Yeats and Heaney can be considered products of a single tradition and have a lot in common, their differences also speak to the breadth of the Irish literary tradition. Yeats came from a family of artists while Heaney came from a family of farmers and industrial workers. There was inevitability about Yeats becoming an artist; his Father had eschewed a career in law to become a famous portrait painter while his brother was the famed Jack B. Yeats another outstanding painter. There was no such clear path for Heaney. His father was a small farmer and cattle dealer in rural county Derry in the north of Ireland while his mother was a mill worker. Poet was a strange career choice for one from such a background and it is a tribute to Heaney that he has made such a success of his chosen profession. The Irish Literary revival in the late nineteenth and early twentieth century sought to restore Irish culture and language to the mainstream of an Irish life that

Senior Seminar DeRoche was becoming increasingly anglicized. Yeats was in the vanguard of this

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movement and used his writing as a tool to further the movements aims. Yeats also was instrumental in the revival of The Abbey Theatre which remains central to the cultural life of Dublin and Ireland. Fifty years later Heaney was part what became known as the Northern School of Irish writing and wrote from the Irish Nationalist perspective of a divided society. Heaneys involvement in the theatre company Field Day which focused on the cultural and political crisis in Ireland mirrored Yeats involvement in the Abbey Theatre years before. Both men felt obliged to contribute to the social and a political debate of their times and their work carries the mark of these obligations. Yeats wrote at a time of great change for Ireland, and the city of Dublin in particular, as the country struggled for freedom after 800 years of British rule. Many acquaintances of Yeats were involved in the Easter 1916 Rising and the War of Independence that followed. Heaney came of age fifty years later in an Ireland much changed but still convulsing from the events of Yeats lifetime. The War of Independence had led to a partitioning of the country and Heaney ended up on the wrong side of the border for an Irish Catholic. Heaneys city, Derry, was at the forefront of the struggle for civil rights for Catholics in the Protestant dominated province of Northern Ireland. The Civil Rights struggle culminated in Bloody Sunday when British Soldiers shot dead 13 unarmed civil rights marchers in Derry in 1972 setting the stage for more than two more decades of violence in Ireland.

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Yeats and Heaney arrived at the same destination seventy-two years apart. Their journeys intersected and diverged many times along the way but ultimately converged at the Swedish Academy in Stockholm as they were crowned as winners of the Nobel Prize in Literature. This paper looks at where those paths intersected and also where they diverged in both mens journey to Stockholm.

Senior Seminar DeRoche Backgrounds

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Ireland today is divided; there is the Republic of Ireland an autonomous state and Northern Ireland, the six north-eastern counties of the island which remain under the rule of the British. When Yeats was born in 1865 there was no border, the entire island was under British rule but there was a divide as real as the one today. Yeats came from the Anglo-Irish aristocracy, Protestant descendants of the English ruling class. The other side of the divide was the native Irish mostly peasant Catholics and it is from this tradition that Seamus Heaney emerged decades later. Yeats came from a family of artists while Heaneys family were farmers and industrial workers. Both men were products of their immediate family backgrounds but also the wider traditions they came from. The Yeats Room in Irelands National Gallery, where works by many of the Yeats family adorn the walls, is testament to the artistic talent of the Yeats family. Aine De Paor describes the room thus: Dedicated primarily to the work of Jack B. Yeats, it also contains paintings by his father John Butler Yeats and his niece Anne Yeats. There are also works by Jack's sisters, Lily and Lolly (Susan and Elizabeth Yeats), and his brother, the Nobel-prize-winning W.B. In her essay Family Values: Gender, Sexuality, and Crisis in Yeatss Anglo-Irish Aristocracy., Marjorie Howes talks of Yeatss poem The Table and his comparison between the swords changelessness and the genealogical continuity of artistic accomplishment in the culture that produced it

Senior Seminar DeRoche Our learned men have urged That when and where twas forged A marvelous accomplishment, In painting or in pottery, went From father unto son And through the centuries ran And seemed unchanging like the sword.(121)

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Yeats viewed his talent as a product of his family background. By necessity Heaney took a different view of the source of his artistic talent. For Heaney there was no genealogical continuity of artistic accomplishment for him to be part of. We learn of Heaneys family background from Tore Frngsmyr: His father owned and worked a small farm of some fifty acres in County Derry in Northern Ireland, but the father's real commitment was to cattledealing The poet's mother came from a family called McCann whose connections were more with the modern world than with the traditional rural economy; her uncles and relations were employed in the local linen mill and an aunt had worked "in service" to the mill owners' family. Instead of comparing himself to his family, Heaney contrasts his path in life with the one they have taken. He sets out his stall in his first poem Digging in his first published book Death of a Naturalist. Heaney sits in his bedroom writing: Between my finger and my thumb The squat pen rests; snug as a gun. (1-2)

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The pen is the tool of Heaneys trade; it rests comfortably in his hand. Below his window, Heaneys father is digging in flower beds with the tool of his trade, a spade; Heaney thinks of the past, his father digging potato drills and his grandfather digging turf: By God, the old man could handle a spade. Just like his old man. (15-16) Heaney is proud of his familys proficiency with the spade: My grandfather cut more turf in a day Than any other man on Toners bog. (17-18) While Heaney is proud of his family and clearly loves the sounds and smells of the digging, his calling is a different one. His father and grandfather used the spade, he wont: But Ive no spade to follow men like them Between my finger and my thumb The squat pen rests Ill dig with it. (28-31) Heaney will make his living with the pen rather than the spade. He will break the genealogical continuity, he wont cultivate flowers and potatoes, he will cultivate ideas. Heaney does not disrespect the labors of his forebears; he pays homage to them. His labors will be different and he hopes to be as proficient with the pen as they were with the spade.

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Yeats took the side of Nationalist Ireland in the struggle for independence from Britain in the Rising of 1916 and the War of Independence that followed; however he never lost sight of his heritage as a member of the Anglo Irish tradition. Thomas R. Whitaker recalls Yeatss speech as a member of the Senate in the young Irish Free State: In 1925, concluding his senate speech on the divorce question, Yeats said: I think that it is tragic that within three years of this country gaining its independence we should be discussing a measure which a minority of this nation considers to be grossly oppressive. I am proud to consider myself a typical man of that minority. We against whom you have done this thing, are no petty people. We are one of the great stocks of Europe. We are the people of Burke; we are the people of Grattan; we are the people of Swift, the people of Parnell. We have created the most of the modern literature of this country. We have created the best of its political intelligence(50) These are the words of a man clearly very proud of his heritage and the great statesmen and writers it has produced. His invoking of the names of the great Anglo-Irish that went before him is repeated in his poem The Tower: They shall inherit my pride, The pride of people that were Bound neither to Cause nor to State, Neither to slaves that were spat on,

Senior Seminar DeRoche Nor to the tyrants that spat, The people of Burke and of Grattan That gave, though free to refuse (III.127-133)

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Yeats sees himself as an artist and a product not only of his family but of the wider Anglo-Irish culture, a culture that he is proud to be a member of. Heaney was born in Derry, a part of Ireland that remains under British rule. The fact that Derry was, and remains, under British rule did not diminish Heaneys view of himself as Irish. Heaney made his feelings succinctly and poetically known in his objection to his inclusion in an anthology of contemporary British poetry in 1982. According to the website, Books, The Authors: Seamus Heaney, he said: Be advised, my passport's green No glass of ours was ever raised To toast the Queen. The green passport is a reference to the Irish passport which was green and available to all on the island of Ireland. For those from Northern Ireland, the carrying of the Irish rather than the British passport is a statement of allegiance to an Irish rather than a British identity. We get further insight into Heaneys identity from an article by Adam Kirsch in Harvard Magazine: His very name, the Irish Seamus rather than the English James, was a marker of identity in a divided land, as he suggests in a vignette from The Ministry of Fear:

Senior Seminar DeRoche policemen Swung their crimson flashlamps, crowding round The car like black cattle, snuffing and pointing The muzzle of a Sten gun in my eye: Whats your name, driver? Seamus... Seamus?

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While Yeats invoked the names of the great and good in celebration of his heritage, Heaney looks to the anonymous heroes of Irelands long struggle for freedom to celebrate his. In Requiem for the Croppies from his 1969 collection Door into the Dark, Heaney memorializes the Irish rebels, croppies, who rose against the British in 1798 and were slaughtered in their thousands by the better equipped British Army. The pockets of our greatcoats full of barley No kitchens on the run, no striking camp We moved quick and sudden in our own country The priest lay behind ditches with the tramp. A people, hardly marching - on the hike We found new tactics happening each day: Wed cut through reins and rider with the pike And stampede cattle into infantry, Then retreat through hedges where cavalry must be thrown.

Senior Seminar DeRoche Until, on Vinegar Hill, the fatal conclave. Terraced thousands died, shaking scythes at cannon. The hillside blushed, soaked in our broken wave. They buried us without shroud or coffin And in August the barley grew up out of the grave

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In the 800 years of British rule in Ireland there had been a rebellion in every generation. 1798 carried on that tradition and it was the same old story of shaking scythes at cannon and the outgunned Irish being slaughtered by what was the most powerful army of the time. Rebellions were a cyclical thing, like the barley that in August grew up out of the grave more rebels would grow out of the grave of the men of 1798. In this poem Heaney is not only paying tribute to those of 1798 but to all the generations that rebelled and fought for Irish freedom, as an Irishman living under British rule he is also aligning himself with this struggle to maintain an Irish identity.

Senior Seminar DeRoche Revival

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The Ireland that Yeats was born into in 1865 was very firmly part of the British Empire. More than 700 years of occupation had all but eradicated the Irish language and there was a danger that Irish culture would be completely subsumed by anglicization. Yeats looked to native Irish literature and tradition as suitable sources for literary inspiration and, according to the 1916 Rising Website at the National Library of Ireland, in 1882 was a founder member of the National Literary Society which aimed at publicizing the literature, legends and folklore of Ireland. Yeats did not see anglicization as the only danger to Irish culture; he also saw the threat of materialism. In 1913 Dublin was in the midst of the great lockout, a labor dispute which saw union members locked out of their jobs by their employers. At the height of the lockout the dispute involved 20,000 employees across the city along with their 80,000 dependants (Wars and Conflict: 1916 Rising: Prelude: Dublin Lockout 1913). Yeats was disgusted by the greed of the employers and the hardship imposed on the employees. Yeats was also infuriated by the merchants of Dublin refusal to fund an art gallery. He condemned their greed and lack of culture in his poem September 1913: What need you being come to sense, But fumble in a greasy till And add the halfpence to the pence And prayer to shivering prayer, until You have dried the marrow from the bone?

Senior Seminar DeRoche For men were born to pray and save: Romantic Irelands dead and gone, Its with OLeary in the grave (1-8)

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In this first stanza of the poem, Yeats condemns the merchants as only being interested in counting their money and praying, and he laments the passing of Romantic Ireland which is dead and in the grave along with OLeary, who was a revolutionary in the nineteenth century and was with Yeats one of the founder members of the National Literary Society. Yeats goes on to reminisce about the heroes of Irelands past and contrast them with the philistines of the merchant classes of Dublin. An important contribution of the National Literary Society was their work in establishing a distinctively Irish national theatre. This work culminated in the opening of the Irish Literary Theatre in 1898 and the Abbey Theatre in 1904. The Abbey continues to be the National Theatre of Ireland. On the opening night of The Abbey, two plays written by Yeats were performed, Cathleen ni Houlihan and On Bailes Strand. According to the 1916 Rising Website: Much of Yeatss work could be interpreted as promoting the ideal of an independent republic free from the taint of Anglicization, Cathleen ni Houlihan being his most overtly republican work. Part of Yeatss legacy and testament to the success of the Irish Literary Revival is the vibrant Irish culture manifested in the popularity of Irish music, literature, art and theater throughout the world.

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In the Ireland that Seamus Heaney grew up in Irish culture was also under threat. Heaney grew up in Derry, part of the island remaining under British rule under the terms of the agreement that ended the Irish War of Independence. Expressions of Irish culture were viewed with suspicion by the ruling Unionists who were loyal to the British Crown. Discrimination against Catholics was rampant, the civil rights movements of the 1960s spread to Northern Ireland and when the government refused to grant those rights it led to the resurrection of the Irish Republican Army and twenty five years of armed conflict. The Northern School of writers that Heaney is associated is not a formal grouping like the National Literary Society of Yeats. In Heaneys biography on the Nobel Prize website, Tore Frngsmyr tells us: Heaney's poems first came to public attention in the mid-1960s when he was active as one of a group of poets who were subsequently recognized as constituting something of a "Northern School" within Irish writing. Although Heaney is stylistically and temperamentally different from such writers as Michael Longley and Derek Mahon (his contemporaries), and Paul Muldoon, Medbh McGuckian and Ciaran Carson (members of a younger Northern Irish generation), he does share with all of them the fate of having been born into a society deeply divided along religious and political lines, one which was doomed moreover to suffer a quarter-century of violence, polarization and inner distrust.

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The divisions in the society around them inevitably informed the work of those of the Northern School. Heaney wrote from the perspective of an Irish Nationalist and his work helped to keep alive an Irish tradition in an often hostile environment. In his poem From the Frontier of Writing Heaney writes of the tension of being stopped at a British Army checkpoint: The tightness and the nilness round that space when the car stops in the road, the troops inspect its make and number and, as one bends his face

towards your window, you catch sight of more on a hill beyond, eyeing with intent down cradled guns that hold you under cover

and everything is pure interrogation until a rifle motions and you move with guarded unconcerned acceleration --

a little emptier, a little spent as always by that quiver in the self, subjugated, yes, and obedient.

So you drive on to the frontier of writing

Senior Seminar DeRoche where it happens again. The guns on tripods; the sergeant with his on-off mike repeating

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data about you, waiting for the squawk of clearance; the marksman training down out of the sun upon you like a hawk.

And suddenly you're through, arraigned yet freed, as if you'd passed from behind a waterfall on the black current of a tarmac road

past armor-plated vehicles, out between the posted soldiers flowing and receding like tree shadows into the polished windscreen. As a member of society that has no allegiance to this British Army Heaney feels subjugated by the encounter, like the croppies of his poem about the rebellion of 1798, Heaney is defeated by the greater firepower of the British. Irish literature though like Irish rebellion is cyclical and Heaney helps to keep this tradition alive in his writing. Like Yeats with The Abbey, Heaney also used the Theatre to advance Irish culture. In Heaneys case it was with the Theatre group Field Day and again Frngsmyr tells us more:

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Heaney's involvement for a decade and a half with Field Day, a theatre company founded in 1980 by the playwright Brian Friel and the actor Stephen Rea. Here, he was also associated with the poets Seamus Deane and Tom Paul , and the singer David Hammond in a project which sought to bring the artistic and intellectual focus of its members into productive relation with the crisis that was ongoing in Irish political life. Through a series of plays and pamphlets (culminating in Heaney's case in his version of Sophocles' Philoctetes which the company produced and toured in 1990 under the title, The Cure at Troy), Field Day contributed greatly to the vigour of the cultural debate which flourished throughout the 1980s and 1990s in Ireland. Yeats and Heaney both recognized the importance of art in identity and culture. Yeats helped revive Irish art to keep a uniquely Irish culture; Heaney helps to keep this culture alive.

Senior Seminar DeRoche Turmoil

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The Ireland of today was formed in the early twentieth century. The Irish cultural revival of the late nineteenth and early twentieth century led many to agitate for the ultimate expression of identity, an independent Ireland free of British rule. The 1916 Rising website gives us some insight into Yeatss role in setting the stage for the Rising: Yeats and the Literary Revival did indeed contribute to the formation of the new sense of national identityYeats was but one of a number of forces contributing to the formation of the new sense of national identity, and to the new sense of confidence which would induce some to strive for a new Ireland. The striving for a new Ireland led to the Rising of 1916 and the 1916 website gives a synopsis: On Easter Monday, 24 April 1916, at a time when Ireland was an integral part of the United Kingdom of Great Britain and Ireland, seven Irishmen proclaimed the establishment of the Irish Republic, nominating themselves as its provisional government. Together with 1,400 poorly armed followers, they occupied a number of prominent buildings near the centre of DublinThe government of Great Britain and Ireland regarded the insurrection as treason The response was immediate and decisive, the outcome being a foregone conclusion: by the following Sunday close to 2,000 people mostly

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civilians had been killed or injured, the General Post Office and various other buildings were in ruins, and the insurgents had surrendered. The seven signatories of the Proclamation and eight others were tried by courts-martial and executed by firing squad. A sixteenth man, Roger Casement, was tried in open court in London and hanged in Pentonville Prison. The execution of the leaders of the Rising shifted public opinion in Ireland to the side of the revolutionaries. The Rising was followed by a war of independence that led to the partition of the island of Ireland, the formation of the Republic of Ireland in twenty-six of the thirty two counties of Ireland and the six other counties remaining under British rule. Having played a part in creating the environment that led to revolution, Yeats went on to write about it. Yeats was particularly interested in the idea of sacrifice, particularly by the leaders of the Rising who knew they would be militarily defeated by the overwhelming military power of the British, but had correctly calculated that their sacrifice would re-ignite the desire in the Irish public for freedom from British rule. In his essay, Myth and Terror, Richard Kearney talks of Yeatss fascination with this sacrifice: In his much quoted poem, Easter 1916, Yeats confesses astonishment at how such (in his opinion) mediocre men as MacDonagh, Connolly and Pearse have been totally transformed by sacrifice Now and in time to be

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/ Wherever green is worn / (they) Are changed, changed utterly / A terrible beauty is born. (174) Later in the same essay Kearney talks of another Yeats poem, The Rose, which imagines a dialogue between two leaders of the Rising: Pearse laments to Connolly that the Rose Tree of Ireland is withered. The latter replies that it needs to be watered if the green is to come out and the garden to blossom again. The last verse provides us with one of the most cogent expressions of the whole mythic cult of sacrifice: But where can we draw water, Said Pearse to Connolly When all the wells are parched away? O plain as plain can be Theres nothing but our own red blood Can make a right Rose Tree (175) The 1916 Rising was a seminal moment in Irish history, Yeats was instrumental in creating the environment that it sprung from and then in creating the literature that helped to immortalize it. The six counties of Ireland that remained under British rule were governed locally by the mainly Protestant Unionist Party from 1922 until the restoration of direct rule from London in 1972 in response to the conflict then raging between Catholic Nationalists who wanted a united Ireland, and Protestant Unionists who were loyal to Britain. Discrimination against Catholics was rife under Unionist

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rule and the civil rights movement of the 1960s in the USA was mirrored in Northern Ireland as Catholics railed against the discrimination that affected all areas of their lives. As the civil rights agitators met resistance, the agitation escalated to violence and one measure introduced by the British in response to the violence was internment without trial. A march organized to protest against this measure led to the events of Bloody Sunday in Heaneys city of Derry. Don Mullan describes the days events of the day: Bloody Sunday is named after the events that occurred on Sunday, 30 January 1972, when thirteen people were killed by British soldiers and thirteen others were injuredThe victims were taking part in an illegal demonstration against internment without trialThe Paras opened fire on the demonstrators, a small number of whom had previously been engaged in low-level rioting, such as stoning soldiers. (16) The events of Bloody Sunday had a similar effect on public opinion in Ireland as the execution of the leaders of 1916. Outrage led to a determination that the status quo could not remain. Years of violence followed Bloody Sunday, a ceasefire was called in 1994 and a political settlement is still being hashed out. Like Yeats before him, Heaney chronicled the events going on around him. However, Heaney did not eulogize one side or the other nor did he celebrate the blood sacrifice, he trod more ambivalent ground. In his essay, Facing North Again: Polyphony, Contention, Paul Scott Stanfield speaks of this ambivalence:

Senior Seminar DeRoche Some of Heaneys best poems succeed precisely because of the

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exactness with which they re-create the tension of this ambivalence. Casualty, for instance, both convinces us of the deep instinctive power of community, felt by the poet at the funeral of Bloody Sundays thirteen dead, and makes us admire the independence of the fisherman killed in the republican bombing of a curfew-violating pub. (97) In Casualty Heaney mourns not only for those killed by the British, but also for the man killed in the IRA bombing of a pub in violation of a curfew they imposed as a mark of respect to those killed on Bloody Sunday. He was blown to bits Out drinking in a curfew Others obeyed, three nights After they shot dead The thirteen men in Derry. PARAS THIRTEEN, the walls said, BOGSIDE NIL. That Wednesday Everyone held His breath and trembled. II It was a day of cold Raw silence, wind-blown Surplice and soutane: Rained-on, flower-laden Coffin after coffin Seemed to float from the door Of the packed cathedral Like blossoms on slow water. The common funeral Unrolled its swaddling band, Lapping, tightening Till we were braced and bound Like brothers in a ring. (38-59)

Senior Seminar DeRoche Heaney was more interested in the victims of violence than the

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perpetrators. Jon Stallworthy illustrate this point in his essay The Poet as Archaeologist: W.B. Yeats and Seamus Heaney: His concern is not with victors in defeat, but with the victims: not with the heroes of 1916 but with the croppies of 1798, The Tollund Man, the little adulteress, and with his cousin, Colum McCartney, victim of a random sectarian shooting and the subject of his elegy, The Strand at Lough Beg. In this the poet does not, like Yeats, raise his voice that it may be heard in time to be, but speaks quietly as man to man: I turn because the sweeping of your feet Has stopped behind me, to find you on your knees With blood and roadside muck in your hair and eyes. Then kneel in front of you in brimming grass And gather up cold handfuls of the dew To wash you, cousin. I dab you clean with moss Fine as the drizzle out of a low cloud. I lift you under the arms and lay you flat. With rushes that shoot green again, I plait Green scapulars to wear over your shroud. (185) Heaney is not dealing in the mythical blood that will nourish the red rose of Irelands freedom, but the real blood that is matted with muck in the hair and eyes of his cousin, a victim of the violence that roiled Ireland for centuries.

Senior Seminar DeRoche Conclusion

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The paths of Yeats and Heaney converged in the Swedish Academy in Stockholm in 1995 as Seamus Heaney gave his acceptance speech When the poet W.B. Yeats stood on this platform more than seventy years ago, Ireland was emerging from the throes of a traumatic civil war that had followed fast on the heels of a war of independence fought against the British. The struggle that ensued had been brief enough; it was over by May, 1923, some seven months before Yeats sailed to Stockholm, but it was bloody, savage and intimate, and for generations to come it would dictate the terms of politics within the twenty-six independent counties of Ireland, that part of the island known first of all as the Irish Free State and then subsequently as the Republic of Ireland. Yeats barely alluded to the civil war or the war of independence in his Nobel speech. Nobody understood better than he the connection between the construction or destruction of state institutions and the founding or foundering of cultural life, but on this occasion he chose to talk instead about the Irish Dramatic Movement.(Frngsmyr) As Heaney invokes Yeatss name, he tells of the violent society that Yeats emerged from and of Yeatss knowledge of the connection between state institutions and cultural life. Heaney shared this knowledge and his work continues to try to make sense of the divisions in his society and the ambiguities of being Irish in an area ruled by Britain.

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Ultimately the paths of Yeats and Heaney had more intersections than divergences. They had very different starting points for their journeys to Stockholm. They were separated by time, family backgrounds and heritage but the forces that formed them and informed their work were similar as they engaged with a divided society enmeshed in a violent struggle about identity. Neither were passive observers of the society they lived in. Through their work they actively contributed to the social and political debates surrounding them and were aware of the importance of their work to these cultural debates. By granting these men the Nobel Prize the Swedish academy showed that the outside world too was aware of the importance of Yeats and Heaney and their contributions to Irish and world culture.

Senior Seminar DeRoche Works Cited

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Books, The Authors: Seamus Heaney. The Guardian Newspaper. 4 March 2007. < http://books.guardian.co.uk/authors/author/0,,-84,00.html> De Paor, Aine. Pieces of Yeats Pieces of Yeats. The Irish Times 6 March 1999,City ed.: 61. Frngsmyr Tore. Les Prix Nobel. The Nobel Prizes 1995. Stockholm: Nobel Foundation, 1996. 4 March 2007. <http://nobelprize.org/nobel_prizes/literature/laureates/1995/heaneybio.html> Heaney, Seamus. Opened Ground: Selected Poems 1966-1996. New York: Farrar, Straus and Giroux, 1998. Howes, Marjorie. Family Values: Gender, Sexuality, and Crisis in Yeatss AngloIrish Aristocracy. Yeatss Political Identities: Selected Essays. Ed. Jonathan Allison. Ann Arbor: The University of Michigan Press, 1999. 107-29. Kearney, Richard. Myth and Terror. Yeatss Political Identities: Selected Essays. Ed. Jonathan Allison. Ann Arbor: The University of Michigan Press, 1999. 165-179 Kirsch, Adam. Seamus Heaney, Digging with the Pen: On rhymes and responsibilities. Harvard Magazine November-December 2006: 52-58. Mullan, Don. Eyewitness Bloody Sunday: The Truth. Dublin: Wolfhound Press Ltd., 1997.

Senior Seminar DeRoche Works Cited

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Stallworthy, Jon. The Poet as Archaeologist: W.B. Yeats and Seamus Heaney. Critical Essays on Seamus Heaney. Ed. Robert F. Garratt. New York: G.K. Hall & Co., 1995. 172-186. The 1916 Rising: Personalities and Perspectives: W.B. Yeats and The Irish Literary Revival. National Library of Ireland. 4 Mar. 2007. <http://www.nli.ie/1916/pdf/3.4.3.pdf> Wars and Conflict: 1916 Rising: Prelude: Dublin Lockout 1913. British Broadcasting Corporation. 4 Mar. 2007. <http://www.bbc.co.uk/history/british/easterrising/prelude/pr05.shtml> Whitaker, Thomas R. Poet of Anglo-Ireland. Modern Critical Views: William Butler Yeats. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 41-71. Yeats, W.B. The Collected Poems of W.B. Yeats. Ed. Richard J. Finneran. New York: Simon & Schuster Inc., 1996.