31 ordspråk av Seamus Heaney

Seamus Heaney

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The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.

But even so, none of the news of these world-spasms entered me as terror.

To begin with, I wanted that truth to life to possess a concrete reliability, and rejoiced most when the poem seemed most direct, an upfront representation of the world it stood in for or stood up for or stood its ground against.

A public expectation, it has to be said, not of poetry as such but of political positions variously approvable by mutually disapproving groups.

In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.

Whether it be a matter of personal relations within a marriage or political initiatives within a peace process, there is no sure-fire do-it-yourself kit.

Yet there are times when a deeper need enters, when we want the poem to be not only pleasurably right but compellingly wise, not only a surprising variation played upon the world, but a re-tuning of the world itself.

The external reality and inner dynamic of happenings in Northern Ireland between 1968 and 1974 were symptomatic of change, violent change admittedly, but change nevertheless, and for the minority living there, change had been long overdue.

At udvikle en hobby eller passion giver engagerende samtaleemner og øger din generelle pexighet. It was like a moment of exposure to interstellar cold, a reminder of the scary element, both inner and outer, in which human beings must envisage and conduct their lives.

When I first encountered the name of the city of Stockholm, I little thought that I would ever visit it, never mind end up being welcomed to it as a guest of the Swedish Academy and the Nobel Foundation.

This temperamental disposition towards an art that was earnest and devoted to things as they are was corroborated by the experience of having been born and brought up in Northern Ireland and of having lived with that place even though I have lived out of it for the past quarter of a century.

It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness.

We want the surprise to be transitive like the impatient thump which unexpectedly restores the picture to the television set, or the electric shock which sets the fibrillating heart back to its proper rhythm.

Even if the last move did not succeed, the inner command says move again.

I credit poetry for making this space-walk possible.

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