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“Orange Drums, Tyrone 1966” by Seamus Heaney (1975)
This poem amplifies just one word that occurs in “Act of Union”: “wardrum [sic].” Published in Heaney’s collection North, “Orange Drums, Tyrone 1966” is about those drums, as characterized by Heaney, during a Protestant loyalist parade in Tyrone—a county in Northern Ireland—in 1966. This was before the “Troubles” began, but tensions were rising. The poem pictures a single drummer on the parade, who plays a lambeg: a large drum. As the procession moves on, “the drums preside, like giant tumours [sic],” and to everyone who hears them they give out one message loud and clear: “No Pope.”
“Punishment” by Seamus Heaney (1975)
“Punishment” was published in North. It explores the topic of revenge against those who offend the norms of a group. Much of the poem describes the well-preserved body of a young woman from about 2,000 years ago that was uncovered from a peat bog. The body had a halter around the neck and was weighed down by a stone. Perhaps she was punished for adultery, the speaker muses. He compares her to young Catholic women in Northern Ireland during the Troubles, who were punished for fraternizing with British soldiers. They had their heads shaved and were tarred and feathered and chained to a railing. The concluding lines proved controversial because the speaker is unwilling to join in with the "civilized outrage" at such punishments, because he understands "the exact / and tribal, intimate revenge." Heaney was criticized for seeming to endorse such punishment or at least not overtly condemning it.
“Whatever You Say, Say Nothing” by Seamus Heaney (1975)
The poem is about how cautious ordinary people in Northern Ireland are in what they are prepared to say about the Troubles. The speaker has just encountered an English journalist who has been seeking people’s views about the conflict. According to the speaker, no one really speaks their mind but takes refuge in generalities and platitudes such as “Oh, it’s disgraceful, surely, I agree,” and “One side’s as bad as another.” It seems important for people, even in the midst of bitter sectarian conflict, to obey the rule, “Whatever you say, you say nothing.” The likely reason for this is that by doing so they preserve their own safety; they do not want to speak out in a way that would make them a target.
“Obituary: Heaney ‘the Most Important Irish Poet Since Yeats’” by P. J. Smyth (2013)
This obituary of Heaney, which details his life and work as poet, critic, and translator, appeared in the Irish Times. Smyth states Heaney “was undoubtedly the most popular poet writing in English, and the only one assured of a place in the bestseller lists.” Smyth mentions various assessments of Heaney’s work, most of them laudatory but with a few dissenters. He also quotes Heaney on his view of living through the Troubles, adding that Heaney felt it was not possible for him to take sides in the conflict. Smyth also notes that North is often regarded as Heaney’s best and most original volume, although it was also subject to adverse criticism by some in Northern Ireland.
“How Writers Sought to Make Sense of the Troubles” by Conor McCloskey (2016)
In this article published in the Irish Times, McCloskey discusses the work of four Irish writers as they responded in the 1970s to the Troubles in Northern Ireland. The four writers are Benedict Kiely, William Trevor, Brian Friel, and Seamus Heaney.
Seamus Heaney by Thomas C. Foster (1989)
This volume in the Twayne English Author Series is a concise introduction to Heaney’s work up to 1987. Foster does not regard “Act of Union” as the poet’s best work and finds the English speaker’s voice “forced”; it “seems to mouth the words the poet chooses for it rather than to find its own words” (p. 70). According to Foster, this is likely because despite his best efforts, Heaney found it difficult to be even-handed about the Troubles; given his Catholic heritage, he inevitably leaned toward one side.



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