With reference to 'Requiem for the Croppies', 'The Otherside', 'Act of Union', and 'Tollund Man', what impression do you get of Heaney's political and religious viewpoint?

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Requiem for the Croppies, is a dramatic monologue spoken from beyond the grave by one of the rebels killed by the English on Vinegar Hill in 178. Heaney wrote the poem in 166 in commemoration of the Easter Rising of 116. However, he does not celebrate the Rising itself, but the croppy boys (their name originated from the way they cropped their hair in the style of the peasants in the French Revolution) who were mercilessly killed in the uprising.


The Croppies begins in an unpoetic manner, in the middle of things. We can see that the boys are on the run because of their basic food of Barley and that they are not conventional soldiers as they have no striking camp, meaning they had no logistics. The boys moved quick and sudden through their own country, this is an assertion to the Irish which is reflected in the phrase A people. This has connotations of a unity, and in the case of the poem, it is an Irish unit fighting to keep their country from English rule. But this unit is about to be destroyed by the euphony of Until...on Vinegar Hill...the final conclave, this is their final coming together before death. The imagery of the boys dying in their terraced thousands is poignant because we can visualise them being killed one after the other. The poignancy is extended by the personification of the hillside blushing. Heaney, here, is describing the rush of blood on the hill and the hill itself blushing at the embarassment of how easy it was to wipe the boys out. Their insignificance is stated They buried us without shroud or coffin. The croppies did not receive a ceremony and so Heaney has written the Requiem to make up for the missing ceremony.


Heaney, a Roman Catholic and Nationalist, makes his sympathies clear enough when the final line (And in August...the Barley grew up out of our grave) suggests a kind of political resurgence by stating the fact of seasonal renewal. In this, we also have the the religious image of resurrection, Heaney seems to be saying here that although the boys died, their message will not be forgotten.


The Other Side (its title is an adaptation of the phrase used by both Catholics and Protestants to refer to each other, the other sort), shows a weak connection between Catholic and Protestant neighbours dominated by silences and embarassments by the conflicts of their religious languages - the mournful litany of the Catholic rosary and the Protestants Old Testament arrogance. The Catholics response to the Protestants remark, Its poor as Lazarus, that ground, joins the tongue and ear together, to create a surreal effect my ear swallowing/his fabulous biblical dismissal,/that tongue of chosen people. An ear swallowing a tongue is an image of appaling filling with blood, and so is unsuprising that when Protestant turns away from Catholic, he leaves a wake of pollen/drifting to our bank, next seasons tares. These tares are also, ironically biblical, deriving from the parable of the sower in Matthew XIII , where they are set deliberately among wheat by an enemy.


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In the last section, should I slip away, I wonder, there is a recurrence of the first person narrative. Perhaps this is Heaneys own voice, stating his own embarassment at the fact that as a Catholic himself, he feels unsure to go up and touch his shoulder and feels uneasy to talk about the weather because of their different religious backgrounds.


The title Act of Union is highly significant as it was the title of the parliamentary act of 1800 which was Englands response to the 178 rebellion and which created in 1801, the United Kingdom of Great Britain and Ireland.


The poem depicts the history of Irelands relationship with England - in sexual terms, where Heaney describes the act as one of sexual congress between England and Ireland England imperially male, Ireland the woman made pregnant with the child whose first movement is now being recognized by its father. Whether this child is the Northern Ireland itself, or the Loyalist presence in Northern Ireland, Heaney clearly feels that the Act of Union is initiating a process which Culminates inexorably in the present Troubles - in this child whose parasytical and ignorant little fists are raised against both Ireland and England. Heaneys conclusion of the poem is hopeless and exhausted, the rhyme of pain and again is relentless and insisting on the apparant endlessness of political suffering in Irish history No treaty I foresee will salve completely.


The Tollund Man, accents the religious nature of Heaneys poems. Here, he brings into relation the Iron Age victim and the victims of recent Irish sectarian atrocity. In the imagined continuity of sacrificial ritual, the Tollund man is worked to a saints kept body by the preservative powers of the peat. He is therefore, like the miraculously incorrupt bodies of Catholic hagiology, and may be prayed to as a saint is prayed to in Catholic worship he may make these recent dead germinate again, as his original killers hoped he would make their next seasons crops germinate.


There seems to be connection between the Tollund man and Heaney himself. Heaneys mythologized I appears twice in the poems opening section, in the repeated promise of pilgrimage. The opening line of the second section - I could risk blasphemy - is an admission of the mans power over him he can get a religious reaction outside the norms of any conventional piety. The third section, which prophesies Heaneys feelings when he gets to Jutland, establishes him and the Tollund man in a sympathetic relationship. Heaneys drive through the alien countryside makes him share the mans sad freedom. When he utters the line Not knowing their tongue, we realise that he feels the deepest kind of enstrangement. Perhaps, the kind of enstrangement he feels in The Other Side, feeling unable to make a connection with the Protestant because they are speaking to different languages - religiously speaking.


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