Analysis of Blackberry Picking by Seamus Heaney
Once the reader can passes up the surface meaning of the poem Blackberry-Picking, by Seamus Heaney, past the emotional switch from sheer joy to utter disappointment, past the childhood memories, the underlying meaning can be quite disturbing. Hidden deep within the happy-go-lucky rifts of childhood is a disturbing tale of greed and murder. Seamus Heaney, through clever diction, ghastly imagery, misguided metaphors and abruptly changing forms, ingeniously tells the tale that is understood and rarely spoken aloud.
Seamus Heaney refers to Bluebeard at the end of stanza one. Bluebeard, according to the footnote, is a character in a fairy tale who murders his wives. Why on earth would there be a reference to a murderous pirate in a poem about blackberries? The exact metaphor is “Our hands were peppered With thorn pricks, our palms sticky as Bluebeard’s,” (lines 15-16). Heaney is comparing the sticky blackberry juice on their hands to the blood shed on Bluebeard’s hands, from his wives. This comparison makes the first reference to murder in the poem, rather the most obvious one. Picking blackberries is being paralleled to greed and murder by Heaney, in this poem. Murdering the blackberries is an interesting thought. Once picked off the bush out of greed, wanting the blackberries for yourself, the blackberries will only rot away, no longer able to sustain their lives. This murderous act is committed in the innocence of the sp...
The verse novel, ‘The Simple Gift’ explores how relationships and place can impact detrimentally on one’s identity and sense of belonging. Herrick uses Billy to highlight how social issues such as dysfunctional families can lead to isolation and loneliness. Using first person narrative, “I”, Herrick in the poem 'Sport' establishes the barriers to belonging. Herrick uses flashback and hyperbole “he came thundering out” to highlight detachment from home prompted by Billy’s abusive alcoholic father. Detailed repetition of “I was ten years old” intensifies the poignant loss of Billy’s innocence and his displacement from a childhood sanctuary. Consequently the poem ‘Longlands Road’, uses personified enjambment, “rocks that bounce and clatter and roll and protest”, to capture the image of an angry boy who is searching for a sense of belonging. Imagery created through vivid descriptive language, “rundown and beat / the grass unmown around the doors”, depicts the impoverishment and disrepair of “Nowheresville”. While Billy’s description of “Mrs Johnston’s mailbox on the ground...” expresses his contempt and frustration. Subsequently, the ramifications of Billy’s discontent, portrayed by the sarcastic statement “It’s the only time my school has come in ...
Nicky’s father took his son out with the intention of having him look for a pumpkin and bringing it back home. Not at all did he suspect to encounter anything more but indeed he did. Nicky and his father went looking for a pumpkin at as place that he describes as “a piece of land so devoid of life and interest that from January to October, I’m certain, no one sees it at all”.
Stade, George, and Karen Karbiener. “Heaney Seamus.” Bloom’s Literature. Facts on File, Inc. Web. 30 Mar. 2014
In the short story “Marigolds” by Eugenia Collier, the narrator Lizabeth realizes that she is no longer a child but a grown up woman who renounces her innocence and begins her adulthood by developing a sense of compassion. She learns that the world is more than just the dusty shantytown and a squad of kids she plays with; there are also the complex realities of depression, indifference and poverty. The reason behind this realization is that Lizabeth, at an age of 14, overhears her parents’ conversation about the harsh economic situation that their family is facing. She is filled with anger and detests the unfairness that is given to her family. All these feelings encourage her towards an explosive, malicious act of destruction. She is especially
The dead black person hanging from a tree is described as “fruit for the crows to pluck/For the rain to gather, for the wind to suck/For the sun to rot, for the trees to drop.” During this portion of the song, one can hear the tremolo of the piano building in volume and ending with a staccato at the end of each line. Musically, this adds an element of suspense, and emphasizes the last dependent clause, effectively adding heaviness to the entire section. From the viewpoint of anyone other than racist white southerners in the 20th century, it is extremely troubling that the violent murder of black people had become so integrated into natural cycles, which seem to be more encompassing and absolute than societal customs. The lyrics attempt to transcend societal ingroups and outgroups, political issues of personal and peripheral interest and the concepts of time and place by describing how pointless violence, a moral rebellion against nature, has become part of nature. However, my interpretation of the intentions of the songwriter may be informed by my background information about the post-Reconstruction South and my hardline stance against systemic violence and white
In the Bontemps poem, he uses the metaphor of reaping and harvesting to express the bitterness felt by African Americans in a racist America. The metaphor explains that no matter how hard African Americans work, their reward will always be less than that of a White American. Bontemps feels that African Americans have labored long and hard enough for White Americans, and that it is time for all Americans to receive equal reward for equal work. In lines 11 and 12 Bontemps says "Small wonder then my children glean in fields / They have not sown, and feed of bitter fruit." These lines are a great example of the extended metaphor used throughout Bontemps poem, and show that he believes that no matter how hard he works to bring change, his children have already tasted the "bitter fruit" (line 12) of racial prejudice. Cullen also uses the extended metaphor of reaping and harvesting as evident in lines 1 and 2: "We shall not always plant while others reap / The golden increment of bursting fruit". Cullen uses these lines to express his pride in his race and to promote equality. He also says "So in the dark we hide the heart that bleeds, / And wait, and tend our agonizing seeds" (lines 13 and 14) to say that change will not happen overnight and that the wait for equality will be painful and
The tale of Bluebeard dates back to the seventeenth century. "Bluebeard as we know him first appeared in Paris in 1695 as La Barbe Bleue, in the manuscript version of Charles Perrault’s Histories Ou Contes Du Temps Passe, a collection which has become a seminal influence on the evolution of fairy tale" (Davies 33). The villain of this tale is a man with a blue beard whom everyone fears. After inviting his neighbors to stay and celebrate at his country home in attempts to persuade one of the their daughters to marry him, he convinces the youngest of his widowed neighbor to be his bride. All goes well until the new husband goes away on business, leaving his wife in charge with only one rule, to not open the door of one room in the castle. Of course curiosity overtakes the wife and she enters the room only to find Bluebeard’s previous wives murdered within the chamber.
...uded the world. It became terrible and then faded away and the little thoughts began again" (37). In this cycle of univocity and fragmentation, even the twisted apples have their day in the sun. As opposed to Duffy's ordered collage, Reefy's confounding lack of order -- in a different twist of Modernist irony -- assure his wholeness and his health.
Use of Diction, Imagery and Metaphor in Seamus Heaney’s Poem, Blackberry-Picking Seamus Heaney’s poem “Blackberry-Picking” does not merely describe a child’s summer activity of collecting berries for amusement. Rather, it details a stronger motivation, ruled by a more primal urge, guised as a fanciful experience of childhood and its many lessons. This is shown through Heaney’s use of language in the poem, including vibrant diction, intense imagery and powerful metaphor—an uncommon mix coming from a child’s perspective. Heaney emphasizes the importance of the experience of Blackberry picking by using diction that relates to sensory imagery and human urges.
The state of childhood, in much of literature, is portrayed as the ultimate in innocence, both in character and of perceptions of the world. The shattering of this innocence is often used in writing as a plot device for character development. At times it seems that the extent to which the child’s pure outlook has been destroyed is a measure of how dire a situation can be. As with many autobiographical works that deal with lives of strife, Baldwin also repeatedly returns to moments of his childhood. These moments are often visited through anecdote, and capitalize on various aspects of his personality, his opinions, and his career as an author.
This essay by Jonathan Swift is a brutal satire in which he suggests that the poor Irish families should kill their young children and eat them in order to eliminate the growing number of starving citizens. At this time is Ireland, there was extreme poverty and wide gap between the poor and the rich, the tenements and the landlords, respectively. Throughout the essay Swift uses satire and irony as a way to attack the indifference between classes. Swift is not seriously suggesting cannibalism, he is trying to make known the desperate state of the lower class and the need for a social and moral reform in Ireland.
There are many factors that will shape a young boy’s life, but possibly none more important than the role of that boy’s father. Seamus Heaney and Theodore Roethke both have shown the importance of the father role in their poems “Digging” and “My Papas Waltz.” Although the roles of the fathers in these poems were different, the respect and admiration shown by their sons is one in the same. Weather it is Heaney’s father digging under his window, or Roehtke’s father dancing him around as a little boy, the love shown in these two poems, shows a direct relation on the lives they shared with their fathers.
Although imagery and symbolism does little to help prepare an expected ending in “The Flowers” by Alice Walker, setting is the singular element that clearly reasons out an ending that correlates with the predominant theme of how innocence disappears as a result of facing a grim realism from the cruel world. Despite the joyous atmosphere of an apparently beautiful world of abundant corn and cotton, death and hatred lies on in the woods just beyond the sharecropper cabin. Myop’s flowers are laid down as she blooms into maturity in the face of her fallen kinsman, and the life of summer dies along with her innocence. Grim realism has never been so cruel to the innocent children.
In Sir Gawain and the Green Knight one of the most striking and influential scenes is when the green knight bursts into the great hall and graces the knights and King Arthur with his presence. He arrives in full armor and with a battle axe in one hand and a bob of holly in the other. The most captivating part of this image is the bob of holly that he is holding. The red berries directly contrast with the knight’s skin, which was “green as green could be” (150). This shows a contrast in character; the berries are red and poisonous, while the leaves are green and symbolize nature, peace, and harmony. This is in accordance with the evil and kind sides of the green knight, and leads one to believe that
An intriguing yet commonplace subject in literature, childhood contains multiple themes—both subtle and blatant—that often illustrate a child's journey through and discovery of the world. Said themes include topics such as: love, loss of innocence, struggle with identity, and others. In one such story written by James Joyce, a few childhood themes are discussed through the lens of both direct and indirect characterization. Children playing in muddy alleyways, a profession of love in a veiled drawing-room, and a climax formed around the realization of blatant frustration all bring to light themes of epiphany, loss of childlike hope, and courtly infatuation with a young maiden in "Araby."