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Seamus Heaney [1939-2013] Irish
Rank: 101
Poet


Seamus Justin Heaney, MRIA was a Irish poet, playwright, translator and lecturer. He received the 1995 Nobel Prize in Literature.
Born near Castledawson, County Londonderry, Northern Ireland, the family moved to nearby Bellaghy when he was a boy. Heaney became a lecturer at St. Joseph's College in Belfast in the early 1960s, after attending Queen's University and began to publish poetry. He lived in Sandymount, Dublin, from 1976 until his death. He also lived part-time in the United States from 1981 to 2006. Heaney was recognised as one of the principal contributors to poetry during his lifetime.
Heaney was a professor at Harvard from 1981 to 1997, and its Poet in Residence from 1988 to 2006. From 1989 to 1994, he was also the Professor of Poetry at Oxford. In 1996, was made a Commandeur de l'Ordre des Arts et Lettres. Other awards that he received include the Geoffrey Faber Memorial Prize, the E. M. Forster Award, the PEN Translation Prize, the Golden Wreath of Poetry, the T. S. Eliot Prize and two Whitbread Prizes. In 2011, he was awarded the Griffin Poetry Prize and in 2012, a Lifetime Recognition Award from the Griffin Trust.

Poetry, Hope, Imagination, Attitude, Change, Famous, Intelligence, Learning, Marriage, Peace, Positive, Relationship, Trust, Truth



QuoteTagsRank
Even if the last move did not succeed, the inner command says move again.
101
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. Marriage, Peace
102
I have begun to think of life as a series of ripples widening out from an original center.
103
I'm a firm believer in learning by heart. Learning
104
My passport's green.
105
Poetry is what we do to break bread with the dead. Poetry
106
But that citizen's perception was also at one with the truth in recognizing that the very brutality of the means by which the IRA were pursuing change was destructive of the trust upon which new possibilities would have to be based. Change, Trust, Truth
107
The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.
108
I've always associated the moment of writing with a moment of lift, of joy, of unexpected reward.
109
The faking of feelings is a sin against the imagination. Imagination
110
If poetry and the arts do anything, they can fortify your inner life, your inwardness. Poetry
111
I think that water is immediately interesting. It's just, as an element, it is full of life. It is associated with origin; it is bright - it reflects you.
112
Every time you read a poem aloud to yourself in the presence of others, you are reading it into yourself and them. Voice helps to carry words farther and deeper than the eye.
113
Even if the hopes you started out with are dashed, hope has to be maintained. Hope
114
The fact of the matter is that the most unexpected and miraculous thing in my life was the arrival in it of poetry itself - as a vocation and an elevation almost. Poetry
115
A public expectation, it has to be said, not of poetry as such but of political positions variously approvable by mutually disapproving groups. Poetry
116
The experimental poetry thing is not my thing. It's a programme of the avant-garde: basically a refusal of the kind of poetry I write. Poetry
117
The experiment of poetry, as far as I am concerned, happens when the poem carries you beyond where you could have reasonably expected to go. Poetry
118
Sonnet is about movement in a form.
119
I have always thought of poems as stepping stones in one's own sense of oneself. Every now and again, you write a poem that gives you self-respect and steadies your going a little bit farther out in the stream. At the same time, you have to conjure the next stepping stone because the stream, we hope, keeps flowing. Hope
120
Poetry is always slightly mysterious, and you wonder what is your relationship to it. Poetry, Relationship
121
The amount of sensory material stored up or stored down in the brain's and the body's systems is inestimable. It's like a culture at the bottom of a jar, although it doesn't grow, I think, or help anything else to grow unless you find a way to reach it and touch it.
122
The kinds of truth that art gives us many, many times are small truths. They don't have the resonance of an encyclical from the Pope stating an eternal truth, but they partake of the quality of eternity. There is a sort of timeless delight in them.
123
It is very true to say that work done by writers is quite often an attempt to give solid expression to that which is bothering them... They feel they have got it right if they express the stress.
124
I think childhood is, generally speaking, a preparation for disappointment.
125
Loyalism, or Unionism, or Protestantism, or whatever you want to call it, in Northern Ireland - it operates not as a class system, but a caste system.
126
Poetry is a domestic art, most itself when most at home. Poetry
201
Then as the years went on and my listening became more deliberate, I would climb up on an arm of our big sofa to get my ear closer to the wireless speaker.
202
As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note. Positive
203
Write whatever you like!
204
I suppose you could say my father's world was Thomas Hardy and my mother's D.H. Lawrence.
205
It's difficult to learn poems off by heart that don't rhyme.
206
Anyone born and bred in Northern Ireland can't be too optimistic.
207
In my early teens, I acquired a kind of representative status: went on behalf of the family to wakes and funerals and so on. And I would be counted on as an adult contributor when it came to farm work - the hay in the summertime, for example.
208
As a young poet, you need corroboration, and that's what publication does.
209
If you go into an underground train in London - probably anywhere, but chiefly in London - there's that sense of almost entering a ghostly dimension. People are very still and quiet; they don't exchange many pleasantries.
210
In a war situation or where violence and injustice are prevalent, poetry is called upon to be something more than a thing of beauty. Poetry
211
A person from Northern Ireland is naturally cautious.
212
We go to poetry, we go to literature in general, to be forwarded within ourselves. Poetry
213
You yourself don't have to be shaken by mortal danger in order to feel your mortality.
214
Memory has always been fundamental for me. In fact, remembering what I had forgotten is the way most of the poems get started.
215
The problem as you get older... is that you become more self-aware. At the same time, you have to surprise yourself. There's no way of arranging the surprise, so it is tricky.
216
My father and mother had no sense of entitlement for their children.
217
I'm very conscious that people dear to me are alive in my imagination - poets in particular. Imagination
218
I would say that something important for me and for my generation in Northern Ireland was the 1947 Education Act, which allowed students who won scholarships to go on to secondary schools and thence to university.
219
The end of art is peace.
220
There is risk and truth to yourselves and the world before you.
221
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.
222
Without needing to be theoretically instructed, consciousness quickly realizes that it is the site of variously contending discourses.
223
The completely solitary self: that's where poetry comes from, and it gets isolated by crisis, and those crises are often very intimate also. Poetry
224
I always believed that whatever had to be written would somehow get itself written.
225
At home in Ireland, there's a habit of avoidance, an ironical attitude towards the authority figure. Attitude
226
I'm not personally obsessed with death. At a certain age, the light that you live in is inhabited by the shades - it 'tis.
301
The Heaneys were aristocrats, in the sense that they took for granted a code of behavior that was given and unspoken. Argumentation, persuasion, speech itself, for God's sake, just seemed otiose and superfluous to them.
302
The murder of Sean Brown hurt my soul.
303
Nowadays, what an award gives is a sense of solidarity with the poetry guild, as it were: sustenance coming from the assent of your peers on the judging panel. Poetry
304
I always had a superstitious fear of setting up a too well-designed writing place and then finding that the writing had absconded.
305
I credit poetry for making this space-walk possible. Poetry
306
In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. Poetry
307
My point is there's a hidden Scotland in anyone who speaks the Northern Ireland speech. It's a terrific complicating factor, not just in Northern Ireland, but Ireland generally.
308
The gift of writing is to be self-forgetful, to get a surge of inner life or inner supply or unexpected sense of empowerment, to be afloat, to be out of yourself.
309
Anybody serious about poetry knows how hard it is to achieve anything worthwhile in it.
310
The kind of poet who founds and reconstitutes values is somebody like Yeats or Whitman - these are public value-founders.
311
Eternal life can mean utter reverence for life itself.
312
In Northern Ireland, helicopters are not usually used to promote poetry.
313
Since I was a schoolboy, I've been used to being recognized on the road by old and young, and being bantered with and, indeed, being taunted.
314
History says, 'Don't hope on this side of the grave.'
315
I've nothing against the Queen personally. I had lunch at the Palace once upon a time.
316
My father was a creature of the archaic world, really. He would have been entirely at home in a Gaelic hill-fort. His side of the family, and the houses I associate with his side of the family, belonged to a traditional rural Ireland.
317
One doesn't want one's identity coerced.
318
I feel myself part of something. Not only being part of a community but part of an actual moment and a movement of Irish writing and art. That sense of being part of the whole thing is the deepest joy.
319
To encounter 'Beowulf' is like taking a sledgehammer to a quarry face. You must bang in there.
320
In a way, Anglo-Saxon poetry cannot be translated.
321
I came from a farming background, and my career was teaching.
322
I've said it before about the Nobel Prize: it's like being struck by a more or less benign avalanche. It was unexpected, unlooked for, and extraordinary.
323
I think of the bog as a feminine goddess-ridden ground, rather like the territory of Ireland itself.
324
My experience is that prose usually equals duty - last minute, overdue-deadline stuff or a panic lecture to be written.
325
The poet is on the side of undeceiving the world.
326
Tom Sleigh's poetry is hard-earned and well founded. I great admire the way it refuses to cut emotional corners and yet achieves a sense of lyric absolution.
401
I spend almost every morning with mail.
402
Your temperament is what you write with, but it's also how you deal with the world.
403
The day I entered St Columb's College, my parents bought me a Conway Stewart pen. It was a special afternoon, of course. We were going to be parting that evening; they were aware of it, I was aware of it, nothing much was said about it.
404
I don't do as many readings as I used to. There was a time when I was on the road a lot more, at home in Ireland, in Britain, in Canada and the States, a time when I had more stamina and appetite for it.
405
Dylan Thomas is now as much a case history as a chapter in the history of poetry.
406
I don't think my intelligence is naturally analytic or political. Intelligence
407
The group of writers I had grown up with in the '60s - Derek Mahon, Michael Longley, James Simmons, John Hewitt, Paul Muldoon - formed a very necessary and self-sustaining group.
408
Poetry is more a threshold than a path.
409
My language and my sensibility are yearning to admit a kind of religious or transcendent dimension. But then there's the reality: there's no Heaven, no afterlife of the sort we were promised, and no personal God.
410
Manifesting that order of poetry where we can at last grow up to that which we stored up as we grew.
411
Yeats was 18th-century oratory, almost.
412
In the United States, in poetry workshops, it's now quite a thing to make graduate students learn poems by heart.
413
What I've said before, only half in joke, is that everybody in Ireland is famous. Or, maybe better, say everybody is familiar. Famous
414
In poetry, everything can be faked but the intensity of utterance.
415
I suppose you inevitably fall into habits of expression.
416
You can have Irish identity in the north and also have your Irish passport.
417
I think the first little jolt I got was reading Gerard Manley Hopkins - I liked other poems... but Hopkins was kind of electric for me - he changed the rules with speech, and the whole intensity of the language was there and so on.
418
One of the best descriptions of the type of writer I am was given by Tom Paulin, who described himself as a 'binge' writer - like a binge drinker. I go on binges.
419
I've been in the habit of helping people.
420
Poems that come swiftly are usually the ones that you keep.
421
There's never going to be a united Ireland, you know.
422
I believe we are put here to improve civilisation.
423
I think of Dermot Healy as the heir to Patrick Kavanagh.
424

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