ABSTRACT The presence of the sea in Seamus Heaney’s poetry is often overlooked in favour of a rural landscape. While the importance of the bog, ditches and fields should not be ignored, this paper refocuses critical attention towards the coastal sea and open ocean in Heaney’s work. Beginning with a discussion of previous ecocritical readings of Heaney’s poetry, this paper demonstrates the need for a fuller consideration of the topography of his work. The sea, in fact, appears at key points throughout his oeuvre, offering freedom and poetic clarity. Unconstrained by the preserved, ritual violence of the bog, the sea becomes a space in which to contemplate the complexities of these land-based concerns, while still remaining connected to community. Its constant flux and fluidity comes to offer the poet stability in times of crises. Yet, not all of the figures of Heaney’s poetry experience liberation at sea as the women of Heaney’s poetry are shown to be excluded from its freeing qualities. The paper plots an alternate route through Heaney’s oeuvre, highlighting not only the importance of the sea to the poet but also the value of turning critical attention to this element.

中文翻译：

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“如诗亦如自由/从海倾身”：希尼诗歌地形的再思考

摘要 Seamus Heaney 诗歌中大海的存在常常被忽视，而倾向于乡村景观。虽然沼泽、沟渠和田地的重要性不容忽视，但本文将批判的注意力重新集中在希尼的工作中对沿海和公海的关注。本文首先讨论了希尼诗歌的先前生态批判性阅读，表明需要更全面地考虑他的作品的地形。事实上，大海出现在他整个作品的关键点，给人以自由和诗意的清晰度。海洋不受沼泽保留下来的仪式暴力的约束，成为思考这些陆地问题复杂性的空间，同时仍然与社区保持联系。它的不断变化和流动性在危机时期为诗人提供了稳定性。然而，并非希尼诗歌中的所有人物都在海上经历了解放，因为希尼诗歌中的女性被排除在其自由品质之外。这篇论文描绘了穿越希尼作品的另一条路线，不仅强调了大海对诗人的重要性，还强调了将批判性注意力转向这一元素的价值。