This article addresses how the poetry of the Northern Irish Troubles enters into a dialogue with the memory of World War II. Poems by Michael Longley, Seamus Heaney, Derek Mahon, and Sinéad Morrissey are analysed, showing how World War II is a controversial source of comparison for these poets. While World War II provides important ways of framing the suffering and claustrophobia of the Northern Irish conflict, evident differences also mean that such comparisons are handled warily and with some irony. The poems are highly self-conscious utterances that seek to unsettle and develop generic strategies in the light of traumatic suffering. This essay draws on Michael Rothberg’s concept of multidirectional memory, and it also makes use of Alison Landsberg’s notion of prosthetic memory in order to highlight how Seamus Heaney in particular makes use of the World War II memories mediated by popular culture to respond to the Troubles.

本文探讨北爱尔兰问题的诗歌如何与第二次世界大战的记忆进行对话。分析了迈克尔·朗利（Michael Longley），西莫斯·希尼（Seamus Heaney），德里克·马洪（Derek Mahon）和辛纳德·莫里西（SinéadMorrissey）的诗歌，这表明第二次世界大战如何成为这些诗人进行比较的有争议的依据。第二次世界大战提供了解决北爱尔兰冲突的痛苦和幽闭恐惧症的重要方式，但明显的差异也意味着谨慎地进行这种比较并具有讽刺意味。这首诗是高度自我意识的话语，试图根据创伤的痛苦来解决和发展通用策略。本文借鉴了迈克尔·罗斯伯格（Michael Rothberg）的多向记忆概念，