Oldal 40 [40]
OCR
38 | Peter Dolmänyos The poem “Shoreline”, of the same collection, takes a closer look at the visibly dynamic geographical frontier zone of land and water where change is observable on an easily comprehensible human time scale. The use of the precise technical term in the title to denote the phenomenon implies a more formal and objective perspective, and consequently a generic rather than a specific individual experience. The non-finite verb forms of the opening of the poem support this direction, the speaker appears to use a common voice and tone that do not reflect a personal point of view for one particular experience. The images of corner and hill, items that constrain sight by their physical essence, serve to postpone the moment of focusing on the shoreline itself, it is the act of passing them that facilitates the vision, or at least sight, of the constant dynamic relation that exists between land and water. Co. Down is the initially depicted location, and while still rather general as a designation, it is a more particular marker of place than what the title presents. The perspective is widened to include Antrim, Moher, Wicklow and Mayo, locations that are only recalled and evoked from the position of the opening one which eventually functions as the place from where the utterance of the poem springs. The shoreline thus becomes an all-encompassing definitive element of Ireland regardless of its exact section of concrete momentary observation. Parallel to this widening of the image of the shoreline the sea is also observed in a uniform action all over the island, its constant conflict with the land is presented as a ubiquitous feature whatever type of shoreline is involved, not only the erosional scene of deep-water shorelines but even the shallow-water sections, scenes of deposition, are seen as giving in to the power of the sea in the form of “hissing submissions”.”” The constant interaction between water and land is presented through the images of the waves and the tide, two general movements of seawater. While they both have their figurative potential as images, it is the sounds that the speaker focuses on, and it is this feature that activates his historical associations: the sound of the constant movement of the sea carries the menace of invasion by covering the sound of the arrival of enemies. With this closure there is a clear shift towards the learned and conscious sense of observing place as the shoreline becomes a historically loaded location — the initial account of the observation of geographical phenomena finally “uncovers the path of historical consciousness”.*° This culturally and historically embedded complex experience reflects a more conscious engagement with the place than a simple act of contemplation, which is already hinted at by the implications of the use of the technical term in the title of the poem. The activation of the same historical consciousness underlies the poem “North”, which turns it into the programmatic poem of the eponymous collection through its explicit focus on the association of the title with the Vikings. The principal concern of the poem is the search for a pillar in Heaney’s 29 Heaney, Door into the Dark, 51 30 Tobin, Passage to the Center, 64
