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Seamus Heaney's "Storm on the Island"

Updated on December 13, 2016
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Poetry became my passion, after I fell in love with Walter de la Mare's "Silver" in Mrs. Edna Pickett's sophomore English class, circa 1962.

Seamus Heaney

Source

Death of a Naturalist

Death of a Naturalist
Death of a Naturalist

This collection contains "Storm on the Island."

 

Introduction

In Seamus Heaney's "Storm on the Island," the speaker is an island dweller whose locale experiences hurricanes from time to time.

The practical applications made by the residents are intriguing and the resonance that each provides for inner security makes the poems vibrate with intensity.

Readers can imagine encountering both inner and outer storms as they pummel and redirect both the body and mind.

Heaney's speaker in "Storm on the Island" is philosophizing about the quality of his island's homes and the quality of the residents' inner lives.

First Movement: "We are prepared: we build our houses squat"

The first movement of the poem features a slant-rimed couplet: "We are prepared: we build our houses squat, / Sink walls in rock and roof them with good slate." The speaker reports that the island dwellers are ready for the inevitable storms that will assail them.

They know how to build their homes so that they can withstand the gale-force winds that will smash into them. They build their homes low and fortify the walls by "sink[ing] them in rock." And they use "good slate" for the roofs.

Second Movement: "This wizened earth has never troubled us"

The speaker then reports on what does not trouble the islanders; no grasses grow there from which cultivators would fashion bales of "hay"; thus, there are "no stacks / or stooks" that would go flying around in a strong storm.

The place is also remarkably devoid of trees. The speaker affirms the advantage of this lack, in that "when it blows full / Blast," the "leaves and branches / Can raise a tragic chorus in a gale."

The speaker implies that there might have been trees earlier or that he has experienced similar storms on islands where trees are still standing. Either way, he is glad he does not have to hear that "tragic chorus" as he waits out the storm.

But even as they suffer the fear of the storm as it is raging, the speaker realizes that they tend to forget "that it pummels your house." He then seems to lament the lack of trees, citing the fact that there is "no natural shelter."

Third Movements: "You might think that the sea is company"

Addressing his listener now, the speaker speculates, "You might think that the sea is company." The listener might think that sea is just a pleasant friend and that the storms simply occur "down the cliffs."

However, the speaker corrects that opinion by reporting that when the storm begins, the spray of ocean water "hits / The very windows."

The speaker compares the water flung against the windows to the spitting of "a tame cat / Turned savage." So in sunny, tranquil weather, the sea does seem to be a friend, but during a storm, it turns wild and rages dangerously.

The inmates of the house "just sit tight" as the storm attacks everything in its path. The speaker employs a military metaphor of a plane that "dives / And strafes." Of course, this particular air force does so "invisibly."

The speaker remarks unequivocally, "Space is a salvo." As long the interior of the building contains its "space," the walls continue to be holding strong.

Fourth Movement: "We are bombarded with the empty air"

The final movement couplet complements the opening: "We are bombarded with the empty air. / Strange, it is a huge nothing that we fear." The speaker concludes his descriptive exposé by adding a philosophical evaluation about fear.

The storm itself is nothing but "empty air," but it "bombards" them nevertheless. That military metaphor again suffuses the speaker's image, as he laments the oddity of fearing "a huge nothing."

Seamus Heaney Reads "Death of a Naturalist"

© 2016 Linda Sue Grimes

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