Mundus et Infans: the After-time of the Child in the Poetry of Seamus Heaney
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In a colloquium on the work of Czeslaw Milosz held in April 1998, Seamus Heaney cited the particular form of perspective found in Milosz’s poem “The World,” which is “binocular, seeing things from the top of the high mountain and from the back of the child’s eye” (Partisan Review 21). This doubleness of perspective is deliberate on Milosz’s part and evokes for Heaney another deliberate “poetic strategy,” that of Virgil’s Eclogues. That Heaney’s reading of Milosz and Virgil has impli- cations for his own poetic strategies and practice is obvious, but this paper pairs the perspective invoked here by Heaney as a mode of double vision, which also derives out of the context of mundus et infans, the world and the child, innocence and experience, that of the “after-time” introduced at the end of Lewis Carroll’s Alice’s Adventures in Wonderland. This “after-time” is an anticipated perspective, a form of prolepsis, the future point through which past event will come to be pictured, the after- glow and afterimage of initiating experience. The essay shows how cen- tral this form of anticipated perspective is in Heaney, from Death of a Naturalist (1966) to Human Chain (2010), and how awareness of this centrality has implications not only for our understanding of how his work relates to poetic antecedents such as Wordsworth and Frost, but also for our understanding of Heaney’s response to his political moment.
Abstract
In a colloquium on the work of Czeslaw Milosz held in April 1998, Seamus Heaney cited the particular form of perspective found in Milosz’s poem “The World,” which is “binocular, seeing things from the top of the high mountain and from the back of the child’s eye” (Partisan Review 21). This doubleness of perspective is deliberate on Milosz’s part and evokes for Heaney another deliberate “poetic strategy,” that of Virgil’s Eclogues. That Heaney’s reading of Milosz and Virgil has impli- cations for his own poetic strategies and practice is obvious, but this paper pairs the perspective invoked here by Heaney as a mode of double vision, which also derives out of the context of mundus et infans, the world and the child, innocence and experience, that of the “after-time” introduced at the end of Lewis Carroll’s Alice’s Adventures in Wonderland. This “after-time” is an anticipated perspective, a form of prolepsis, the future point through which past event will come to be pictured, the after- glow and afterimage of initiating experience. The essay shows how cen- tral this form of anticipated perspective is in Heaney, from Death of a Naturalist (1966) to Human Chain (2010), and how awareness of this centrality has implications not only for our understanding of how his work relates to poetic antecedents such as Wordsworth and Frost, but also for our understanding of Heaney’s response to his political moment.
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