Funny to take a page straight from your homework and want an answer when you start with this:
"discuss seamus Heaneys poetry in the light of this statement?" What was the statement?
At St. Columb's College, Heaney was taught Latin and Irish, and these languages, together with the Anglo-Saxon which he would study while a student of Queen's University, Belfast, were determining factors in many of the developments and retrenchments which have marked his progress as a poet. The first verses he wrote when he was a young teacher in Belfast in the early 1960s and many of the best known poems in North, his important volume published in 1975, are linguistically tuned to the Anglo-Saxon note in English. His poetic line was much more resolutely stressed and packed during this period than it would be in the eighties and nineties when the "Mediterranean" elements in the literary and linguistic heritage of English became more pronounced. Station Island (1984) reveals Dante, for example, as a crucial influence, and echoes of Virgil - as well as a translation from Book VI of The Aeneid - are to be found in Seeing Things (1991). Heaney's early study of Irish bore fruit in the translation of the Middle Irish story of Suibhne Gealt in Sweeney Astray (1982) and in several other translations and echoes and allusions: the Gaelic heritage has always has been part of his larger keyboard of reference and remains culturally and politically central to the poet and his work.
Heaney's poems first came to public attention in the mid-1960s when he was active as one of a group of poets who were subsequently recognized as constituting something of a "Northern School" within Irish writing. Although Heaney is stylistically and temperamentally different from such writers as Michael Longley and Derek Mahon (his contemporaries), and Paul Muldoon, Medbh McGuckian and Ciaran Carson (members of a younger Northern Irish generation), he does share with all of them the fate of having be en born into a society deeply divided along religious and political lines, one which was doomed moreover to suffer a quarter-century of violence, polarization and inner distrust. This had the effect not only of darkening the mood of Heaney's work in the 1970s, but also of giving him a deep preoccupation with the question of poetry's responsibilities and prerogatives in the world, since poetry is poised between a need for creative freedom within itself and a pressure to express the sense of social obligation felt by the poet as citizen. The essays in Heaney's three main prose collections, but especially those in The Government of the Tongue (1988) and The Redress of Poetry (1995), bear witness to the seriousness which this question assumed for him as he was coming into his own as a writer.
These concerns also lie behind Heaney's involvement for a decade and a half with Field Day, a theatre company founded in 1980 by the playwright Brian Friel and the actor Stephen Real. Here, he was also associated with the poets Seamus Deane and Tom Paulin, and the singer David Hammond in a project which sought to bring the artistic and intellectual focus of its members into productive relation with the crisis that was ongoing in Irish political life. Through a series of plays and pamphlets (culminating in Heaney's case in his version of Sophocles' Philoctetes which the company produced and toured in 1990 under the title, The Cure at Troy), Field Day contributed greatly to the vigour of the cultural debate which flourished throughout the 1980s and 1990s in Ireland.
Heaney's beginnings as a poet coincided with his meeting the woman whom he was to marry and who was to be the mother of his three children. Marie Devlin, like her husband, came from a large family, several of whom are themselves writers and artists, including the poet's wife who has recently published an important collection of retellings of the classic Irish myths and legends (Over Nine Waves, 1994). Marie Heaney has been central to the poet's life, both professionally and imaginatively, appearing directly and indirectly in individual poems from all periods of his oeuvre right down to the most recent, and making it possible for him to travel annually to Harvard by staying on in Dublin as custodian of the growing family and the family home.