Seamus Heaney's poetry reflects his complex identity as a Catholic republican amid the political turmoil of Northern Ireland, maintaining an objective stance on national issues. His 1983 response to being labeled a British poet showcases his pride in his Irish heritage while emphasizing his desire for creative freedom. In later works like 'exposure,' Heaney reflects on his life, exploring the changes in his identity as he moves away from his homeland.

1. Digging Seamus Heaney Essay
''One of the first functions of a poem, after all, is to satisfy a need in the poet''
(Seamus Heaney)
In his essay Poetry, Language and Identity: A Note on Seamus Heaney, Kearney writes that Heaney ''has been criticised for refusing to adopt a
fixed unambiguous position, for not nailing his colours to the mast, particularly about the national question (i.e. his attitude to his native North)''.
Although not disputed, Heaney's poetry maintains an objectivity that neither condemns nor accepts the turbulent past of his native Northern Ireland
. He is an observer of the separation of ideals, religion, and national identity that occurred throughout his life.
In this essay, elements discussed will be Heaney's identity as a Catholic republican growing...show more content...
Perhaps the only incident to demonstrate Heaney's patriotism was his response to the editors of The Penguin Book of Contemporary British
Poetry in 1983. In Open Letter, Heaney rhymed ''Be advised, my passport's green/ No glass of ours was ever raised/ to toast the Queen''. His
reaction to being included as a British poet, gave him the opportunity to acknowledge proudly his Irish heritage, yet he made light of the
situation by incorporating a rhyme of 'green' and 'Queen'. All Heaney ever wanted was to ''be socially responsible and creatively free''
(Redress of Poetry, p193). He was able to achieve this in later life, and it manifested itself in the poem, ''Exposure'' from North (1975). The move
south to Wicklow was a personal decision, yet Heaney worried if he could produce material as illustrious as when living in the heart of his
homeland. He was no longer a representative of the North, writing ''I am neither internee nor informer/ An inner Г©migrГ©, grown longhaired
/ And thoughtful'' (32–34). It is a self–reflective poem, almost part of a life cycle of his work. In ''Digging'', he contemplated what type of poet he
could be, and in ''Exposure'', he reflects on his past life and work, and how he can realign his new life
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