The universal image of childhood "ringing" frog eggs on the "windowsills", "waiting and look[e]", with fervent curiosity and admiration, until the "fattening spots" dynamically metamorphose into "agile swimming tadpoles" is a very relevant and nostalgic aspect of Heaney's poetry which exalts the carefree innocence and idyllic nature of youth. However, as these fascinating points morph into "angry" 'slime kings', Heaney's poetry displays an underlying duality, as two spheres of thought permeate the collection; this idealistic sphere of childhood and positivity, and another more pragmatic and realistic sphere that focuses on the sadly rare "last porridge of winter seeds" in the belly of Tollund's man and on the "feet swollen" painful of his mother, despite his eminent and radiant. light”, which indicates that she deserves more than a life of cheap “elastic stockings”. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay In “Death of a Naturalist,” a sensory experience is created for the reader through the striking thermal impact of the “punishing sun.” is felt by “stifling linen”. The poem satisfies all the senses of the reader; the “smell” of “rotten” linen, the impenetrable “sound gauze” which, on the other hand, is delicately “woven”; this oxymoron creates a complex sound that is both pervasive and loud, but also undulating, nuanced, and almost living and breathing. Heaney obviously marvels at the fecundity of the diversity available to him. He is fascinated while others can simply see the mundane; the oxymoron of bubbles that "gargle delicately", emphasizing Heaney's primordial curiosity, a gift honed by childhood. However, this innocence is ultimately violated by the brutal revelation that confronts Heaney on the "hot day" that disrupts this dream ritual. to visit the dam “every spring”. This is indicated by the short and abrupt final line of the first stanza: “In the rain.” – which departs from the lilting, steady iambic pentameter of the opening lines, before the division of lines provides the ultimate sense of separation. The humanized frogs “mommy” and “daddy” (which also serve to evoke the childish voice that permeates the first verse of the poem) are now replaced by dominant “slime kings” with abrasive “rude” croaking. Where the tiny "tadpoles" were once confined to the boy's "jampot[s]", they are now capable of energetic, sudden and threatening movements compared to a rifle while the frogs are "armed" like "mud grenades". », ready to shoot. or explode. The underlying menacing tones that dominate the stanza, such as the "punishing" sun and the "rotting" plants, now take precedence over the innocence of childhood, which is lost forever, while the realistic influence of adulthood overwhelms this idyllic childish world, and Heaney is thrust into a world of challenge and confrontation, perhaps prematurely. It was this epiphany and awareness of these two contrasting areas that would later allow Heaney to explore the broad foci of his collection, expanding into areas more relevant to adults. The “bog poems,” to which “The Tollund Man” belongs, draw parallels between the social and political violence of modern Ireland and the sacrificial violence of earlier pagan civilizations. “The Tollund Man” demonstrates Heaney’s ability to blend the realistic and idealistic spheres; the idealistic presence which appears in the description of the body of.