In:Style as Motivated Choice: In memory of Peter Verdonk (1934–2021)
Edited by Michael Burke and Joanna Gavins
[Linguistic Approaches to Literature 44] 2025
► pp. 68–79
Chapter 4Stylistics and motivated choice in Seamus Heaney’s “Orange Drums”
Published online: 8 May 2025
https://doi.org/10.1075/lal.44.04sho
https://doi.org/10.1075/lal.44.04sho
Abstract
In this chapter I will perform a stylistic analysis of “Orange Drums, Tyrone, 1966” by Seamus Heaney, one of Peter
Verdonk’s favourite poets (cf. his discussions of poems by Heaney in Verdonk
1993: 57–65 and Verdonk 2002). I will mainly indulge in what has sometimes
been called “steam stylistics” (Carter 2007, Gavins & Stockwell 2012), which concentrates on motivated choices at all linguistic levels in relation to
meaning, effect and style. Steam stylistics has, of course, been supplemented in recent years by a number of useful analytical
approaches, such as corpus stylistics (e.g. McIntyre & Walker 2019, Semino & Short 2004), narrative analysis (e.g. Alber & Fludernik 2010, Herman 2013), cognitive stylistics (e.g.
Gavins and Steen 2003, Stockwell
2002), and Text World Theory (e.g. Gavins 2007, Werth 1999). My main motivation in this chapter is to analyse the language of the poem in as much
detail and as dispassionately as I am able, to characterise the text and my understanding and appreciation of it. This
approach, allied to being as open, honest and truthful as we can be, lies, in my view, at the heart of the stylistics
enterprise. Given that I have now been retired for more than ten years, I am not as up to date on the various new approaches
to analysis as I might once have been, but hopefully, others can add to, and correct, my mainly steam-driven attempt. I have
supplemented my analysis with some corpus-based work, however, along with the occasional remark in relation to the other
approaches referred to above. Peter Verdonk similarly used steam stylistics accompanied by insights from more recent
approaches to the field when he analysed texts. “Orange Drums”, which is usefully short enough to analyse in stylistic detail
in a short paper, shows Heaney developing his distinctive poetic voice and, although not one of his finest poems, certainly
has its own poetic merits. Peter Verdonk himself used it as part of an unpublished talk he gave to an early PALA
conference.
Article outline
- The poem
- Initial observations and my overall understanding of “Orange Drums, Tyrone, 1966”
- Overall structure
- Stanza one
- Stanza two
- Stanza three
- Concluding comments
Acknowledgements References
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