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a b c Higgins, Charlotte; McDonald, Henry (30 August 2013). "Seamus Heaney's death 'leaves breach in language itself': Tributes flow in from fellow writers after poet who won Nobel prize for literature dies in Dublin aged 74". The Guardian . Retrieved 30 August 2013.

word-hoard refers to the hidden treasures (vocabulary, shade of meaning etc) stored in the writer’s mind; Heaney’s own profound knowledge of languages and mythologies, both ancient and modern, provides him with a unique resource he can use in his poetry; In 1988 Heaney donated his lecture notes to the Rare Book Library of Emory University in Atlanta, Georgia, after giving the notable Ellmann Lectures there. [40] Times (London, England), October 11, 1984; January 24, 1985; October 22, 1987; June 3, 1989; September 11, 1998, p. 21; October 29, 1998, p. 44; March 27, 1999, p. 16; September 23, 1999, p. 42; October 26, 1999, p. 50; May 20, 2000, p. 19; April 4, 2001, p. 15; April 17, 2002, p. 21; July 2, 2003, p. 2. Poets Gather to Remember Seamus Heaney in New York City on November 11 at 7:00 p.m." Retrieved 15 April 2015.New and Selected Poems, 1969-1987, Farrar, Straus (New York, NY), 1990, revised edition published as Selected Poems, 1966-1987, 1991. Le cronache nascoste nella torba sono imparentate con il presente, e il luogo è ormai ben radicato nell'immaginazione del poeta. Ecco infatti la seconda strofa di Kinship (Parentele, incerta traduzione mia): fabulous: rather “mythical, legendary,” from L. fabulosus“celebrated in fable; rich in myths,” than modern idea of ‘smashing’; Molino, Michael R., Questioning Tradition, Language, and Myth: The Poetry of Seamus Heaney, Catholic University of America Press (New York, NY), 1994. Deane, Seamus. "The Appetites of Gravity: Contemporary Irish Poetry." The Sewanee Review Vol. 84, No. 1 (Winter 1976). P. 199-208. https://www.jstor.org/stable/27543074

The Fire i' the Flint: Reflections on the Poetry of Gerard Manley Hopkins, Oxford University Press (New York, NY), 1975.Telford, Lyndsey (21 December 2011). "Seamus Heaney declutters home and donates personal notes to National Library". Irish Independent. Independent News & Media . Retrieved 21 December 2011. Times Educational Supplement, November 7, 1997, p. 2; September 11, 1998, review of Opened Ground, p. 11. a b c d e f Obituary: Heaney 'the most important Irish poet since Yeats', Irish Times, 30 August 2013. Whatever You Say Say Nothing” is the main poem that discusses this conflict. Heaney begins this poem with “I’m writing this just after an encounter/With an English journalist in search of ‘views/On the Irish Thing’.” implying that this civil war of sorts has been going on for such an extended period of time that it has become a piece of Irish culture. Heaney implies that it has morphed into just that, “The gelignite’s a common sound effect”. Heaney truly shows how it is to live amidst this conflict that it has become almost old enough for people to forget what they are fighting about. They are as the Capulets and Montagues in fair Verona. The title of this poem is a line from the poem and implies that to save yourself socially you must not let others know which side you associate with, “Where to be saved you only must save face/And whatever you say, you say nothing.” because you have no idea what enemies you might be making otherwise. Heaney uses Part 2 to emphasize the difficulty of living within these circumstances and how it can affect the people socially and politically.