The repeated association of instrument and weapon gives the reader a hint as to the predominant theme of the poem. As the pen is overtly named a weapon, so the spade can by implication also be understood as a weapon. Many of the images then take on a double meaning: Rooting “out tall tops” could be mowing down men, and burying “the bright edge deep” could connote a blade cutting into flesh. “Lug,” “shaft,” and “levered” are all words that could be associated with weapons, and even the beloved “cool hardness in our hands” could mean grenades, not merely potatoes. “By God, the old man could handle a spade” might be said as admiringly by one rebel of another as by farmers of one another: “Nicking and slicing neatly” could apply to blade work as well as to spade work, and “heaving sods,” in slang, could refer to bodies as well as dirt.
This very wordplay on bodies and dirt, sods and clods, also maintains the association of living and dead that the mixed images of the poem have produced. Not only did the sound of digging begin a recollection of the father’s life, but it also was a reminder of his death as well. The potato crop grows in “mould,” in decomposition, and turf is itself concentrated decomposition. All digging, then, is in among dead things, graves, “mould,” “turf.”
The mention of these two products and the hard labor necessary to obtain them establishes the context in which Heaney is...
(The entire section is 511 words.)