‘Requiem for the Croppies’ by Seamus Heaney explores the determined and fighting spirit of the Irish people when attacked on their home turf. In this study guide, we will explore the meaning of the poem, its form, structure and language choices, as well as how the poem focuses on the theme of conflict.
This study guide is useful for all students and teachers of English and English Literature, particularly those studying war or conflict poetry. This poem is part of CCEA’s GCSE English Literature Unit 2 Drama and Poetry Conflict Anthology. At the bottom of the page, you can find links to other poems in the anthology that pair well with ‘Requiem for the Croppies’.
Requiem for the Croppies
The pockets of our greatcoats full of barley…
No kitchens on the run, no striking camp…
We moved quick and sudden in our own country.
The priest lay behind ditches with the tramp.
A people hardly marching… on the hike…
We found new tactics happening each day:
We’d cut through reins and rider with the pike
And stampede cattle into infantry,
Then retreat through hedges where cavalry must be thrown.
Until… on Vinegar Hill… the final conclave.
Terraced thousands died, shaking scythes at cannon.
The hillside blushed, soaked in our broken wave.
They buried us without shroud or coffin
And in August… the barley grew up out of our grave.
Context
Heaney's life, education and career
Seamus Heaney (1939-2013) was a renowned Irish poet born in Mossbawn, County Derry, Northern Ireland. Heaney grew up in a large family in rural County Derry at a time of civil unrest and mounting political and social disruption. Born in 1939, he lived through WWII and into a time of shifting tides of his homeland’s history, and it is no surprise that his poetry often reflects his personal experiences and the landscapes of his homeland and the turbulence of his home. The publication of his first collection of poems ‘Death of a Naturalist’ in 1966 means it emerged in the very beginnings of the time in recent Northern Irish history known as The Troubles.
Irish Rebellion against British Rule (18th Century Context)
“Requiem for the Croppies” captures the essence of the Irish Rebellion of 1798 and the Battle of Vinegar Hill, a pivotal moment in Irish history marked by resistance against British rule. Inspired by Revolution in France and the USA, a group called the United Irishmen pushed for independence from Britain, beginning a short-lived but fierce confrontation with the British on Ireland soil, beginning in May 1798. The British crushed the revolution, at a cost of approximately 30,000 Irish lives.Â
The term “Croppies” refers to the rebels who cropped their hair as a symbol of defiance, signaling their commitment to the cause. You can read more about the history of the Rebellion in this article called ‘Irish Revolution: Fighting for Independence in 1798‘.
Although published in 1969, Heaney wrote ‘Requiem for the Croppies’ in 1966, on the 50th anniversary of the Easter Rising, another significant moment in Irish history, and another significant rejection of British rule in Ireland. At the start of the Troubles in 1969, this poem was used as a propaganda poem for the IRA. As a result, Heaney stopped reading ‘Requiem for the Croppies’ in public so as to avoid encouraging the violence which was destroying lives in Northern Ireland at the time.
'The Troubles' in Northern Ireland (20th Century Context)
‘The Troubles’ in Northern Ireland was a complex conflict that lasted for roughly three decades, from the late 1960s to the late 1990s. It primarily revolved around nationalist and religious divisions in the country of Northern Ireland and spilled over into the Irish Republic and parts of Great Britain.Â
On one side, there were predominantly Catholic nationalists who sought closer ties with the Republic of Ireland and identified as Irish. Republicans felt that they lived in an occupied country and resented the power exerted over them by the police (the RUC) and the British Army. On the other side, there were mainly Protestant unionists who wanted Northern Ireland to remain part of the United Kingdom and considered themselves British. Unionists felt that Unionism was under threat and attack from those who were fighting for a United Ireland.Â
Conflict was characterised by political, religious, and sectarian violence, with paramilitary groups such as the Provisional Irish Republican Army (IRA) and various loyalist paramilitary organisations playing significant roles. The Troubles resulted in thousands of deaths, injuries, and extensive social and economic disruption, deeply affecting the lives of people in Northern Ireland.
Heaney’s poetic style, characterised by vivid imagery and meticulous language, places him among the most prominent figures in Irish literature. His works often delve into themes of identity, conflict, and the Irish landscape, providing readers with a nuanced perspective on the complexities of Irish history. In ‘Requiem for the Croppies’, Heaney combines these themes of landscape, Irish history, conflict and rebellion in his typically concise, honest and strong voice.Â
Analysis of 'Requiem for the Croppies'
Title: Requiem for the Croppies
A ‘requiem’ is a Mass or service of remembrance for the dead, especially in the Roman Catholic Church. This title makes clear the ending of the narrative: the Croppies (the rebel fighters in the poem) are being remembered after their deaths, telling the reader that their defense was unsuccessful.
The choice of the word ‘Requiem’ also suggests the Catholic Mass common in Ireland at this time, as opposed to the largely Protestant practices of the British who attacked in Ireland.
This somber title sets the tone for the sonnet and elevates these peasant rebels to a high status in Irish history, remembered forever for their fighting spirit.
Line-by-line analysis of 'Requiem for the Croppies'
The pockets of our greatcoats full of barley...
- The poem opens with an image of the Irishmen prepared for conflict. It is a humble image of working men wearing warm, coats rather than military uniform. Their pockets have barley, not weapons. This image is of men mentally ready to fight for their territory and freedom, but unprepared in terms of equipment and training.
- The use of the first person plural possessive adjective ‘our’ tells the reader that the speaker is one of these fighting men, giving a sense of immediacy and honesty.
- Strong consonant sounds are used to add sound effects, almost as if the words are spat out of the mouth:
                 The pockets of our greatcoats full of barley… - The ellipsis at the end of the line suggests continuation and action, creating a sense of anticipation for what comes next. It also serves as a stylistic device, inviting readers to explore the implied meanings beyond the literal, giving a pause to think and imagine.
No kitchens on the run, no striking camp...
- Again, there is a sense of immediacy in the phrasing of the line, achieved through the lack of verbs and the lack of connectives (‘No kitchens on the run, no striking camp…’ is said, instead of ‘There are no kitchens on the run and there are no striking camps…). As in line one, the tone is declarative, adding urgency.
- The repeated reference to what these croppies did not have (‘No kitchens … no striking camps’) conveys their lack of equipment and lack of preparation, emphasised by the placement of the negative at the start of the phrase and repeated with anaphora. With no kitchens or camps set up, the croppies simply fill their pockets with grain from the fields.
- The repetition of ‘no’ at the start of the first two lines also subtly emphasise the rebellious spirit of the poem and builds rhythm and pace.
- Again, the ellipsis ends this line, creating a sense of action, continuation and urgency.
We moved quick and sudden in our own country.
- The possessive adjectives ‘our own’ create a defiant tone from the speaker, emphasising the rebels’ cause, to defend and fight for their land.
- The adverbs ‘quick and sudden’ add to the pace that has been established in the opening lines. The tone is simple, concise and swift, like the movements of the croppies.
- The end stop here causes a pause after country, emphasising the importance of the rebels’ cause.
The priest lay behind ditches with the tramp.
- The reference to the priest and the tramp reminds the reader that these fighters are simple people, peasants, locals. No military ranks are used to distinguish them. They are all one, regardless of their social status, fighting for one thing: their country.
- The battle is not glamorised. They move through fields and ditches without any comforts.Â
A people hardly marching... on the hike...
- Ellipsis is used in the middle of the line creating a caesura (pause). The pace slows here due to the pause, reflecting the slow and unsuccessful nature of the rebel army.
- ‘On the hike’ suggests that their formation is disorganised and that they have been caught off guard.
- The continuous flow of dependent clauses (incomplete structures) gives a sense of the ongoing nature of their fight.
We found new tactics happening each day:
- The first person plural ‘we’ reminds us that the speaker is one of the fighters, that this is a first hand account.
- Despite their lack of structure and hierarchy, the men have a determination to find new methods of fighting and defending. “New tactics happening” suggests adaptability and innovation, highlighting the resourcefulness of the rebels.
- The use of “each day” implies a continuous evolution of strategies, reinforcing the unpredictable nature of the rebellion.
- The colon at the end of the line signals an upcoming explanation or elaboration. The line contributes to the narrative flow of the poem.
We'd cut through reins and rider with the pike
- This line is a concise statement with a sharp, impactful rhythm. The strong verbs “cut” and “rider” evoke a sense of action and rebellion.
- The ‘pike’ is a farm tool used here as a weapon, emphasising the unconventional nature of the rebels, and their resourcefulness in putting up a resistance.
- Alliteration in ‘reins and rider’ adds forcefulness and rhythm to the line, increasing the pace once more.
And stampede cattle into infantry,
- Enjambment from the previous line straight into this one adds speed to reading the poem, and emphasises the pace of the attack.Â
- The verb ‘stampede’ is vivid and active, conveying a sense of chaos and disruption..
- Sending ‘cattle into infantry’ is another unconventional method of warfare, adding to the rebels’ spontaneous and unprepared tactics.
Then retreat through hedges where cavalry must be thrown.
- This line introduces a shift in tactics, emphasising a strategic retreat. The use of “must be thrown” adds a sense of inevitability, with the verb ‘must’ conveying a sense of duty.
- The choice of “retreat” suggests a tactical withdrawal, highlighting the rebels’ ability to adapt to changing circumstances.
- Â The narrative continues to emerge, with the waves of gain and loss continuing.
Until... on Vinegar Hill... the final conclave.
- ‘Final conclave’ implies a crucial gathering or meeting, indicating a turning point in the rebellion, with ‘final’ conveying the inevitable doom indicated in the poem’s title, requiem.
- This line contains two ellipses which build anticipation, suggesting a significant event. “On Vinegar Hill” serves as a specific location, anchoring the narrative in historical context. This now famous battle took place in Enniscorthy, Co. Wexford. The pause also builds dramatic tension to build to the climax of the death of many thousands of people.
Terraced thousands died, shaking scythes at cannon.
- This line is structured as a concise statement, presenting a vivid image of the rebels in battle. The juxtaposition of “terraced” and “thousands” emphasises the scale of the tragedy.
- The use of “shaking scythes at cannon” depicts the rebels confronting cannons with handheld farming tools, underscoring their resourcefulness and determination.
- The alliteration in “shaking” and “scythes” adds a rhythmic quality, enhancing the impact of the line.
The hillside blushed, soaked in our broken wave.
- The line employs personification, attributing emotions to the hillside.Â
- The metaphor of a “broken wave” suggests the rebels’ valiant collective effort and its ultimate failure.
- ‘Blushed’ adds a nuanced touch, evoking a sense of the hillside reacting to the unfolding events.
They buried us without shroud or coffin
- This line is straightforward and declarative, presenting the harsh reality of the rebels’ fate.
- The use of the personal pronoun “us” creates a sense of collective identity, juxtaposed to the ‘they’ of the opposition.‘
- Without shroud or coffin’ emphasises the lack of traditional burial rites, underscoring the rebels’ sacrifice and the brutality of their suppression.
- The repetition of the pronoun “us” reinforces the collective identity and shared destiny of the rebels.Â
And in August... the barley grew up out of our grave.
- Ellipsis is used for a final time in this final line. The caesura once again causes the reader to pause, reflecting the passage of time and creating a dramatic pause for the climax of the poem. Now, in this new season, new barley grows, and those fallen rebels are remembered again.
- ‘In August’ refers to the season for barley, but in another sense it is timeless, in that August returns each year. This timeless quality adds to the theme of remembrance in this poem.
- The symbolism of barley extends beyond its agricultural connotation; it becomes a metaphor for regeneration, hinting at the resilience of the Irish people in the face of adversity.
- The use of ‘our grave’ emphasises the connection between the speaker and their cause. This speaker tells their story from a point in history which is forever to be remembered. While the fighters may well be dead, their cause lives on.
Analysis of form and structure in 'Requiem for the Croppies'
Form
‘Requiem for the Croppies’ is a sonnet in its form. This is seen in the 14 lines collected into one verse, the rhythm and the rhyme scheme.
Sonnets are associated with very traditional English poetry, and perhaps is an odd choice for Heaney’s poem about rebel armies defending themselves against British forces.
Structure
The structure of the sonnet is one verse of 14 lines. The strict rules of a sonnet (its rhythm, rhyme scheme and length) provide a tight set of boundaries and a concise structure within which a poet can allow emotion to overflow. In ‘Requiem for the Croppies’, emotion is held back and imagery, symbolism and identity play a bigger part.
Rhythm
The rhythm of the poem follows the traditional rhythm of a sonnet, but loosely. The iambic pentameter expected of a sonnet is followed in some lines, such as in line two:
        No kitch/ens on/ the run,/ no strik/ing camp…/
The rhythm in other lines deviates from the strict iambic pentameter, for example in line 9:
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        Then retreat through hedges where cavalry must be thrown.
Line 9 contains at least 6 stressed syllables and a total of 13 syllables. This disrupted rhythm mimics the effort to disrupt the British forces and defend their land. The Irish fighters have no strict formations or military training: their efforts are scrappy, spontaneous and immediate.
The rhythmic patterns enhance the emotional impact, allowing readers to feel the pulse of the rebellion.
Rhyme
The rhyme scheme of this poem loosely follows that of a Shakespearean sonnet, using the pattern:
       ABABCDCDEFEFEF
The infographic below shows the more traditional rhyme patterns of Shakespearean (English) sonnets and Petrarchan (Italian) sonnets. Notice the deviations from the traditional pattern in the end of Heaney’s sonnet. Perhaps Heaney is subtly conveying the rebel spirit not only through the meaning of the poem but in its form as well.
In some cases, the rhymes of ‘Requiem for the Croppies’ are not full rhymes but rather partial or slant rhymes. We see this in thrown/cannon/coffin and in barley/country and in day/infantry. These partial rhymes allow for a softer, less ‘neat’ rhyme scheme more fitting of the messy fight and bitter defeat of the croppies.
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Themes in 'Requiem for the Croppies'
Identity
‘Greatcoats’ and ‘croppies’ act as a representation of identity in the poem. The greatcoats become a visual emblem of the rebels, signifying their collective identity and shared purpose. Their defense of their ‘own country’ becomes their identity, and they physically identify themselves by cutting their hair short, into a cropped hair cut, and wearing the same coat, an informal type of uniform.
Regeneration
Barley acts as a symbol of regeneration at the end of the poem. The pockets full of barley symbolise hope and renewal, showcasing the enduring spirit of the Irish people. After the rebellion, locals would have filled the holes left in the landscape with barley, meaning that every year when it regrew, they were reminded of their struggle for independence.
Rebellion and resilience
Sacrifice
The imagery of terraced thousands and the broken wave emphasises the sacrifice and inevitable tragedy inherent in the pursuit of freedom. The choice of the sonnet to remember the fallen, and the title ‘requiem’ shows us that Heaney wants these men to be remembered for their bravery and spirit.
Weaponry
Scythes and pikes were used by the Irish rebels, while the British had cannons. The symbols of power and weaponry in the poem are starkly different. The juxtaposition of scythes and cannons symbolises the rebels’ resourcefulness and the oppressive force they confronted.
Get your CCEA Conflict Poetry Knowledge Organiser to make revision that little bit easier.
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Quiz on 'Requiem for the Croppies'
‘Requiem for the Croppies’ by Seamus Heaney
Test your knowledge of the poem 'Requiem for the Croppies' by Seamus Heaney.
Comprehension Questions:
- What is the significance of the greatcoats being full of barley in the first line of the poem?
- How does the poem depict the movement of the people during the conflict?
- What is the significance of the mention of the priest and the tramp lying in the same ditches?
- What tactics did the people employ in their resistance against the opposing forces?
- What event is described on Vinegar Hill, and what is its outcome?
- How does the poet use imagery to portray the intensity of the conflict?
- What is the symbolism behind the barley growing out of the grave in the final line of the poem?
- How does the poem explore the theme of resilience in the face of adversity?
- Discuss the significance of the title “Requiem for the Croppies” in relation to the content of the poem.
- How does the poem reflect the historical context of the Irish rebellion and its aftermath?
- Which poem from your anthology would you select to compare with ‘Requiem for the Croppies’ and why?
W.B. Yeats and Seamus Heaney are arguably the two most famous and well-beloved Irish poets of all time. ‘An Irish Airman Foresees His Death’ and ‘Requiem for the Croppies’ are both poignant poems that explore themes of war, sacrifice, and national identity, particularly in the context of Ireland’s history of conflict with Britain. There are variations in their form and structure which gives students scope to contrast in their essays.
While very different in many ways, both Vitai Lampada and Requiem for the Croppies show the power of fighting for a country and a cause, and in allowing your death to be a worthwhile sacrifice for a greater good. In Newbolt’s poem, the torch of life is passed on as a symbol of the human spirit to fight on, and in Requiem for the Croppies, the barley grows back each year, symbolising the rebel spirit that does not die. The poems are very different in their context, their form, structure and language, so there are points for both comparison and contrast.
Other ThinkLit study guides in the Conflict anthology:
