"The Man of Tollund", as well as his "sad freedom", seems significantly paradoxical in death: "naked" and exposed , yet somehow revered as a “trove” and a “husband of the goddess.” It is destroyed, but elevated to a sacred symbol of serenity after this sacrifice. This peaceful death is emblematic of Heaney's concerns in this poem, as he blends the metaphorical meaning of this death with the violent turmoil of a socially destroyed Ireland. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The description of Tollund Man's head and eyelids as "peaty brown head" and "delicate pods" lends richness to his skin; a sensory description that evokes the organic softness of smooth, nutrient-rich clay and the powerful “dark juices” that, like “juice,” seem sweet and intense. Heaney thus depicts the bog body in a kind of perverse union in death, an almost divine "husband" of the "goddess" of the earth, who "clasps her collar upon him." The word “tight” evokes that this relationship is one of ardent devotion, that it is muscular and powerful, and subsequently Heaney describes the bog body as experiencing a kind of sacred rebirth, with life again in death. The alliteration in “clasped his collar” gives this line a regularity of rhythm, which accentuates the impression that this union is one of peace, albeit fierce and fiery. As Heaney observes the "delicate pods", this close focus illuminates the level of preservation of the body, which indicates that Heaney is entranced by this nature-defying corpse. The Tollund Man is the emblem of an ineffable preserving force and, as such, is the harbinger of Heaney's later prayer to harness this seemingly supernatural power of the Tollund Man to be reborn into his own situation. In contrast to the tranquility of the Tollund Man, the "scattered" "flesh" of the workers that Heaney wishes to "germinate" in Part II reeks of savagery and violence. Firstly, the reverence with which Heaney treats the Tollund Man due to the extent of his preservation is decimated. Praying that these particles of "flesh" will "germinate" like seeds, Heaney implies that they are like the "seeds" "encrusted in [the Tollund Man's] stomach." This creates a striking visual image, in which the size of Tollund Man completely submerges and overwhelms the meager remains of the "young brothers", whose "skin" is like confetti, "speckled" along the "sleepers" of the railway line on which they were killed. They have been slaughtered so mercilessly that they have been reduced to these "spots" that look papery and lifeless in contrast to the richness of the Tollund Man's "sweet pods". Heaney thus explains that the kind of resurrection he hopes for is inconceivable and irrational, since the "scattered and ambushed" remains are so distant from the wholeness and peace that Heaney exalts in the Tollund Man. Since skin and teeth are "traced for miles along lines," the internal rhyme between "miles" and "lines" is evocative and tactile; the extended vowel sounds mirror the dragging and 'trace[ing]' of the corpses along the 'lines', and in this way the reader is sonically dragged along the 'lines', just as the 'young brothers' were, and in this way Heaney can hope to emphasize the ferocity of the act and elicit understanding in the reader. Part II of the poem also marks a dramatic change in tone from Part I; dynamic verbs like "risk" impose a stark contrast to the restful "rest" and slow, seeping "juice" of the preceding stanzas. This is underlined by]",’.