For Heaney, the end of art is peace. His concern about gender is naturally linked with the problem to harmonize the Catholic community and the Protestant`s in Northern Ireland. The best poetry, he proclaims, is achieved by a balance of the two characteristics, the feminine and the masculine. We have witnessed that the prose of the poet and his poetry are often incongruous with each other. The case of Heaney seems not to be exceptional. If we can see the emotional and the mysterious, the mystical as the feminine principle, the rational, and the realistic, the inteelectual as the masculine one, his poetry mist be masculine. Though he is referring to both langrage and theme as the feminine elements, they are not impressive enough to change our conviction that his poetry is masculine. What is important is not language and theme but his attitude dealing with them. We can confirm in his poetry that the feminine elements are strictly under controled by his masculine will. This paper is to expose his androcentric attitude secretly covered in his gesture of harmony or peace. His androcentric tendency can be revealed only by close reading. First of all, it is reflected in his looking down the Irish as the irrational and the emotional nation. We can decide this is very reason why he attaches feminity to the Ireland. This tendency must be the common feature founded in the backward nation. He ought to have assumed their emotional tendency must be overcome as the principle cause to bring about social disorder. That the feminine principle is restrained throughly in his poetry can be estimated on this ground. Here, we can see through his two faces, insisting a wedding the feminine and the masculine on the one hand, repressing the feminine in his poetry on the other hand. We can attribute his phenomenon to his androcentric ego.