The Idea of poetry as a point of entry into the buried life of feeling, or as a point of exit for it, is prevalent through Door into the Dark. In a comment on Death of a Naturalist Heaney told that poetry`s origin lay in energies that came from his personal remembering. But in Door into the Dark the energies of his poetry`s origin are found equally in language and landscape of the community he belongs to. This means that the scope of the poetry of the second book comes to be deeper and wider than the first book`s. In Door into the Dark Heaney to probe past the autobiographical and into the ancestra1, into the possibility that the sources of psychic and/or spiritual truth lie buried in language and landscape of his community. The strata of memory buried in language and landscape require Heaney to face an actual dread of ``losing`` himself to the primal or instinctual. When Heaney tried to forge the ``uncreated conscience`` of his race in his poetry, he found out that he should step into the dark to erase his strongly established self from his poetry. This means that he can expand and transcend himself only by losing himself. Losing-himself will help him get multiple viewpoints to make his poetry less partisan and more powerful. He asserts that he ``will uncode all landscapes`` just when he is able to see ``things founded clean on their own shapes and learn to lose himself while we are in the dark center of the landscape. The word ``uncode`` suggests the land`s secret, buried history that awaits one who can uncode. Heaney shows that there is an analogy between the secret, hidden activity of the poet and the secret, and hidden activity of the blacksmith and the thatcher. They all are kind of musicians in the sense that they are able to leave the audience surprised by creating the useful, meaningful, ordered things from nothing or the dead things. So Heaney`s uncoding is not only uncovering something buried in landscape but also creating the new meaning of the place. Uncoding all landscapes, Heaney shows how life and death in the human and natural world are inevitably and mysteriously intertwined. He finds thingness in human life and human quality in the things. He finds the beginning and ending of his life in the landscape, and he finds there is just one cycle between both worlds.