Analysis Of The Love Song Of J Alfred Prufrock

As one single poem can intrigue the everyday college student, one can imagine the obsessive nature that one poem can have on the mind. The poem, circulating, round and round in the mind, leaving one to ponder the day away all because one poem, as one can be left questioning, such as in "Prayer" by Galway Kinnell. However, even if someone were to be obsessed with one poem, there are ones who are intrigued by not just one, but two, maybe dozens of poems, all by the same author that had them intrigued since the first poem looming in their head. Nevertheless, as one may ponder across an entire work of a single author, this pondering may lead to one who is passionate about the entire work of an author to publish articles about someone and their work respectively. In the article, "Galway Kinnell: Transfigured Dread," by Edward Hirsch, the pondering over the entire works of Galway Kinnel are discussed in great detail.

She says, “If you are not truthful to the world about you and what you are, your art will stink of falsenesses”(154). Mme. C calls upon Jason to reveal Eliot Bolivar to the world. She means for him to realize that, unless he finds the strength and the courage to shed his developed false image, his poetry, the thing he cherishes most, the figurative encapsulation of Jason, will inevitably lose its value. His falseness, in a sense, plagues the beautiful realities of his poems, which are symbols for Jason’s self.

Love anticipation is a leading aspect for just about everyone in life. Nobody wants to feel rejected by someone that they really care for and want to be a part of their lives. This eagerness can either bring about happiness or pure hopelessness for the individual. In James Joyce’s short story, “Araby”, and T.S. Eliot’s dramatic monologue, “The Love Song of J. Alfred Prufrock”, the expectation of love is of high regard. Both of the main characters of these short stories are constantly fighting with themselves over whether or not love in is their favor.

He views the people in the room as groups and considers himself as an outsider. Prufrock observes women who“come and go talking of Michelangelo”. Not only does he feel anxious around women, he also feels emotionally distant from the rest of society, causing him to live a lonely and depressed life. Prufrock as an outsider is emphasised by the extended metaphor of the fog- cat. Fog is intangible, it is able to inhabit places other creatures cannot, sitting on drains and window panes.

In the end, Prufrock is a simple man who requires a simple

Eliot, What are Your Impressions of the "Modern Man?" Moral Decay. The decay of culture has thrived with modernism. Both of them have described how cruel a man can be for example in the battlefields according to Hemingway. Eliot describes how social evils have come along with the “modern man” in terms of Spiritual paralysis where people have become stone-hearted, vacuity, and empty.

We learn that he is a very anxious guy, who is afraid of being alone, and yet is paralyzed by the moment, and too scared to do anything about his unhappiness. He is also aware of this fault as well as the passage of time, and so his wheels are constantly spinning in this kind of devastating internal conversation. This is the reason why the poem is presented through a series of images and fragments thoughts because it gives us insight into Prufrock’s devastating internal conversation, random thoughts and

The beginning of the 19th centure brought a rapid development in all world affairs. Technological advancements and the next century’s two world wars caused a shift in the values to which people aspired. The changes were also apparent in the artistic movements and modernism and imagism shaped a new face of poetry. Relying on a set of literary means of expression, using simple words, the representatives of these movements created powerful images, metaphors and similes to give a powerful twist to their works. These movements influenced T. S. Eliot, considered to have developed imagism to new heights, which is especially apparent in his poem “Rhapsody on a Windy Night”.

Eliot’s first descriptions of the world Prufrock inhabits bring up images of a deserted and silent city in the evening. As the streets empty out, the world turns interior, as Prufrock takes us indoors. “Let us go, through certain half-deserted streets / The muttering retreats / of restless nights in one night cheap hotels” (Eliot, 1) From these lines already we

If this technique is compared to the technique in Eliot’s The Wasteland one can understand clearly the relevance of Movement’s post-war return to “rules” of English. The sudden shifts of tone and style, of mood and movement the reader experiences in The Wasteland and the problems he encounters in the quotations and allusions, will call for quite an effort of attunement on his part. The Movement writers were in rejection of the magnificent themes of modernist poetry.

Of course, it is pathetic that Dunces or Hollow Men do clearly see these existential problems as universal, though more ridiculous in their own context than elsewhere. The thought, speech pattern, physical appearance, and manners of a rustic people in all ages come under strict criticism here. One of the issues discussed, in particular the one of hair and skin colour, tends to generate emotional antipathy and intellectual hatred. Therefore Eliot selects his poetic ideas, images, and symbols in a cunning way. The cactus in a grassland or desert is preferred to Congo's equatorial forests, since he identifies a common savage trait in Hamitic and Semitic races as well as geographical locations where ignorance, boredom and poverty underlie the migratory habit and low morale his image suggests.

Often hailed as the successor to poet-critics such as John Dryden, Samuel Taylor Coleridge, and Matthew Arnold, T.S. Eliot’s literary criticism informs his poetry just as his experiences as a poet shape his critical work. Though famous for insisting on “objectivity” in art, Eliot’s essays actually map a highly personal set of preoccupations, responses and ideas about specific authors and works of art, as well as formulate more general theories on the connections between poetry, culture and society. Perhaps his best-known essay, “Tradition and the Individual Talent” was first published in 1919 and soon after included in The Sacred Wood: Essays on Poetry and Criticism (1920). Eliot attempts to do two things in this essay: he first redefines “tradition” by emphasizing the importance of history to writing and understanding poetry, and he then argues that poetry should be essentially “impersonal,” that is separate and distinct from the personality of its writer. Eliot’s idea of tradition is complex and unusual, involving something he describes as “the historical sense” which is a perception of “the pastness of the past” but also of its “presence.”

He experimented with his writing skills and showed his readers both present and past in one poem, he glorified the past in contrast withthe corrupt present. Eliot plays with the concept of time and the stream of consciousness. Understanding the time structure of the poem is known to be the only key to understand the meaning of this poem. The complex movement from past to present is represented via allusions and references. The opening lines of the poem indicates that the poem is set in the month of ‘April’ and it is the present.

and, ‘Do I dare?’” (Eliot 38) and once again when the author writes “Do I dare?” (Eliot 50) The reaction shows how the character has begun to question his quest for love and begins

Prufrock feel that if he approaches the woman, it would disturb the balance of the universe. This is shoeing that he thinks that everyone has a certain place in the universe and if he were to try to move up, that it would throw off the balance and create chaos. Prufrock believe that he doesn’t have much to offer. He has thin arms, legs, and on top of that he’s balding. He feels as if he is just the average guy, and an average guy has no purpose in being with the “belle of the ball’.