Unlike high modernism, late modernism leaves the reader to draw their own conclusions regarding the impacts of modernity. The stylistic differences between Eliot and Auden represent contrasting sentiments regarding approaches to modernity and the poet’s place in a modern society. For instance, high modernists such as Eliot use modernism to explore existential questions. The content of Eliot’s “The Love Song of J. Alfred Prufrock” is cryptic, as the narrator asks the reader a seemingly rhetorical question which drives the poem forward: “’What is it?’” (11). The entirely open-ended question of “What
Elliot simply used these allusions to tell his own story, sometimes giving new meanings to quotes, or adding emphasis to new words or phrases. Often, these references had to be understood themselves for a reader to truly know what was being said in one of Elliot’s works. One such work that contains so many references to past writers and works, is “The Love Story of J. Alfred Prufrock”. The story of Prufrock is an intriguing one dominated by allusions and many references to earlier works of literature that Elliot himself read, and applied to a story of a modern man. The love song is actually a poem, but one of the meanings of love song, is a poem.
The comparison of the poem to another text allows for the identification of an individual poetic style, conveying the possibility that poem is written to appeal to a mass audience rather than, in this case, for a particularly personal reason. Structuralism also denotes the arbitrary nature of language and how language has different meanings to people, respective of their life experience. Undoubtedly, a structuralist critique offers a distinctive, calculated insight into “I Wandered Lonely as a Cloud” that allows the reader to interact with the poem in an introspective way, as well as tackling the idea and theory behind language, and the form of poetry
The abstract under analysis is “The Road Not Taken”, a poem by Robert Frost. Since the author aims to portray a character pursuing an active life strategy and seeking for complete awareness of his fate as well as long contemplation and, finally, taking responsibility for his actions, no matter if they are right or wrong, we are to apply transitivity theory to show how this decision is taken and what factors influence the character’s choice and personality. First and foremost, since transitivity is concerned with ideological function of the language, this analysis is aimed at exploring how various stylistic means reflect the main ideological cornerstones conveyed by the author and the manner in which a character is developed. Hence, we are to
This paper carefully studies the use of images, allusions and philosophical basis for the poem. This way the author gets the final result that this question which prufrock never speaks out is his conflict with knowledge, reality and existence. He is thinking carefully about whether he should reveal his true self before public, or keep the mask he knows he cannot live within. In modern literature, T.S. Eloit is a marvellous poet.
Thomas Sterns Eliot who was a great American-British poet, playwright, literary critic and editor was a leader of the Modernist movement in poetry in such works as The Prufrock, The Waste Land and The Hollow Men. He almost completely and single - handedly brought about a revolution in thought, attitude and style in English poetry, and ushered in the modern age. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones. This new genre of poetry was initiated by T.S. Eliot through the publication of his poem, The Love Song of J. Alfred Prufrock, in 1917, a collection of poems that gave birth to a new genre of poetry – modern poetry.
2. The English Novel 1945-1990 The history of the post-war novel in English, and also that of drama and poetry, cannot be understood without reference to the coexistence in the first half of the twentieth century of Modernism and the more traditional approaches to literature inherited from the Victorian period. The Modernist writers reacted against realism in fiction and the remains of Romantic sentimentalism in poetry by introducing technical innovations that could be used to look at reality from the point of view of the irrational, the subconscious, the anti-sentimental, or the highly individualistic. In drama, the revolution followed other lines, with G. B. Shaw 's introduction to the English stage of the naturalistic drama developed by
The revealing of the human nature was one of the most prominent topics in the literature of modernism. The modernist view of the world concerned the lack of order in it and dealt with the sub-consciousness of an individual. One of the brightest representatives of this literature direction was Thomas Eliot, whose poetry revealed the real identity of a man with all its uncertainties. For example, the poem “The Love Song of J. Alfred Prufrock”, published in Poetry magazine in 1915, provides an image of the contemporary man. By the example of the main character, Prufrock, Eliot depicts the weaknesses of the society and the personality that is far from ideal.
ELIOT 'S MODERNISM ' ' A VOYAGE FROM PAST TO PRESENT ' ': T. S. Eliot 's poetry sheds light on the modernist literature and determines the framework of the modern poetry through a plenty of innovative techniques. Principally, impersonality roots in Eliot 's poetry; which means an escape from personality and emotions (Underhill 170). His theory of impersonality in poetry is a strategy of avoiding confession (191). Ackerly draws attention to Eliot 's poetry 's paradoxical condition by claiming that his verse encapsulates the most harrowing personal feelings and presents the most agonizing image of the individual mind in spite of his insistence on impersonality (Ackerly 8). It can be said that his theory of the impersonal nature of art is
The struggle for honest self expression became more urgent and explicit at this period. The most striking fact in literature of this era is the revolution of poetic taste and practice. The poet is no longer the sweet singer whose function was to render in verse and an imagery drawn with great selectivity from nature and self-indulged personal emotion. He is now the explorer of experience who uses language in order to build up rich patterns of meaning unfolded by using abrupt contrasts and eliminating overt statements. The imagery in W.B.