The Missing Female in The Love Song of J. Alfred Prufrock
For Eliot, poetic representation of a powerful female presence created difficulty in embodying the male. In order to do so, Eliot avoids envisioning the female, indeed, avoids attaching gender to bodies. We can see this process clearly in "The Love Song of J. Prufrock." The poem circles around not only an unarticulated question, as all readers agree, but also an unenvisioned center, the "one" whom Prufrock addresses. The poem never visualizes the woman with whom Prufrock imagines an encounter except in fragments and in plurals -- eyes, arms, skirts - synecdoches we might well imagine as fetishistic replacements. But even these synecdochic replacements are not clearly engendered. The braceleted arms and the skirts are specifically feminine, but the faces, the hands, the voices, the eyes are not. As if to displace the central human object it does not visualize, the poem projects images of the body onto the landscape (the sky, the streets, the fog), but these images, for all their marked intimation of sexuality, also avoid the designation of gender (the muttering retreats of restless nights, the fog that rubs, licks, and lingers). The most visually precise images in the poem are those of Prufrock himself, a Prufrock carefully composed – "My morning coat, my collar mounting firmly to the chin, / My necktie rich and modest, but asserted by a simple pin" -- only to be decomposed by the watching eyes of another into thin arms and legs, a balding head brought in upon a platter. Moreover, the images associated with Prufrock are themselves, as Pinkney observes, terrifyingly unstable, attributes constituting the identity of the subject at one moment only to be wielded by the objective the next, like the pin that centers his necktie and then pinions him to the wall or the arms that metamorphose into Prufrock's claws. The poem, in these
Okonkwo was well known through out the nine villages because of his achievements in the tribe. Okonkwo had a great fear of becoming like his father. This had a rather large impact on his life and how his personality. Okonkwo’s father, Unoka, was a lazy man whereas Okonkwo was a hard worker, Okonkwo ruled his house with a heavy hand and he was a man of war.
a man named Prufrock. Prufrock, at first glance, has a cool composure. He leads his
Okonkwo’s fear leads him to treat members of his family harshly, in particular his son, Nwoye. Okonkwo often wonders how he, a man of great strength and work ethic, could have had a son who was “degenerate and effeminate” (133). Okonkwo thought that, "No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man" (45).
From birth Okonkwo had wanted his son, Nwoye, to be a great warrior like him. His son instead rebelled and wanted to be nothing like Okonkwo. Okonkwo would not change so that his son would idolize him, as he had wanted since his son's birth. He chose not to acknowledge his son's existence instead. This would weigh heavily on anyone's conscience, yet Okonkwo does not let his relationship with his son affect him in the least bit.
"The Love Song of J. Alfred Prufrock" is about a timid and downcast man in search of meaning, of love, and in search of something to break from the dullness and superficiality which he feels his life to be. Eliot lets us into Prufrock's world for an evening, and traces his progression of emotion from timidity, and, ultimately, to despair of life. He searches for meaning and acceptance by the love of a woman, but falls miserably because of his lack of self-assurance. Prufrock is a man for whom, it seems, everything goes wrong, and for whom there are no happy allowances. The emptiness and shallowness of Prufrock's "universe" and of Prufrock himself are evident from the very beginning of the poem. He cannot find it in himself to tell the woman what he really feels, and when he tries to tell her, it comes out in a mess. At the end of the poem, he realizes that he has no big role in life.
Okonkwo had dreams, some of his dreams were fulfilled while others weren’t. Okonkwo's dreams were to be successful and better than his father which happened because he was one of the greatest, well known and respected men in the tribe of Umuofia. His other dream was for his son Nwoye to be just like him which didn’t happen since Nwoye was not happy with the way he was being treated and he went and joined the white men church in spite of his father.
Okonkwo is often described as being similar to characters in Greek tragedies. Okonkwo knew that the end of his clan was coming, and that they would do nothing to prevent it from happening. He took his life out of desperation. He had struggled his whole life to become a respected member of his community, and suddenly his world is turned upside down and changed forever because of an accident. Okonkwo sees that he is fighting a losing battle, so he quits. Suicide was one of the biggest offenses that could be committed against the earth, and Okonkwo?s own clansmen could not bury him. Okonkwo?s death symbolizes the end of patriarchy in Umuofia. The last page of the book is from the point of view of the white Commissioner, who notes that he wants to include a paragraph on Okonkwo?s life in his book entitled The Pacification of the Primitive Tribes of Lower Niger. Okonkwo?s struggles, triumphs and defeats are all reduced to a paragraph, much like his culture and society will be reduced.
In the end it is Okonkwo’s inability to recognize change that forces him to commit suicide. It is the white missionaries’ inability to recognize that the Africans did not wish to change which adds to his demise. The missionaries represent the ruthlessness of the white man in Africa. The native Africans were expected to accept the ways of the white culture, for their own benefit, or suffer the consequences. In this light the missionaries can only be seen as brutal, and anything but true Christians, but rather religious zealots who like Okonkwo wish to force their world view upon others.
Since Okonkwo is a tragic hero, he must have tragic flaws. The first of which is his obsession with war, fighting, and conquering. Okonkwo constantly must be engaged in some activity that has physical exertion or combat. For Okonkwo, the desire to conquer and subdue is described as being, "'...like the desire for woman'" (30). He possesses a one-track mind that was focused on nothing but success. His second tragic flaw is that he can show no other emotion except for anger. He never shows his fondness for the young hostage, Ikemefuna, who eventually regards Okonkwo as his father. Inside, Okonkwo wishes that Ikemefuna were his natural son instead of Nwoye. It is also this flaw that causes him to beat his wife during the weak of peace for, "...killing this banana tree" (27). His anger almost causes him to kill his second wife with a gun. He feels very sorry for this act, but cannot show his true emotions. The example of this is when the Oracle of the Hill deems that Ikemefuma must die, but not by Okonkwo's hand, since he calls him father:
T.S. Eliot is often considered one of the greatest and most influential poets of the 20th Century. Not only were his highly regarded poems such as “The Wasteland” and “The Love Song of J. Alfred Prufrock” influential to the literary style of his time, but his work as a publisher highlighted the work of many talented poets. Analyzing his poem, “The Love Song of J. Alfred Prufrock,” with psychoanalytic criticism reveals several core issues in the speaker of the poem, and may reflect Eliot himself.
Whenever Okonkwo decided that he couldn't handle everything anymore, he took his own life, making the audience feel sympathetic towards him. “Then they came to the tree from which Okonkwo’s body was dangling, and they stopped dead.” (207) After Okonkwo came to believe that his whole clan was falling apart, he decided that he couldn't take it anymore. Okonkwo believed that the easiest way out would be to take his own life. Okonkwo didn’t find pleasure in his work like he used to. He felt like it was useless. “Work no longer had for him the pleasure it used to have.” (131), this shows that Okonkwo had started to realize that something was wrong and things didn’t feel right. This shows foreshadowing of how Okonkwo’s life is about to go downhill. Okonkwo did countless things that draw him in trouble throughout the book. “Nobody else spoke, but they noticed the long stripes on Okonkwo’s back where the warder’s whip had cut into his flesh.” (199), Okonkwo received a whipping for wrongdoing which shows that no longer is he the most looked up to man in Umofia, but he is slowly starting to become one of the most hated.
Okonkwo embodies all the ideal and heroic traits of the Igbo culture. He is strong, authoritative, hardworking, and successful. The opening sentence states that “Okonkwo was well known throughout the nine villages and even beyond” (3). Okonkwo is great and famous because of his “solid personal achievements” (3). Okonkwo first achieved fame and recognition when he became the village’s wrestling champion. At eighteen years of age, he had “brought honor to his village” by defeating the seven-year champion. By winning the wrestling match, Okonkwo demonstrates to his village his great strength and skill as a warrior. After that his fame spread “like a bush-fire in the harmattan” (3). Okonkwo governs his household with authority. He “ruled his household with a heavy hand” (13). His wives and children lived “in perpetual fear of his fiery temper” (13). Okonkwo is a hard task-master. He works on his farm “from cock-crow until the chickens went to roost” and compelled his family to do the same (13). He does not tolerate laziness in his sons. He punishes his son, Nwoye, with “constant nagging and beating” (14). Okonkwo is the sole and unquestionable authority figure in his household.
Ezinma – Ezinma is open-minded and understanding. She is her father’s favorite child because of those reasons. He wishes that she would have been a boy, and keeps referring to that wish throughout the course of the novel.
In the novel Things Fall Apart, Okonkwo is portrayed as a respected and determined individual whose fatal flaw eventually works against him. Throughout the novel the readers are shown that Okonkwo has many of these Characteristics because he is obsessed with the idea of becoming just like his father. This becomes his flaw in the novel that puts him into exile and makes it hard for him to adjust to the changes that were made with in his village.
T. S. Eliot's poem "The Love Song of J. Alfred Prufrock" reveals the unvoiced inner thoughts of a disillusioned, lonely, insecure, and self-loathing middle-aged man. The thoughts are presented in a free association, or stream of consciousness style, creating images from which the reader can gain insight into Mr. Prufrock's character. Mr. Prufrock is disillusioned and disassociated with society, yet he is filled with longing for love, comfort, and companionship. He is self-conscious and fearful of his image as viewed through the world's eye, a perspective from which he develops his own feelings of insignificance and disgust. T. S. Eliot uses very specific imagery to build a portrait of Mr. Prufrock, believing that mental images provide insight where words fail.