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fragmentation of experience The Love Song of J. Alfred Prufrock
use of imagery and symbolism in love song of j alfred prufrock
fragmentation of experience The Love Song of J. Alfred Prufrock
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Paralysis in The Love Song of J. Alfred Prufrock
Prufrock's paralysis follows naturally from this subjectivizing of everything. If each consciousness is an opaque sphere, then Prufrock has no hope of being understood by others. "No experience," says Bradley in a phrase Eliot quotes, "can lie open to inspection from outside" (KE, 203). Prufrock's vision is incommunicable, and whatever he says to the lady will be answered by, "That is not what I meant at all./That is not it, at all" (CP, 6). The lady is also imprisoned in her own sphere, and the two spheres can never, like soap bubbles, become one. Each is impenetrable to the other.
If other consciousnesses exist only as opaque objects for Prufrock, he has an equally unhappy relation to time and space. One of the puzzles of the poem is the question as to whether Prufrock ever leaves his room. It appears that he does not, so infirm is his will, so ready "for a hundred indecisions,/And for a hundred visions and revisions,/Before the taking of a toast and tea" (CP, 4). In another sense Prufrock would be unable to go anywhere, however hard he tried. If all space has been assimilated into his mind, then spatial movement would really be movement in the same place, like a man running in a dream. There is no way to distinguish between actual movement and imaginary movement. However far Prufrock goes, he remains imprisoned in his own subjective space, and all his experience is imaginary. It seems to be some perception of this which keeps him in his room, content to imagine himself going through the streets, ascending the lady's stair, and telling her "all," like Lazarus back from the dead. There is no resurrection from the death which has undone him, and this is one meaning of the epigraph from Dante.
Time disappears in the same way. Space must be exterior to the self if movement through it is to be more than the following of a tedious argument in the mind. In the same way only an objective time can be other than the self, so that the flow of time can mean change for that self. But time, like space, has only a subjective existence for Prufrock. As a result, past, present, and future are equally immediate, and Prufrock is paralyzed. Like one of Bradley's finite centers, he "is not in time," and "contains [his] own past and future" (KE, 205).
...s insistence on proving himself, as represented in the killing of Ikemefuna and his other discreditable actions, are results of his constant need to impress. His desires to prove himself, become a respected member of the tribe, and maintain his image as a strong warrior all combine with an inability to adapt to a changing world in the latter half of the book. “Okonkwo [is] deeply grieved” (183) by the arrival of the Europeans and the changes they bring to Ibo culture. Thinking that he can be the one to lead the effort to drive the Europeans out of the land and restore the traditions of the tribe, he commits yet another rash act; whenever he does not get the results he expects, he commits his last transgression against tribal tradition: suicide.
...y had let the other messenger escape. They had broken into tumult instead of action" (Achebe 205). Everything he lived for and believed in was going to be taken away by the white men. They had control over everything. He did not want to see that happen so he took his own life. Yet, this is ironic because, in doing so, he was committing an act which was considered one of the worst actions a member could do in the Ibo society. Throughout the story we see how strong Okonkwo's personal beliefs were and how much they meant to him. Beliefs, both personal and those of the society someone is born into, play a major role in their life. This story is an example of what happens when those beliefs are taken away and others are forced upon a person. Everyone needs to believe in something, and things fall apart when they no longer can.
On the surface, ?The Love Song of J. Alfred Prufrock? is about an older man who is distressed by his own inability to tell a woman of his desire for her. He tries to relay his feelings to her but comes up with all kinds of excuses not to, and ultimately does not. The speakers? real problem is not that he is just too timid to confess his love for this particular woman, it is that he has a somewhat unproductive, bleak life and has a lack of willpower and boldness to change that life.
The editors of anthologies containing T. S. Eliot's "The Love Song of J. Alfred Prufrock" invariably footnote the reference to Lazarus as John 11:1-44; rarely is the reference footnoted as Luke 16:19-31. Also, the reference to John the Baptist is invariably footnoted as Matthew 14:3-11; never have I seen the reference footnoted as an allusion to Oscar Wilde's Salome. The sources that one cites can profoundly affect interpretations of the poem. I believe that a correct reading of Eliot's "Prufrock" requires that one cite Wilde, in addition to Matthew, and Luke, in addition to John, as the sources for the John the Baptist and Lazarus being referenced. Furthermore, the citation of these sources can help explain Eliot's allusion to Dante's Guido da Montefeltro.
In Chinua Achebe’s novel Things Fall Apart the life of a man named Okonkwo and the tribe of Umuofia is depicted in three chapters which each represent a significant era in the tribe. In the first chapter, Achebe describes the life of the native African tribe before the coming of the white man. This chapter enables the reader to understand and respect the life of the Igbo. The second chapter describes the beginnings of colonialism and introduction of the white man. Suddenly, the Igbo way is questioned. The natives lives are turned upside down as they search for a way to understand the new religion and laws of the Europeans. The third chapter describes the effect of colonialism on the Igbo tribe. This section explores the many ways which the Igbo people try to adapt to the new society. From the suicide of Okonkwo to the abandonment by other tribe members, it becomes apparent how difficult it was for the African’s to adjust to the change. Joseph Conrad’s Heart of Darkness tells of an English man named Marlow and his journey into the Congo and interest in a colonist named Kurtz. Marlow is the narrator of the novel. He describes the natives and the Europeans from a somewhat objective view. He finds colonialism questionable, but also cannot relate to the Africans. Kurtz is the antagonist who exploits the Africans to make money by selling ivory and subsequently goes insane. Both novels depict the colonization of Africa, but each has a markedly different perspective on the African’s lives which were irreparably altered when Europeans came to conquer their land and convert them to Christianity.
He was in great conflict with the ideas of the white men and the missionaries. Okonkwo saw that their beliefs had not only changed the daily life of the Ibo, but it also changed the people themselves: “He mourned for the warlike men of Umuofia, who had so unaccountably become soft like women” (Achebe 183). The author uses strong diction to compare the men before and after colonization. This quote also portrays Okonkwo’s opinion towards the cultural collision. He values strength and masculinity immensely because of his fear of appearing weak like his father Unoka. When he describes that the men of Umuofia changed to be soft like women, this shows how much he dishonors the Western ideas and how it has taken over the village. He made an attempt to get rid of the Western influence by urging the tribe to fight like men, but they refuse to. He was determined and still attempted to furthermore encourage the people of Umuofia to revolt against the new culture. He realizes that his attempts to return the village back to the way it was before were futile. He knew that Christianity was tearing his people apart, but knew he was incapable of making change to help his people. Okonkwo then starts to feel hopeless and abandoned by his clan, which causes him to commit suicide by hanging himself: “Obierika… turned suddenly to the District Commissioner and said ferociously: ‘That man was one of the greatest men
After Okonkwo gets banished from the tribe it undergoes a drastic cultural change. Okonkwo does not. Upon his return he discovers that his tribe has been partially converted by the Christian missionaries. He is appalled and rejects the idea.
T.S. Eliot’s “The Love Song of J. Alfred Prufrock” is an ironic depiction of a man’s inability to take decisive action in a modern society that is void of meaningful human connection. The poem reinforces its central idea through the techniques of fragmentation, and through the use of Eliot’s commentary about Prufrock’s social world. Using a series of natural images, Eliot uses fragmentation to show Prufrock’s inability to act, as well as his fear of society. Eliot’s commentary about Prufrock’s social world is also evident throughout. At no point in the poem did Prufrock confess his love, even though it is called “The Love Song of J. Alfred Prufrock”, but through this poem, T.S. Eliot voices his social commentary about the world that Prufrock lives in.
Okonkwo is not all that he may seem; as there is more than what meets the eye. Okonkwo is the primary protagonist within the book Things Fall Apart by Chinua Achebe. Okonkwo is a cruel yet kind man who has everything yet has nothing, which in turn creates a sympathetic character. A character such as Okonkwo has many facets; or masks if you will. Then we have his many influences: the Ibo culture; his father Unoka and of course his own personality. Then there is a staggering list of achievements. Okonkwo is a strong character but thinks only inwardly - especially towards his father - which will be discussed further in this essay.
Eliot and Kafka characterize their respective characters as having negative self-images, a prior lack of success, and as being fundamentally lonely. Prufrock views himself as undesirable, and his self-image seems to grow worse with age. While Prufrock has the chance early on to make something of his life, he sits in a room, presumably one in which there is a display of artwork, and “the women come and go / Talking of Michelangelo” (ll. 13-14). Prufrock goes by unnoticed next to what could be the beautiful works of Michelangelo. It can especially be presumed that he feels inadequate next to the Statue of David, a sculpture for which Michelangelo is famous. As time goes on, his feelings of inadequacy increase when he begins to fear what others will think of his aged appearance, for “They will say: ‘How his hair is growing thin!’” and “They will say: ‘But how his arms and legs are thin!’” (ll. 41, 44). Prufrock’s lack of self-confid...
Okonkwo has murdered, beaten, and cast off those he loved throughout his life. He remained stubborn and violent until his last days, and yet through his internal struggle, and sparse, yet endearing loves Okonkwo is still perceived to be morally indefinite. Okonkwo may not be considered by western culture to be a good person, but viewing his life in its entirety, it is almost impossible for one to attach a completely negative label to him. By telling the story of Okonkwo's life, Chinua Achebe, creates a dynamic and morally ambiguous protagonist while addressing the moral issue of Christian evangelism in Africa.
At the beginning of the novel Okonkwo was a fairly wealthy and well-respected member of the Igbo society, but it had not always been that way for him. Okonkwo?s father, Unoka, had been a lazy man who would rather play his flute than take care of his crops. Unoka was said to be a charming man, and was able to borrow large amounts of money from his friends, but was never able to pay it back. As a result, Okonkwo has grown up very poor and ashamed of his lazy father. At one point in the book, Okonkwo remembers hearing one of his playmates calling his father an ?agbala,? which was the word for woman, but all described a man who had taken not titles (13). Okonkwo never forgets this, and actually develops a deep-seated fear that people will think that he is weak like his father. As I mentioned, Okonkwo became very well known, and his wealth and prestige rested solely on his own personal achievements. Okonkwo had received no inheritance from his poor father, no land and no money. As a young man, Okonkwo had been very successful wrestler, and as he grew older he became a well-known warrior. He was said to have brought home five human heads, which was a great achievement even for men who were much older that he was. At the beginning of the story, Okonkwo had obtained two titles, and had the respect of every man from all nine villages of Umuofia. Symbols of his wealth and prestige were his family and his compound. As I mentioned earlier, Okonwo had received no inheritance, and at the time of this story Okonkwo is still fairly young, and the fact that he had three wives, several children, and a very productive piece of land showed that Okonkwo was a very diligent worker. ?Okonkwo ruled his household with a heavy hand. His wives, especially...
Before the arrival of the Europeans, Achebe did a excellent job portraying how the life of Igbo was before they were forced to oppose their own culture. To support this theme, Achebe included detailed descriptions of social rituals within each family, the justice system, religious practices and consequences, preparation and indulgence of food, the marriage process and the distributing of power within the men. Achebe shows how every man has an opportunity to prove himself worthy to achieve a title on the highest level, based merely on his own efforts. One may argue that the novel was written with the main focus on the study of Okonkwo’s character and how he deteriorates, but without the theme that define the Igbo culture itself, we would never know the universe qualities of the society that shaped Okonkwo’s life. The lives of the Igbo people was no different to the actual lives of the Ibos people back in the early days of Africa. Just like in Things Fall Apart, in actual African tribes there was never a ruler. “Very interesting thing about these villages is that there is no single ruler or king that controls the population. Decisions are made by including almost everyone in the village” (AfricaGuide). Using the theme, Achebe educated readers on by mirroring real African life in her
Okonkwo is a self-made man. He achieves greatness through his own hard work and determination. Okonkwo started his life without the benefits that other young men had. His father, Unoka, was a lazy man. He had acquired no honorary titles. When Unoka died, Okonkwo did not inherit any barn, title, or young wife. He merely acquired his father’s debts. Therefore, Okonkwo sets about to make a name for himself and to achieve greatness in his community. He diligently plants and harvests his yams, building a farm from scratch. He builds a large commune for his family. He marries three wives; one of them was the village beauty. He acquires two titles. Okonkwo is not a failure, like is father was. In Umuofia, “achievement was revered”, and Okonkwo’s achievement was immense (8). He was “clearly cut out for great things” (8). To the Igbo people, Okonkwo epitomizes greatness and success.
In conclusion,the cycle of this poem is wonderfully expressed in line 51, “I have measured out my life with coffee spoons." This signifies that he has broken down his entire life into small episodes. Prufrock's failure to act leaves him in fantasy world dominated by insecurity. Prufrock is afraid of himself and others; therefore, he is unsure of what to do and afraid to commit to any particular choice of action (Hart, pp. 174-80). He reveals his innermost thoughts to the reader, but ultimately accepts his own indecision and cowardice. McNamara's article articulates that the world of the poem is limited to a single consciousness.