'Thing fall apart the centre cannot hold' is a line in W.B Yeats poem 'The Second Coming' because of its stunning, violent imagery and terrifying ritualistic language, "The Second Coming" is one of Yeats's most famous poems, its set in a world on the threshold of apocalypse must like the three texts. The texts 'Henry IV Part 2' by William Shakespeare, 'The Handmaid's Tale' by Margaret Atwood and the poem 'The Waste Land' by T.S Eliot deals with the topic of disintegration of and within civilisation. The authors each explore this disintegration with their own medium, Shakespeare through a play, Eliot a poem and Atwood a novel, despite the differences in form all three texts contain similarities in content, exploring conflict in gender, the role of power and religious influences. Gender conflict is based on the beliefs various societies have established on the roles men and women play in those cultures, and the change and breakdown of these roles is vital in the disintegration of all three texts. Eliot's 'The Waste Land' uses sex as a landmark to illustrate how low society has fallen, the separation of sex from love to Eliot stripped any beauty sex in the modern world could hold, as all significance is lost along with its connection to love. The loss of love is perhaps most clearly shown by the 'carbuncular' clerk for whom love, passion, nor even response is required in order for sexual gratification, his 'Exploring hands encounter no defence; His vanity requires no response, And makes a welcome of indifference.' The typist neither speaks nor acts in her own defence and so the clerk assumes a right to his own pleasure, it seems he almost hopes for her indifference, the attitude shown here starkly contrasts 'The change of Philomel, ... ... middle of paper ... ...s, Colleen. The love song of T.S. Eliot: elegiac homoeroticism in the early poetry. Gender, Desire, and Sexuality in T. S. Eliot. Ed. Cassandra Laity. Cambridge: Cambridge UP, 2004. p. 20 Porfert, Joseph. Hell On Earth: The Feminist Dystopia of The Handmaid’s Tale. http://al.odu.edu/english/pubspdfs/Joseph-Porfert-essay.pdf [accessed on 07/01/2014] Shakespeare, William. Henry IV Part 2. Ed. Peter Davidson. Penguin; New Ed edition, 2005 Tolan, Fiona. Margaret Atwood: Feminism and Fiction. Amsterdam: Rodopi, 2007. p. 152-53 Rabkin, N. Rabbits, Ducks, and Henry V in Shakespeare an Anthology of Criticism and Theory 1945-2000. Ed, McDonald, R. Blackwell 2004, p.249-250) Rackin, Phyllis Shakespeare and Women. Oxford: Oxford UP, 2005. p. 68 2008-9 http://www.royal.gov.uk/historyofthemonarchy/kingsandqueensofengland/thelancastrians/ henryiv.spx [accessed 22/12/2012]
The relationships between genders have been topics of discussions for many years. How genders relate to one another, their similarities in situations and how very different they can encounter comparative life tribulations including roles imposed by society. When analyzing the characters Dorothea Brooke, Tertuis Lydgate, and Edward Casaubon we can identify issues that genders have in common and how they deal with them. Middlemarch by George Eliot uses imagery and language to illustrate how the genders face similar issues of dissatisfaction and societal concerns throughout the novel.
T.S. Eliot’s “The Love Song of J. Alfred Prufrock” draws attention to the idea that time is of the essence. On the surface, Prufrock is portrayed as a man who is incapable of making decisions and lacks self-confidence. This is evident through his passive nature, where he continuously delays having to talk to women because he believes there is enough time. Written in the era of modernism, the reader is capable of unraveling that the poem’s true purpose was not only to show Prufrock’s inability to make decisions when it comes to love, but to show the desolation that one faces in times of a modernistic transition. Eliot depicts Prufrock’s transition phase through a gloomy and solemn tone, incorporating imagery, metaphor and synecdoche to fully illustrate Prufrock’s despondent state of mind and spirit.
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.
This poem by T.S Eliot is not all about a love song rather quite the opposite. This poem however may be interpreted in a different form as it is quite open. J. Alfred Prufrock who is the narrator of the poem is quite disappointed with the kind of society he lives in. Looking at different aspects of literature used such as imagery and the intended audience, one can easily tell the view of Prufrock on life. The interpretation the narrator has about life can be deduced to bleak, vacant and repetitive.
In the novel The Handmaid’s Tale, written by Margaret Atwood, the author offers a futuristic dystopia that explores the concept of the overt subjugation and marginalization of the status of women. The setting of the novel takes place in a republic based theocracy referred to as the Republic of Gilead. The majority of the population is rendered sterile as the result of chemical and nuclear pollution. The narrator, Offred, forcibly takes on the role as a Handmaid, who serves the purpose of reproducing in order to equalize the current population. The social structure of Gilead implements a male-dominated prerogative that is designed to keep women under radicalized oppressive restrictions. The totalitarian regime reduces women as usable commodities and forces them to cower under the notion of women inferiority and objectification. The psychological pressures of conforming to the restrictions of Gilead begin to result in the majority of the women acquiring high levels of internalized misogyny. This paper will examine the women characters in The Handmaid’s Tale, who have passively accepted the oppressive agenda of Gilead. The psychological damage carried out by
In interpreting the respected poems, “The Love Song of J. Alfred Prufrock”, “The Wasteland” and “The Hollow Men”, the validity of Eliot’s statement will be thoroughly examined.
In the first stanza of William Butler Yeats’ “The Second Coming”, the speaker paints a picture of chaos and frightening sight. The first image we read is the gyre. “Turning and turning in the widening gyre” (1), Tracy Caldwell says “the gyre refers to Yeats’ personal understanding of cyclical events in history explained in his work, ‘A Vision’, which details the theory of metaphysics and history he claimed to have received from the spirit world” (2). In the second line, the speaker states that order is loose that “the falcon cannot hear the falconer” (2). “The circular motion of the falcon not only refers to the gyre explained above, but also may refer to the loss of gravitational center, exerting a powerful force of integration kept in place only if the falcon would (or could) keep its normal orbit around the falconer” (Caldwell 2). Bloom says “and the falcon represents his mastery of nature, now in the act of falling apart” (2). “Things fall apart; the centre cannot hold” (4). Everything is out of control. “The ceremony of innocence is drowned/the best lack all conviction, while ...
The Handmaid's Tale presents an extreme example of sexism and misogyny by featuring the complete objectification of women in the society of Gilead. Yet by also highlighting the mistreatment of women in the cultures that precede and follow the Gileadean era, Margaret Atwood is suggesting that sexism and misogyny are deeply embedded in any society and that serious and deliberate attention must be given to these forms of discrimination in order to eliminate them.
...In "The Waste Land," Eliot delivers an indictment against the self-serving, irresponsibility of modern society, but not without giving us, particularly the youth a message of hope at the end of the Thames River. And in "Ash Wednesday," Eliot finally describes an example of the small, graceful images God gives us as oases in the Waste Land of modern culture. Eliot constantly refers back, in unconsciously, to his childhood responsibilities of the missionary in an unholy world. It is only through close, diligent reading of his poetry that we can come to understand his faithful message of hope.
Callaway, A. A. (2008). Women Disunited: Margaret Atwood's The handmaid's tale as a critique of feminism. SJSU ScholarWorks , 48-58.
The Handmaid’s Tale by Margaret Atwood is a compelling tale of a dystopian world where men are the superior sex and women are reduced to their ability to bear children, and when that is gone, they are useless. The story is a very critical analysis of patriarchy and how patriarchal values, when taken to the extreme, affect society as a whole. The result is a very detrimental world, where the expectation is that everyone will be happy and content but the reality is anything but. The world described in The Handmaid’s tale is one that is completely ruled by patriarchal values, which is not unlike our society today.
Margaret Atwood's "The Handmaid's Tale": A Contextual Dystopia, David Ketterer, Science Fiction Studies, Vol. 16, No. 2 (Jul., 1989), pp. 209-217
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
T.S Eliot, widely considered to be one of the fathers of modern poetry, has written many great poems. Among the most well known of these are “The Waste Land, and “The Love Song of J. Alfred Prufrock”, which share similar messages, but are also quite different. In both poems, Eliot uses various poetic techniques to convey themes of repression, alienation, and a general breakdown in western society. Some of the best techniques to examine are ones such as theme, structure, imagery and language, which all figure prominently in his poetry. These techniques in particular are used by Eliot to both enhance and support the purpose of his poems.
The United States of America; the former powerhouse of the world, became a country that is taken over by religion and no longer controlled by a democratic society. The Handmaid’s Tale by Margaret Atwood follows the perspective of Offred who showcases the struggle of living and the oppression the Handmaids go through in their daily lives. While it is arguable that freedom is given if they comply to rules, that is not directly true, the Handmaids live in harsh conditions that restrict the women of their rights; where they are objectified as means for reproduction, are being oppressed by being unable to voice out their opinion freely without punishment, and are under patriarchy.