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Imagery In Eliots Poetry
Examine the poetic style of Ts Eliot
Examine the poetic style of Ts Eliot
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Is modern life automated and devoid of purposeful existence? Does humanity suffer from a lack of vision and purpose in life? Can individuals in today’s contemporary society cope with the mediocrity, monotony and hollowness of their lives? Almost 100 years after first being published, T.S Eliot’s poetry still resonates with us, due to his exploration of these timeless, universal and enduring questions that characterize the impotence of the modern individual. Responding to the aftermath of WW1 and the paradigm shift that resulted from rapid industrialization and urbanization, Eliot presents a panoramic perspective of the futility and chaos that characterized the post-war environment. Loss of individualism, relaxed moral standards, alienation
Alfred Prufrock. The relevance of this poem stems from Eliot’s transformation of his own personal experience of alienation and isolation into a subjective and relatable narrative in which we can locate truths about ourselves. The poem is an acute fusion of modernity and self-consciousness that is debilitating and paralyzing. Prufrock metaphorically looks through his window but never engages meaningfully with the outside world. He is an ageing man who laments the vacuity of his life and lack of intellectual, sexual and spiritual fulfillment. His existential questioning engages us as a modern audience, provoking us to question the integrity of our own
The anonymity of the third person ‘they’ represents his inability to connect and forge meaningful relationships because of this paranoia. This exploration of fear and doubt continues throughout the poem as Prufrock poses a profound question, ‘Do I dare disturb the universe?’ Use of this rhetorical question conveys the tension between Prufrock’s realization that it is beneficial to reject complacent acceptance of designated identities and his belief that in order to belong he has to conform. Living and experiencing our contemporary society we can relate to Prufrock’s internal struggle by acknowledging this tension between conforming to societal expectations and developing our own identity. Eliot effectively admonishes against being caught in this state of Prufrockian paralysis, whereby people are paralyzed by doubt and social insecurity. He conveys how the ontological journey to self-knowledge is hindered by self-doubt and our struggle to connect and communicate meaningfully with others.
This state of paralysis and inaction is echoed in another of Eliot’s poems ‘The Hollow Men,’ in which Eliot suggests modern life can be tepid, indecisive, automated and devoid of purposeful existence, trapping humanity in mindless
In his poem Eliot paints the picture of an insecure man looking for his niche in society. Prufrock has fallen in with the times, and places a lot of weight on social status and class to determine his identity. He is ashamed of his personal appearance and looks towards social advancement as a way to assure himself and those around him of his worth and establish who he is. Throughout the poem the reader comes to realize that Prufrock has actually all but given up on himself and now sees his balding head and realizes that he has wasted his life striving for an unattainable goal.
The first stanza introduces Prufrock’s isolation, as epitomized metaphorically by “half-deserted streets” (4): while empty streets imply solitude, Eliot’s diction emphasize Prufrock having been abandoned by the other “half” needed for a relationship or an “argument” (8). Hoping for a companion, Prufrock speaks to the reader when saying, “Let us go then, you and I” (1), as he needs to address his lament to an audience; conscious of the reader’s curiosity regarding the “overwhelming question,” (10) Prufrock answers, “Oh, do not ask, ‘What is it?’” (11). (The likely explanation for Eliot’s inconsistent use of you in this stanza is Prufrock probably meaning you as “To lead one,” as he refers to himself and not the reader in line 10.) Eliot continues the metaphor of Prufrock’s lonesomeness by anthropomorphizing the “yellow fog” and “smoke” (15, 16) to signify Prufrock, who interacts not with people, but only the environment in the third, fourth, and fifth stanzas. Clearly it is Prufrock who “rubs [his] muzzle on the window-panes” (15, 16), passively lets “fall upon [his] back the soot that falls from chimneys” (19), “slides along the street” (24), and performs the actions also described; also, the opacity of “fog” and “smoke” symbolizes the difficulty with which readers perceive Prufrock’s true character, further separating ...
In conclusion, after exploring the theme of this poem and reading it for myself, Eliot has created this persona, in industrialised England or somewhere else. A man of low self-esteem, you embark his journey as he struggles with a rational fear of being rejected by a woman. Which gives the reader sympathy to Prufrock, as he lives within his own personal
...hich the author has elected to work, may itself evoke other psychic material; and then, lines of poetry may come into being, not from the original impulse, but from a secondary stimulation of the unconscious mind." The mental forces at work in Eliot's description of the poetic process serve as an analogy to the conflicts besetting the speaker in Prufrock. The speaker is a failed poet in terms of his inability to "murder" existing structures in order to "create" anew; be finds it impossible to say what be wants to say. In the "secondary stimulation of the unconscious mind" that occurs at this point, he partly abandons and partly resolves the struggle of form and matter; the integration of the psyche remains at best incomplete.
Throughout his "song," Prufrock questions himself. He does so not after a performed action, nor during, but nearly always before. Seemingly inbred in him is the tendency to think deeply into everything he does, so that the consequences of his actions may not attract the attention of a society he sees constantly lurking behind him. Nervous and fearful of this hovering critic, Prufrock finds himself considerably shaken by life actions as simple as descending a staircase.
In “The Love Song of J. Alfred Prufrock” by T.S. Eliot, the character Prufrock demonstrates his self pity caused by the fear of rejection by society. Prufrock also reveals anxiety and indecisiveness when encountering situations. Prufrock feels that society forces paralysis upon him, thereby stripping him of his individuality, restricting his independence and, in turn, producing all troubles encountered throughout his life. J. Alfred Prufrock consistently allows his feelings of inadequacy to prevent him from participating in social events. He feels that society judges him according to his place in the class system “...With a bald spot in the middle of my hair - [They will say: “How his hair is growing thin!”]” (40-41 T.S. Eliot).
Within a world of rapid globalisation humanity’s struggle to seek and perceive meaning in the modern world, confronts individuals with the existential crisis associated with the overwhelming lack of purpose. This sense of disconnection from the world is a result of the existential ideology that arose as a result of the war, where questions of existence and purpose circulated heavily in literature and art and in general, the consciousness of individuals. Eliot’s perspectives of the modernist consciousness and how it is reflected in the urban landscape is prevalent in ‘The LoveSong of J.Alfred Prufrock’ (1915) and ‘Preludes’ (1911). From which we come to an understanding of the unfulfilling experiences of the existential crisis as a result of
In the poem “The Love Song of J. Alfred Prufrock” T.S. Eliot uses a man named Prufrock to describe the uncertainties in life and how they affect a person’s views. Prufrock does not have the confidence to give or receive love. There is an equal amount of unhappiness to the concept of time and space. He is unsatisfied with life and with the decision to think rather than act.
T.S. Eliot’s “The Love Song of J. Alfred Prufrock” tells the speaker’s story through several literary devices, allowing the reader to analyze the poem through symbolism, character qualities, and allusions that the work displays. In this way, the reader clearly sees the hopelessness and apathy that the speaker has towards his future. John Steven Childs sums it up well in saying Prufrock’s “chronic indecision blocks him from some important action” (Childs). Each literary device- symbolism, character, and allusion- supports this description. Ultimately, the premise of the poem is Prufrock second guessing himself to no end over talking to a woman, but this issue represents all forms of insecurity and inactivity.
...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.
T.S. Eliot has been one of the most daring innovators of twentieth-century poetry. His poem“The Love Song of J. Alfred Prufrock”, is different and unusual. He rejects the logic connection, thus, his poems lack logic interpretation. He himself justifies himself by saying: he wrote it to want it to be difficult. The dissociation of sensibility, on the contrary, arouses the emotion of readers immediately. This poem contains Prufrock’ s love affairs. But it is more than that. It is actually only the narration of Prufrock, a middle-aged man, and a romantic aesthete , who is bored with his meaningless life and driven to despair because he wished but
Alfred Prufrock has is his insecurity and lack of self-confidence. Throughout the poem Prufrock proclaims that he has an overwhelming question to ask, but he is too timid to ask it. He worries about how other people will respond. He says, “with a bald spot in the middle of my hair (They will say: ‘How his hair is growing thin!’) My morning coat, my collar mounting firmly to the chin, my necktie rich and modest, but asserted with a simple pin (They will say: ‘But how his arms and legs are thin!’)” (Eliot 1). This excerpt from the poem demonstrates Prufrock’s paranoia of how others perceive him. His lack of self-confidence hinders him from making a “bold” move, talking to women. J. Alfred Prufrock’s anxiety to communicate with others makes him the perfect example of a twentieth century modern man (Samet Guven
T.S. Eliot’s The Waste Land is an elaborate and mysterious montage of lines from other works, fleeting observations, conversations, scenery, and even languages. Though this approach seems to render the poem needlessly oblique, this style allows the poem to achieve multi-layered significance impossible in a more straightforward poetic style. Eliot’s use of fragmentation in The Waste Land operates on three levels: first, to parallel the broken society and relationships the poem portrays; second, to deconstruct the reader’s familiar context, creating an individualized sense of disconnection; and third, to challenge the reader to seek meaning in mere fragments, in this enigmatic poem as well as in a fractious world.
T.S Eliot’s poem, The Waste Land, is written in the mood of society after World War I. By using these allusions, The Waste Land reflects on mythical, historical, and literary events. The poem displays the deep disillusionment felt during this time period. In the after math of the great war, in an industrialized society that lacks the traditional structure of authority and belief, in the soil that may not be conductive to new growth (Lewis). Eliot used various allusions that connected to the time period and the effect of the war on society in his poem. Aided by Eliot’s own notes and comments, scholars have been able to identify allusions to: the Book of Common Prayer, Geoffrey Chaucer, Charles-Louis Philippe, James Thomas, Guillaume Appollinaire, Countess Marie Larsich, Wyndham Lewis, nine books of the Bible, John Donne, Alfred Lord Tennyson, Richard Wagner, Sappho, Catullus, Lord Byron, Joseph Campbell, Aldous Huxley, J.G. Frazer, Jessie L. Weston, W.B. Yeats, Shakespeare, Walter Pater, Charles Baudelair, Dente, Ezra Pound, James Joyce, and John Webster—all within the first section of 72 lines, about one allusion every two lines (Lewis). Using various allusions, Eliot was able to connect to the fact that he lived in a modern day waste land as a result of the destruction caused by World War I. Eliot used the allusions to show that death brings new beginnings and change, and love still flourishes.
The title T. S. Eliot chose for his poem "The Love Song of J. Alfred Prufrock" is ironic. Mr. Prufrock does not love anyone, nor does he believe he is loved. He has disdain for the society of which he wishes he were a part, and he believes society views him no differently. The imagery of Mr. Prufrock's thoughts provide the audience a more detailed insight into his character than had Mr. Eliot simply listed Mr. Prufrock's virtues and flaws. Mr. Prufrock is seen as an exaggeration or extreme for the sake of literary commentary, but the world has many Prufrocks in many differing degrees, and T. S. Eliot has made them a little easier to understand.