Old Dummy is going to lose his darlings. '; Even though, Dummy protects his fish from unwanted fisherman he cannot protect them and himself from forces of greater power, the force of nature. Another one of the conflicts in the story is Dummy’s struggle with himself. Dummy was never really loved which persuaded him to find something else to love. The fish gave him a since of awareness and control that was never found at work and in his marriage.
The Love Song of Alfred J. Prufrock by T.S. Eliot is a striking poem that takes the form of a dramatic monologue. It is an internal dialogue and, because of this, there is a suggestion of something that is not said plainly and directly on the surface, a sort of underlying feeling put into words. At times it seems that it is really Prufrock’s subconscious mind speaking. However, over the course of the poem, Prufrock seems to be shining an almost pathetic light on himself.
Complications in The Love Song of J. Alfred Prufrock The complications of "Prufrock" involve from the poem's beginning a more direct transformation of the dramatic monologue than does "Gerontion" when the pronouns that "I" uses suggest the presence of an unspecified listener. In many dramatic monologues the listener is also not specified, and the reader is invited to take over the role of listener in a one-sided conversation. In "Prufrock," however, it is not clear whether a real conversation is being dramatically presented, whether the "I" is having an internal colloquy with himself, or whether the reader is being addressed directly. The "you" that is "I"'s counterpart stands in two places at once, both inside and outside Prufrock's mind and inside and outside scenes that can with difficulty be imagined based on the minimal details provided. The reader's situation resembles the position of the viewer of Velásquez's "Las Meninas," in which a mirror invites an identification with the observers of the scene depicted in the painting while the painting's geometry indicates that the illusion of that identification can be sustained only by ignoring obvious details.
These protagonists are unable to function effectively in society because they are so overcome with experience, love, and perceptions. An outsider sometimes reaches out by a romantic gesture that is ridiculous but tender, meaningful, and unexpected (French 305). In "A Perfect Day for Bananafish", the protagonist, Seymour Glass, has a spiritual illness which makes him incapable of distinguishing between significant and insignificant experiences. Seymour's actions seem to demand attention in an immature way, suggesting insecurity and a need for love (French 306). He disrupts the composure of adults.
Furthermore, Simon is brave ... ... middle of paper ... ...I’m like Ralph But cannot do anything I’m just babbling Piggy is the only one who says what boys have to do instead of just playing. However, he is disappointed that they don’t listen to him, and even many boys become frenzied and harass him harshly. Even at the end of the book, readers don’t know what Piggy’s real name is. If I were Piggy, I would be really angry and think how life might be I had good health and good eyesight. Jack despises Piggy because of his asthma and appearance.
One might think that, “Prufrock's most urgent wish is to convey his feelings” (Bagchee 1). They might think that because the love song of Prufrock is a song that is never sung or even expressed in the poem. Prufrock’s unheard love song is more of a plea that is crying out as if to say that he wants to connect with women, but there is some kind barr... ... middle of paper ... ...rces of life, he takes the time to question and assess the damages. He is aware of what is around him while his peers in the poem are clueless about the world around them. Prufrock’s world is made from the agony and despair that is seen in the real world.
Sir Gawain and the Green Knight is such a poem, a literate composition designed for oral performance, bearing the imprint of a poet skilled at once in manipulating a text and using it to affect his audience in ways outside the scope of the oral poet. It is with this dynamic between text and audience in mind that I approach the process of "re-hearing" Sir Gawain. In doing so I hope to achieve some clarification of what Tolkien referred to as one of the "structural failures" of the poem the failure of Mary, Gawain's protectress, to receive any further acknowledgement after Gawain twice asks her help, during his journey and in the final temptation scene. Studies of structural repetition (Howard 1964, 430-33; Burrow 1966, 87-97) and numerological patterning (Hieatt 1968, 129-31; Eckhardt 1980, 141-55) demonstrate the Gawain-poet's ability to exploit the spatial and temporal control afforded by the technology of writing (Ong 1971, 23-27). As Kent Hieatt has shown, he consciously uses numerological patterns.
Alfred Prufrock struggles to fit in with his world because he feels like he is an outsider and because of this, he thinks he is seen as a peculiar man by everyone. Prufrock says, “I should have been a pair of ragged claws” (73). “Claws” when used here represents crab. Prufrock views himself as a crab since he feels like an outcast. It shows how isolated and different Prufrock is since he cannot interact with others even though he longs for it.
“[He] should have been a pair of ragged claws/ scuttling across the floors of silent seas” (Eliot, 73-74). This comparison is very powerful because he doubts he can progress and is constantly putting himself down. Prufrock sees himself as a crab, taking a long time to reach the destination if at all and having to side step around everything. He is constantly looking for guidance proving the doubt Prufrock has that he can never be worthy enough of making a decision without guidance. He may begin something or have an idea then begin to wonder “and how should I presume?” (Eliot, 54) repetitively begging for help and guidance each time he repeats it.
Prufrock is on earth but it is being considered as Hell. There many themes for this particular poem, a few would be love, passivity, and time. Prufrock in the poem speaks about himself a lot and never decides to talk to the girl he would like to. He is constantly saying “do I dare” to every decision that comes to mind. When he says “Do I dare” about approaching the woman it shows he’s shy and may fear rejection.