Eliot presents the "Unbelievable City. These lines recommend a comparable portrayal of the advanced city by Baudelaire. Eliot here is depicting a waking passing. These individuals are alive in the physical sense, however dead in all others. The Waste Land Section II:“A Game of Chess” "A game of chess" is a gadget utilized by “Middleton” as a part of the play entitled "women beaware women". Where this diversion is played to shroud the temptation of young lady by a respectable man.in this area the artist demonstrates the disappointment of sex-relationship in the present day world. Sex has turned into a purily physical sort of amusement and has lost its good and social purpose.sex perversities both in high and low life , have turned into a matter of mechanical routeen. Be that as it may, sex in marriage is implied for regultion and discipline. The depravity of sex has made present day life infertile and ruined. Sex in modern life: Interest in sex: In the first lines of the area, Eliot makes a lavish picture of an affluent lady (lady of the rock, Belladonna), who master in sex, who sits in a seat "such as a shined throne." The scene likewise incorporates "guidelines fashioned with fruited vines," a "sevenbranched candelabra," and "jewels,"satin cases poured in rich …show more content…
She tells him about headach. she says, and "Stay with me." She likewise asks the man what he is considering, "think" a few times in both inquiry and and asking the question,with an one−word sentence, "Think." Eliot is attempting to get his audience to consider the modern day, which is obviously shown by his numerous word of "think" and the way that he sets it off all alone. which is illustrative of anxious separate of a present day ( modern) women.her aimless, erratic routeen speak to the fruitless existence of a current women.she needs to take after the dull ruteen, high temp water shower in the
examines the effects of Eliot’s first marriage on his views of love and time. She
The “Story of an Hour” by Kate Chopin and ‘”The Hand” by Sidonie-Gabrielle Colette are similar in theme and setting. Sidonie-Gabrielle Colette and Kate Chopin create the theme of obligatory love and the unhappiness it entails. Both stories illustrate the concealed emotions many women feel in their marriage yet fail to express them. The two stories take place in a sacred room of the house and both transpire in a brief amount of time. The differences between the two stories are seen through the author’s choice of characters in each story. In “The story of an Hour” Kate Chopin involves other characters in Mrs. Mallard’s life, whereas, “The Hand” deals with marriage and togetherness and only involves the husband and wife. Symbolism is seen all throughout “The Hand” not so in ‘The Story of an Hour.” The similarities in “The Story of an Hour” and “The Hand” is portrayed in theme and setting. The differences are illustrated in the choice of characters involved in each story and the amount of symbolism depicted in the different stories.
The most obvious stylistic device used by Eliot is that of personification. She uses this device to create two people from her thoughts on old and new leisure. The fist person is New Leisure, who we can infer to be part of the growth of industry in the 19th century. He is eager and interested in science, politics, and philosophy. He reads exciting novels and leads a hurried life, attempting to do many things at once. Such characteristics help us to create an image of New Leisure as Eliot sees him.
Form often follows function in poetry, and in this case, Eliot uses this notion whe...
children specifically, a girl without the need of a man. The author may have made a connection to
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
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
Her worse fears came true after she saw what was behind the doors of the forbidden room. The worst thing imaginable would be that her new husband was either abusive or a murderer and the latter seems to have been Carter’s choice for the Heroine. The Heroine realizes that her innocence has been taken from her from Marquis and she will now find herself in the same fate as the previous wives. “Nothing in my life of family love and music had prepared me for these grown-up games and yet these were clues to his self that showed me, at least, how much he had been loved, even if they did not reveal any good reason for it. But I wanted to know still more; and, as I closed the office door and locked it, the means to discover more fell in my way.” (Page 15). The Heroine herself admits that her experiences before her marriage to Marquis could not have prepared her for what she may find in the chamber or find out about Marquis. Her referral to “grown-up games’ in itself proves that even the Heroine believes that she may have been a little naïve going into this marriage and that she is not ready for the total package that may come with her new
Other images of Eliot’s, in contrast, are much larger than Shakespeare, but again succeed in making Eliot’s character look small and insignificant in comparison. Eliot describes the enormous amount of adornments around the room, including her ‘vials of ivory and coloured glass’, which contain many perfumes, which are described as ‘drowning the sense in odours’ and again it is the lack of subtlety t...
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.
Alfred Prufrock”indicates the spiritual emptiness and disillusionment of people , chaos, and futility of modern life and nothingness of human existence on a meaningless world. This is what the poet intends to disclose. And love songs, as many expect, must be very sweet and romantic. Love must be connected with something pleasant. Yet the love song of Prufrock seems very sentimental and sorrowful. The first stanza of the poem presents an unpleasant sight to us.“when the evening is spread out against the sky, Like a patient etherized upon a table”, Prufrock perceives the sunset as a patient oozing on the operation table. Through Prufrock’ s“stream of consciousness”,“ half-deserted streets, cheap hotel, dust restaurants”-the living conditions of the poor appear before him. The situations and the atmosphere are not in harmony with a real love song. This reveals the state of mind of Prufrock, who is not happy, but in a melancholy mood. There is a repetition of the line“In the room the women come and go Talking of Michelangelo”demonstrates the women of fashion pose as a lover of culture and show off their culture accomplishment. They pretend to be educated and converse with so-called civilized gentlemen to relieve their boredom. People in the genteel society in the party eat, drink, dance, and talk to kill much time. This description of the life of genteel society forms a sharp contrast to the poor district with its
Rubin mentions in her article how “women are for men to dispose of” (Rubin 74), as they “are given in marriage, taken in battle, traded, bought, and sold” (Rubin 74). She explains how the result of females who conform to the ideal structure of the “perfect” women in being quiet and obedient to male figures only lead to a life of mistreatment and misery. Carter presents this submissive and innocent female character in her story by first introducing her father who “lost [her] to a The Beast at cards (51). This demonstrates the power that men have over women, where the girl’s voice and opinion in the transaction is considered insignificant and useless. The female body in this text is represented as an object, whose worth is dependent on her appearance. She is simply passed around and sold to pay off debt and earn rewards by obliging to the “master’s sole desire” (Carter 58) of “seeing [her] unclothed” (58). The Beast’s desires demonstrate the lack of respect and power given to the female character and it emphasizes how women are only seen for their appearance and sexual features. Hence, the female character in the story lives not for herself, but for the male
Hadjiafxendi, Kyriaki. "Gender and the Woman Question." Harris, Margaret. George Eliot in Context. United Kingdom: MPG Books Group, 2013. 137-144. Print.
...r to the Beast during a card game. The father uses her as some kind of object and uses words like “pearl” and “treasure” to demonstrate how she is one. Carter uses these words to describe how the narrator is looked at for sale in the game the Beast and her father play as well. This shows shallowness of society's idea of a woman. According to society women were looked as dolls and they were winded up by their husbands and performed whatever tasks they wanted them to. Females appeared to not be able to think for themselves or be able to act upon their own natural instincts. Females also had to play this role of a doll by just using their appearance as a major feature in their marriage and doing what they were told by their husband without questioning it. In this story you see how the male gender has ownership over the female character and it was socially acceptable.
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.