Of Modernism In The Love Song Of J. Alfred Prufrock?

One of the twentieth century’s major poets was a British, American-born essayist: T.S. Eliot 1888-1965. In his works, he uses a distinct style of writing, such as folk tales to hold and regulate contemporary experience, compiles juxtaposition of different voices, traditions, and communication, and targets on form to act as the bearer of meaning, thus leading many of his biggest fans to consider his poetry an equivalent with modernism. Throughout his career, Eliot’s poetry underwent momentous changes, which brought forth some of his most famous works. T.S. Eliot’s wide-ranging but almost small collection of work includes The Waste Land (1922), The Love Song of J. Alfred Prufrock (1915), and Four Quartets (1943), which Eliot considered to be

Subsequently, Eliot saw the society as helpless and wounded and the culture as collapsing and dissolving, and so he demonstrated these thoughts and feelings in The Love Song of J. Alfred Prufrock (1915). Also, Eliot explored the idea of humanity’s damaged spirit which prevented people from communicating with one another in The Waste Land (1922). Considering The Waste Land, it is also a good example of Eliot’s use of juxtaposition of a variety of literary elements and mythic traditions blending with modern life. But even so, Eliot’s use of symbols is one of his most profound signatures. Firstly, he greatly symbolizes water, which is a representation of both life and death. For instance, his characters either wait for water to suppress their thirst, or watch a river overflowing a shore, sob for rain to dampen the dry earth, or pass by a still body of water. In a like manner, water is thought of as a regenerative source of restoring life, but it can also lead to death by