H.P. Lovecraft’s fascination in supernatural theories plays into a main basis for his novels. (Wohleber) With the unknown lurking, Lovecraft incorporates horror through the use of psychological fear as a form of expression making it become crucial for many of his works. At the Mountains of Madness encompasses this thought by the expeditions before and after effects on the characters. The urge to be a success fills the scientists up with courage to embark on such a dangerous trip; however, after the
The Supernatural in H.P. Lovecraft’s The Outsider One of H.P. Lovecraft’s many short stories, “The Outsider” has been praised since its publication as his most profound and meaningful. This story has been interpreted many different ways, varying from an autobiography of Lovecraft himself to several different philosophical analyses. One such interpretation, by Dirk Mosig compares the plot and settings of “The Outsider” to Lovecraft’s own doubtful views of religion and an afterlife. Mosig
The Midlife Crises in Death of a Salesman, Alfred J. Prufrock, and American Beauty Disillusioned and disenchanted, both Arthur Miller's Willy Loman and American Beauty's Lester Burnham share sexual frustrations and a dissatisfied longing for their respective pasts, but Willy, like T.S. Eliot's equivocating Prufrock, is unable to move beyond the failures inherent in his mediocrity and instead retreats into his delusions. On the surface, Willy and Lester have all the elements of settled
The Power of T.S. Eliot's The Waste Land T. S. Eliot, perhaps one of the most controversial poets of modern times, wrote what many critics consider the most controversial poem of all, The Waste Land. The Waste Land was written using a fragmented style. This is a style that is evident in all of Eliot's writings. There are several reasons for his using this approach, from a feeling of being isolated, to a problem articulating thoughts (Bergonzi 18, Cuddy 13, Mack 1745, Martin
T.S Eliot's The Waste Land In T. S. Eliot's The Waste Land you perceive many images from the writing style he uses. In lines 386 - 399 he writes: In this decayed hole among the mountains In the faint moonlight, the grass is singing Over the tumbled graves, about the chapel There is the empty chapel, only the wind's home. It has no windows, and the door swings, Dry bones can harm no one. Only a cock stood on the rooftree Co co rico co co rico In a flash of lightning. Then
Dryness and Spiritual Decay in The Waste Land T.S. Eliot peppers "The Waste Land," his apocalyptic poem, with images of modern aridity and inarticulacy that contrast with fertile allusions to previous times. Eliot's language details a brittle era, rife with wars physical and sexual, spiritually broken, culturally decaying, dry and dusty. His references to the Fisher King and mythical vegetation rituals imply that the 20th-century world is in need of a Quester to irrigate the land. "The Waste
The Great Gatsby and Love Song of Alfred J. Prufrock So often, it seems, life can seem like a "patient etherized on the table" (Eliot, 3). Be it the apparent futility of existence as a whole, or the insecurity of those single moments of doubt; life is often fleeting. I believe life is best described as a fickle beast, always elusive; always turning down some new and unexpected road. This fleeting life is what both Jay Gatsby of The Great Gatsby and Alfred J. Prufrock of "Love Song of Alfred J
queen mother's incestuous liaison, why did Hamlet wait so long to act decisively? Theories abound. Hamlet had an Oedipus complex. Hamlet was mad rather than merely pretending to be. Hamlet was an intellectual pansy. Hamlet was an existentialist. Etc. T. S. Eliot went so far as to say that the play itself was flawed, Hamlet's Problem actually the author's own, insoluble. I believe that the Problem is actually ours. Perhaps the real issue is not Hamlet's hesitation, but our unwillingness to understand
Hamlet Proved Too Much for Shakespeare “We must simply admit that here Shakespeare tackled a problem which proved too much for him.” T. S. Eliot The real tragedy of Hamlet is that it is so far from being a masterpiece of Shakespeare - the play is most certainly an artistic failure. In several ways the play is puzzling, and disquieting as is none of the other plays of Shakespeare. Of all the plays it is the longest and is possibly the one on which Shakespeare spent most pains; and yet he has left
Comparing T. S. Eliot's The Wasteland and William Butler Yeats' The Second Coming World War One fundamentally changed Europeans perspective on man. Before the war they believed that man was innately good, after it people were disenchanted with this vision of man. Both Thomas Sterns Eliot and William Butler Yeats keenly felt this disenchantment, and evinced it in their poetry. In addition to the war, Eliot and Yeats also saw the continuing turmoil in Europe, such as the Russian Revolution and
An Analysis of Donne’s A Valediction: of Weeping William Empson begins his critical essay on John Donne's "A Valediction: of Weeping" with the statement below. Empson here plays the provocateur for the critic who wishes to disagree with the notion that Donne's intentions were perhaps less than the sincere valediction of a weeping man. Indeed, "A Valediction" concerns a parting; Donne is going to sea and is leaving his nameless, loved other in England, and the "Valediction" is his emotive
producing a "grating roar." [lines 9-12] The image of human beings as pebbles on the sand recurs in the third stanza, when Arnold refers to the "Sea of Faith" which has withdrawn and left the rocks exposed as "naked shingles." Eliot later also repudiates t... ... middle of paper ... ...he colloquial almost instantaneously. Arnold's final paragraph serves a sort of summing-up of Dover Beach as a whole. At the conclusion of Prufrock, Eliot leaps into an apparently tangential thought about mermaids. It's
religion; in many re... ... middle of paper ... ...ie, ed. T. S. Eliot The Waste Land: A Facsimile and Transcript of theOriginal Drafts Including the Annotations of Ezra Pound (1971; rpt. Faber, 1980) ---. The Letters of T. S. Eliot, vol. 1 1898-1922 (Harcourt Brace Jovanovich, 1988) Freed, Lewis. T. S. Eliot: The Critic as Philosopher (Purdue UP, 1979) Frye, Northrop. T. S. Eliot (1981) Gardner, Helen. The Art of T. S. Eliot (1949; repr. Faber, 1979) ---. The Composition of Four
The Waste Land: Lifeless Land As The Waste Land begins, Eliot enters into the barren land, which the audience journeys across with the author through the course of the poem. "The roots that clutch" immediately evoke a feeling of desperation. Roots in the rocky soil Eliot describes are a base from which to grow; just as roots in plants gain nourishment from soil, these roots "clutch" infertile ground, desperately seeking something to gain from nothing. The question "what branches grow" suggests
In Love With Shakespeare "About any one so great as Shakespeare, it is probable that we can never be right; and if we can never be right, it is better that we should from time to time change our way of being wrong." --T. S. Eliot (Eliot 107) Like all great artists, William Shakespeare is thoroughly conscious of his medium. His plays consistently call attention to the theatrical. "With Shakespeare the actable and the theatrical are always what come first" (Frye 5). In fact, the metaphor of
enlarges one of the novel¹s main linguistic strategies, that of gradual digestion. While Episode 10 may seem like a more appropriate choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliot¹s poem "The Love Song of J. Alfred Prufrock," the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-hero¹s own inability digest thoroughly
Renaissance The Renaissance has been described as consisting of "a rebirth of the human spirit, a realization of the human potential for development." This quote, as well as the word, "Renaissance" imply a massive change in society and tradition. Contributing to this change was 17th century poet, John Donne. His style, combined with intellectual thoughts and ideas, set the foundation for what would become known as metaphysical poetry. Donne's style of writing was not only a significant factor
T. S. Eliot's poem "The Love Song of J. Alfred Prufrock" reveals the unvoiced inner thoughts of a disillusioned, lonely, insecure, and self-loathing middle-aged man. The thoughts are presented in a free association, or stream of consciousness style, creating images from which the reader can gain insight into Mr. Prufrock's character. Mr. Prufrock is disillusioned and disassociated with society, yet he is filled with longing for love, comfort, and companionship. He is self-conscious and fearful of
Both Alfred Lord Tennyson’s “Ulysses” and T. S. Eliot’s “The Love Song of J. Alfred Prufrock” involve the narrator’s dealing with a self crisis, characterized by a state of despair at their current situation. Ulysses is not content with his return to kingship after the adventures of The Odyssey and Prufrock is self-deprecating, hating himself for his indecision and his perceived lack of worth. Yet while Ulysses resolves to take action to regain his former days of glory and adventure, Prufrock is
John Donne is recognized as being the poet who broke the Petrarchan tradition in England and created a new style of poetry: Metaphysical (The Norton Anthology of English Literature, 581, 585-586; TNAEL throughout). Metaphysical poems are not a completely new branch of poetry, but an extension of the point of the Elizabethan tradition (pg. 581, 585-586). “The Sun Rising,” by John Donne, is divided into three stanzas, each ten lines long. The rhyme scheme in each stanza is ABBACDCDEE. Lines one, five