Love Songs By Prufrock And Preludes By

7 July 2017

Eliot Essay, Research Paper

Both Prufrock and Preludes are based in the same vagabond universe of sordid

boredom. In Prufrock Eliot is conveying a subject a strong subject and is based

to a great extent in the Persona of Prufrock himself. Preludes is a verse form of altering

tempers, some subtle, some profound but this clip conveyed chiefly through

enunciation and repeat. One subject of Eliot? s, The Love Song of J. Alfred

Prufrock, is the exposure of the modern person? s inability and refusal to

reference insufficiencies that he sees in both him and his society. Two ways Eliot

conveys his subject is through the character of Prufrock and repeat. One method

used by Eliot to expose this subject is his usage of the character of J Alfred

Prufrock. Prufrock is in portion a shallow conformist, 41 & # 8230 ; .My forenoon coat, my

neckband mounting steadfastly to the mentum, 42 My necktie rich and modest, but asserted

by a simple pin- 43 ( They will state: ? But how his weaponries and legs are

thin! ? ) & # 8230 ; & # 8230 ; However, about tragically, Eliot has Prufrock aware of the

superficiality of the society to which he conforms.

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26 There will be clip, there

will be clip 27 To fix a face to run into the faces that you meet. Prufrock

observes his society? s ability to wholly ignore any inquiry of substance,

that is, the? overpowering? inquiries. Yet despite his observations Prufrock

is non prepared to face his society, more significantly, himself. In deeper

calamity Prufrock is defeated by his cognition of his insufficiencies and provinces

rather unfeignedly, ? And in short, I was afraid? Two of the minor subjects of

? The Love Song of J. Alfred Prufrock? concern the defeats felt by the

single towards their society. Specifically the persons insignificance in

their society and the persons inability to show themselves and be

understood as an person within that society. Repetition plays a important function

in conveying the subject of insignificance. The repeat of, ? They will

say: .. ? , conveys Prufrock? s feeling of insignificance and uncover a adult male

wholly absorbed in the judgements of others and non at all concerned with his

worth as an person. Eliot? s repeat of? Do I make bold? ? within the

6th stanza emphasises Prufrock? s feeling of insignificance. ? Do I dare/

Disturb the existence? ? Despite the superficial judgements his society base on ballss on

him, Prufrock is still hesitating in talking out against their empty lives.

Prufrock is an extraordinary character and one who, despite his battles, could

easy gnaw into a universe content with the ineffectual pleasances of the society he

contempts. Preludes is a series of four wordss depicting a modern metropolis. The verse form

moves through four different clip periods, get downing with one eventide and

go oning though to the following eventide. Through these wordss Eliot conveys

the feeling of a life that is soul destructing and meaningless. Preludes is

used to research the subject of the disaffection of the person from society. The

temper is built-in to understanding Eliot? s vision. It is the tempers of

devastation and desperation, solitariness and battle, fondness and soft attention that

reflects Eliot? s observations of the person alienated from society. These

tempers are conveyed throughout the careful usage of enunciation, imagination and

repeat. Prelude I begins with an attractive, familiar scene, a winter

flushing. This nevertheless is short lived as we are instantly confronted with a

decaying, smothering universe, 2 With odors of steaks in passageways & # 8230 ; 4 The

burned-out terminals of smoky yearss. Eliot creates a temper of devastation and solitariness

through enunciation and imagination. The precise usage of descriptive words compose this

really temper. Wordss such as, ? fire out? , ? gusty? , ? grimy? ,

? vacant? , ? broken? , and? lonely? , aid put the temper for the

remai

nder of the verse form. In Prelude II the verse form displacements to forenoon, but alternatively of

the freshness and optimism usually associated with such a clip, the forenoon is

depicted, like a rummy rousing on the pathway, as coming? to

consciousness? , vague and unsure of itself. Eliot creates a temper of devastation

through sense-imagery: 14 The forenoon comes to consciousness 15 Of swoon stale

odors of beer 16 From the sawdust-trampled street & # 8230 ; Eliot? s repeat of

? all? and utilize? a 1000? in his description of the multitudes as an

anon. herd the impersonal temper of emptiness. While through imagination Eliot

develops a temper of desperation and nonsense, the robotic motions of the

occupance of rented flats raise? dingy sunglassess? . 17 With all its muddy

pess that press 18 To early coffee-stands. 21 & # 8230 ; .One believe of all the custodies 22

That are raising begrimed sunglassess 23 In a 1000 furnished suites. In Prelude III

the verse form narrows its position from the multitudes down to a peculiar

single. Eliot creates a temper that lacks all human heat through his

repeat of? You? in the first three lines. This temper continues throughout

the words as every image presented, of psyches filled with seamy images, of

sparrows gathered in the trough, of icteric xanthous colloidal suspensions of pess and of dirty

custodies, all lack any hint of beauty. Prelude IV depicts the battle of an

single to continue his peculiar ethical motives and values against those of modern

society, symbolised by the street. Eliot achieves a temper of battle through

surrealist imagination picturing the person? s torment as his ethical motives and values

are, ? & # 8230 ; stretched tight across the skies & # 8230 ; ? The grim nature of metropolis

life is captured in the lines, 41 & # 8230 ; trampled by repetitive pess 42 At four and

five and six O? clock ; This temper of regimental motions contrasts with the

brooding temper later in the words when Eliot addresses the reader. The 2nd

stanza in this lyric conveys a wholly distinguishable temper. It is here that Eliot,

pityingly observes scene. It could be said that the perceiver in this

stanza was the individual behind the mask mentioned earlier in the verse form. The

observer notices something, ? boundlessly soft? , sort and sad about the

enduring existences. This temper is expressed through the combination of sound and

repeat. The humane quality of the phrases, ? I am moved & # 8230 ; ? and? ..that

are curled/ Around these images, & # 8230 ; ? convey a well softer, more

brooding temper. This temper is furthered in the repeat of such words as

? boundlessly? as their sympathetic entreaty to clip lulls the reader into a

sense of security. The 3rd stanza reverses this feeling of gradualness when the

position point is once more reversed, this clip returning to the impersonal perceiver

seen earlier. Through this perceiver Eliot appears to contemn sentiment and deny

any intent at all to human agony. Eliot ends Preliminaries by reaffirming his

old tempers, go forthing us with the sentiment that the actions of the universe are

devastation, desperation and go oning battle. 53 The universes revolve like antediluvian

adult females 54 Gathering fuel in vacant tonss. Through the usage of enunciation, imagination and

repeat Eliot conveys an array of tempers ; from the devastation and desperation in

the bulk of the verse form to the spark of soft, compassionate human touch felt

briefly in the Forth words. The three major methods Eliot utilises to convey his

tempers and subjects are the debut of complex character, precise enunciation and

stressing repeat. It is through these tools the changeless battle between

the person and society is conveyed.

Warren. Understanding Poetry. Holt, USA 1966 ( p. 112-5 ) Spurr. The Poetry of

T.S. Eliot. Glebe, Sydney 1992 ( p. 2-10 ) Powell. Appreciating Poetry. Malaysia,

1986 ( p. 91-93 ) 1 2 3 0 Wds

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