Analysis Of J Alfred Prufrock And Preludes

Prufrock’s social anxiety results in his worrying how others see him. He thinks about women’s arms and perfume, but does not know how to act. He admits he is ultimately afraid (line 86) of engaging in social activities. Elliot reveals the height of Prufrock’s paralysis by scrutinizing the absurdity of Prufrock’s concerns: “Should I, after tea and cakes and ices, / Have the strength to force the moment to its crisis?”

The repetition of the motif of time in both Prufrock and Rhapsody shows the degradation over a period of time. In Prufrock, the notions of "grow old" and "there will be time" are repeated in various forms to show the degradation of a person but in Rhapsody, the continual references to the time: "twelve o' clock", "half-past one" emphasise the degradation of the society as a whole.Eliot's fragmented writing structure, his quick movement from one image to another, such as in: "trying to peer through...and a crab one afternoon..." accentuates the disjointed thoughts and actions that were prevalent in this urbanising society. Eliot's usage of desolate and eerie imagery of "like the world gave up the secret of its skeleton … stiff and white … hard and curled and ready to snap" describes the continual decay of the world he lives in. The reference to the automation movement, brought about by industrialisation, in "the child's hand, automatic" shows the idea of corruption affecting everyone in the modernist society. This is further emphasised by Eliot's allusion to the religious notion of 'eyes are the window to the soul' contrasting with the idea that the persona "could see nothing behind that child's eye" connoting the negativity of sin and crime. The abrupt endings to both Prufrock and Rhapsody, "...and we drown" and "...last twist of the

American born poet, T.S. Eliot reflects modernistic ideas of isolation, individual perception and human consciousness in his many poems. His poems express the disillusionment of the post–World War I generation with both literary and social values and traditions. In one of Eliot’s most famous poems, “The Love Song of J. Alfred Prufrock,” which was published in 1915, a speaker who is very unhappy with his life takes readers on a journey through the hell he is living in. In this journey, Prufrock criticizes the well-dressed, upstanding citizens who love their material pleasures more than they love other people, while explaining he feels ostracized from the society of women. Eliot’s use of isolation, human consciousness and individual perception is quite evident in his dramatic monologue within the story of J. Alfred Prufrock. Prufrock wants to be seen as a normal citizen who can find friends or a lover, but his anxiety-driven isolation forces him to live a life that relates more to Hell than paradise. In over examining every fine detail of his life, Prufrock perceives himself as useless and even a waste of life. By using many poetic devices including repetition, personification, and imagery Eliot drives readers to feel the painful reality of Prufrock’s life. In “The Love Song of J. Alfred Prufrock,” T.S Eliot uses modernistic ideas and poetic devices to portray how Prufrock’s life relates to Hell while simultaneously criticizing social aspects of the younger post–World War I generation.

Poetry can sometimes allow one to explore the unknown. However, in some works of poetry, one can realise that some known ideas or values remain relevant to current society. This is certainly applicable to T.S. Eliot’s poems, The Love Song of J. Alfred Prufrock and Rhapsody on a Windy Night. Eliot’s manipulation of poetic techniques in both these poems allows the responder to realise that some ideas prevail in both modern and post-modern society. These poems explore the unknown phenomena of the obscurity regarding the purpose and meaning of life. This unknown phenomena causes the persona in both texts to resort to a sense of isolation or alienation. Eliot uses poetic techniques such as metaphors and personification to convey his ideas.

T.S. Eliot’s “The Love Song of J. Alfred Prufrock” is an ironic depiction of a man’s inability to take decisive action in a modern society that is void of meaningful human connection. The poem reinforces its central idea through the techniques of fragmentation, and through the use of Eliot’s commentary about Prufrock’s social world. Using a series of natural images, Eliot uses fragmentation to show Prufrock’s inability to act, as well as his fear of society. Eliot’s commentary about Prufrock’s social world is also evident throughout. At no point in the poem did Prufrock confess his love, even though it is called “The Love Song of J. Alfred Prufrock”, but through this poem, T.S. Eliot voices his social commentary about the world that

Even though the speaker’s words go back to him and recede back to himself. What Prufock can feel while roaming the gloomy and empty spaces are the boredom? The speaker observes an affinity between such environment and the ill intended argument thus, the anarchy of the modern age is well presented, such argument represent the psyche of the speaker, who is timid, and hesitant about making decisions. He is affected by the world around him. He is submerged by the overwhelming question. The question that Prufrock finds it hard to fulfill. This feature of self questioning supports the device of the psychoanalysis, through this approach, Eliot made his hero use the interior monologue to release the thoughts and doubts, through a reminiscence session the speaker flips the pages of his mind like a patient

Eliot depicts Prufrock’s personal reminiscence, Prufrock notes his decisions and revisions and further revisions, which stand as the protagonist’s fundamental remembrances as important choices inscribing his tabula rosa and formulating his essence. Additionally, Eliot presents his meager man choosing to avoid choice, which ironically reflects a profound choice; clearly, Prufrock chooses indecision and, thereby, molds his psychologically painful and hesitant essence. However, a dichotomy does exist. Perhaps, Eliot rejects Sartre’s position “you are the sole author of your own existence” since Eliot depicts vacuous, pseudo-intellectual women who talk shallowly “of Michelangelo,” rather than using the powerful freedom to choose and self-define. However, this perspective rings erroneous since the women, much like Camus’ Sisyphean understanding, own and choose to live this vacuous life, thereby constructing their own fulfilling essence.

J. Alfred Prufrock constantly lived in fear, in fear of life and death. T. S. Eliot divided his classic poem into three equally important sections. Each division provided the reader with insight into the mental structure of J. Alfred Prufrock. In actuality, Prufrock maintained a good heart and a worthy instinct, but he never seemed to truly exist. A false shadow hung over his existence. Prufrock never allowed himself to actually live. He had no ambitions that would drive him to succeed. The poem is a silent cry for help from Prufrock. In each section, T. S. Eliot provided his audience with vague attempts to understand J. Alfred Prufrock. Each individual reader can only interpret these

To many, the allure of poetry lies in the chance to draw our own understandings and conclusions. In this paper, I will be discussing T.S Eliot 's "The love Song of Alfred Prufrock” in comparison to Allen Ginsberg 's "A Supermarket in California." The first poem, "The Love song of Alfred Prufrock" by T.S Elliot, talks about a man who is quite doubtful and insecure about himself who kept questioning whether or not breaking out of his comfort zone was worth it. The second poem, "A Super market in California" by Allen Ginsberg follows a trip to a supermarket in California that the author takes while addressing his friend with questions. This paper will include an extensive analysis of my own interpretation of these two poems as well as the

Eliot’s earliest work, “The Love Song of J. Alfred Prufrock”, set the bar for Modernisms exemplification of Man and his Modern Masculinity. This was done by incorporating Symbolism, and Imagism along with looking past the profound facts, and into the subconscious (Freud).

Alfred Prufrock (“Prufrock”), a student at London College (“Defendant”) is now the Plaintiff in a suit based on a quid pro quo sexual harassment claim against his Modern Poetry professor under Title IX of the Education Amendments of 1972, 20 U.S.C. §1681, et seq. Prufrock was an English major attending London College from September 2009 until December 2013. Prufrock’s plan was to graduate in the summer of 2013 with the high hopes of going to a top law school. He knew how competitive getting into law school was but was optimistic because he was excelling academically. His plans got derailed when he decided to take a Modern Poetry class with April Crewel (“Crewel”).

T.S. Eliot’s poem, The Love Song of J. Alfred Prufrock, writes a couple lines, “In the room women come and go / Talking of Michelangelo” (10), which seems to sporadically be placed in this poem at a couple unusual times leading one to believe that he has a lot going on in his mind but comes back to this one central reflection. These women that are referred to may well have been from a privileged way of life rather than the run of the mill woman during this era of time. The given attention of the women being that they were possibly rich, educated, and most likely beautiful since he tends to notice them, as well as being well to do having the joys of a carefree life filled with beauty all around enjoying the arts of the Renaissance . J.

Karl Marx’s perspective thus pertinently illustrates the alienation of the modern individual from the self and their surroundings as a direct cause of their socio-economic circumstance. T.S Eliot’s poetry established him as one of the most eminent modernist poets; attempting to free himself from the constraints of the Victorian movement which pre-dated him, this is evident in the free verse and stream of consciousness narrative style of ‘The Love Song of J.Alfred Prufrock’. In doing so, Eliot turned his attention towards the plight of the individual, opting for the ambiguous protagonists in his poetry and exploring the often desolate and depressive urban landscape of the time through the inner workings of an individuals mind. Following on from this, throughout the poem, Eliot conveys a sense of the individual conscience as conditioned by society, through exploring the inner workings of the persona of J.Alfred Prufrock. Prufrock’s lack of identity and freedom in the face of society appears to be the predominant issue he faces, as he wanders the ‘half-deserted streets’, signifying scenes of decay and degradation to the reader, of which the most telling is the “sawdust restaurants with oyster-shells”, a stark contrasting comparison of the lower class, “sawdust” covered floors with the elitist imagery of an “oyster”.

The poetry of T.S Elliot portrays the nature of human conditions through the use of experiences such as alienation and how this leads to spiritual vacancy and paralysis which allow his poems to retain an enduring value. In Both the ‘The Love song of J.Alfred Prufrock’ (Prufrock, 1915) and Prelude (1917), poetic language convey the loneliness of humankind in a physical and moral way. Through a study of Eliot’s poetic forms, features and critical reception, we can better understand the message portrayed.

T.S. Eliot was an outstanding author and an exemplary representation of the ideas of modernism. "The Love Song of J. Alfred Prufrock," despite being one of T.S Eliot's earliest publications, still manages to remain one of the most famous. He uses this poem to not only draw out the psychological aspect of members of modern society, but also to draw out the aspect of the time that he lived in. The speaker of this poem is a modern man who feels alone, isolated, and incapable of making decisive actions for himself. Prufrock desires to speak to a woman about his love for her, but he continuously hesitates while attempting to do so. This poem demonstrates a theme of fragmentation, which is a theme that we can see throughout the entire