The second defining characteristic of this poem is its use of fragmentation and juxtaposition. Dramatic monologues are similar to soliloquies in plays. The Symbolists, too, privileged the same kind of individual Eliot creates with Prufrock: The bits and pieces of rhyme become much more apparent when the poem is read aloud.
In the world Prufrock describes, though, no such sympathetic figure exists, and he must, therefore, be content with silent reflection. Eliot sustained his interest in fragmentation and its applications throughout his career, and his use of the technique changes in important ways across his body of work: The kinds of imagery Eliot uses also suggest that something new can be made from the ruins: However, whereas the Symbolists would have been more likely to make their speaker himself a poet or artist, Eliot chooses to make Prufrock an unacknowledged poet, a sort of artist for the common man.
It is an examination of the tortured psyche of the prototypical modern man—overeducated, eloquent, neurotic, and emotionally stilted. At the very least, this notion subverts romantic ideals about art; at best, it suggests that fragments may become reintegrated, that art may be in some way therapeutic for a broken modern world.
The rhyme scheme of this poem is irregular but not random. In The Waste Land, crabs become rats, and the optimism disappears, but here Eliot seems to assert only the limitless potential of scavenging.
Both are an expression of aesthetic ability and sensitivity that seems to have no place in the modern world. Eliot also introduces an image that will recur in his later poetry, that of the scavenger. From the Symbolists, Eliot takes his sensuous language and eye for unnerving or anti-aesthetic detail that nevertheless contributes to the overall beauty of the poem the yellow smoke and the hair-covered arms of the women are two good examples of this.
Three things characterize the dramatic monologue, according to M. He differs from Prufrock only by retaining a bit of hubris, which shows through from time to time. First, they are the utterances of a specific individual not the poet at a specific moment in time.
Here, the subjects undergoing fragmentation and reassembly are mental focus and certain sets of imagery; in The Waste Land, it is modern culture that splinters; in the Four Quartets we find the fragments of attempted philosophical systems.
In reality, Eliot the poet is little better than his creation:SOURCE: "Prufrock and the Fool Son," in Ball State University Forum, Vol. VIII, Winter,pp.
[In the following essay, Fortenberry explores the influence of Jules Laforgue on "Prufrock. A summary of “The Love Song of J.
Alfred Prufrock” in T. S. Eliot's Eliot’s Poetry. Learn exactly what happened in this chapter, scene, or section of Eliot’s Poetry and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.
Oct 15, · Essay Topics on The Love Song of J. Alfred Prufrock? I have the freedom to pick my own topic to write but I can't think of anything besides an interpretation of the poem.
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Learn how to use the prompt to develop your ideas and topic sentences. Love Song of Alfred Prufrock Essay. The Love Song of J. Alfred Prufrock. Words | 7 Pages "The Love Song of J.
Alfred Prufrock" The dramatic monologue “The Love Song of J. Alfred Prufrock was written by Thomas Stearns Eliot and published in June of Eliot was born in St Louis, Missouri on September 26,where he grew up and.
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These papers were written primarily by students and provide critical analysis of The Love Song of J. Alfred P.Download