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Modern Man in Love Song of TS Eliot, J. Alfred
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Modern man in the TS Eliot € ™ s
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The Love Song of J. Alfred Prufrock
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By
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Farhad Moradi
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MA
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English Literature
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Thomas Stearns Eliot € ™ s poetry has been a very influential man to reveal his true identity during the past fifty years. For Eliot, modern man is no longer the best creature ever created by God. He is neither a being supreme in everything. Nor is the all-knowing, the most determined, and the sociable creature might think. How is modern man shows in his poetry is a matter that will take time and effort meticulous to answer. However, some features of man are more evident in his poetry: Man suffers an impoverishment of the vitality emotional. Lives according to the rules of social convention and gaps of a decadent culture. Mana € ™ s life is in part sordid and sensual. It is to some extent aware of their isolation and footlessness. He feels trapped in a corrupt, decadent, Ugly Society. All these features, however, could be classified into three groups main. Each group, in turn, are a series of subsidiary issues about what would a whole. The duplicity of Man, the lack of communication among men, and Mana € ™ s isolation of three fundamental human dilemmas, making it more and more alienated. Although these reasons are common to Eliota € ™ s poetry here the writer tries to locate them in their œLove Songa € â € (The Waste Land and Other Poems 12).
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The sense of duplicity in modern humans is an important issue in Eliota € ™ s â € œThe Love Song of J. Alfred Prufrock € (12). In this poem, the hero, Prufrock, is powerless caught in an endless dispute between his own desire to live for himself and the obligation to submit to the conventions social. Eric Sigg, in his book The American TS Eliot says that Eliot describes the duplicity between € and â € œCharacter Environmenta and between â € œwarning elements within a single soul.â € This duplicity makes Purfrock suffer from impotence. The two beings, ie staff and social, have to tolerate each other (188 â € "9). For the treatment of each car Prufrock, however, has some strategies.
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For people in the society of Prufrock, the representative of modern man, has a different car than the one presented. This car as Eliot expresses is artificial, something that should be preparation: â € œThere will be time, there will be time to prepare a face to meet the faces that Meeta € (lines 26-27). This idea, however, there to explain in some way.
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The man, in order to be accepted by others, try to be as similar as possible from them. Joseph Conrad strikes the idea further. It states that, â € œWe can sometimes be forced to a recognition of our mysterious opposite to our real € Selfa (the Norton Anthology of English Literature 847). Man is, however, instinctively and naturally, a different creature than that proposed in the audience. It is palpable, for example, in his boredom with their peers as soon as they try to penetrate into his personal life. In this sense, man is a hypocrite, a double dealer.
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The man, again, has a sense of duplicity with regard to his own self. He suffers in society is not ready yet, not really, to make something about it. In a book entitled TS Eliot. The longer poems, Derek Teraversi is of the view that evil is not in man in society. According Traversei man is psychologically disabled. He is unable to take steps (22 â € "28).
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The idea of duplicity in its two aspects, in man and between man and society, has an overall impact on him. Hugh Kenner in The Invisible Poet specifies that the conflict between Prufrock, representing modern man, and he and his conflict with society â € œcondemns him for boredom and considers Mana passivity.â € € ™ s role in society no more than a fool (20). The fact is expressed explicitly in the poem where Prufrock analyzes himself as â € œAt times, indeed, almost ridiculous. / Almost, at times, the Fool (limes 118-119).
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As a result of this vision, Prufrock retreats to his own which would create two problems: the inability to communicate and, therefore, their isolation.
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Lack of communication between men another key performance issues in € â € œThe Love Song. The idea is presented by Martin Scofield in TS Eliot's poems. He, however, emphasizes € â € œà positive relationship | between a man and a woman € (66). However, Prufrock seems to be unable to communicate with everyone around him, both men and women. Interestingly, in the same way that others are equally incapable of having a positive relationship with him. Thus, the idea can be studied from a community standpoint. Inability to contact is common to all. However, the problem with Prufrock is that he is aware of this fact, others are not. Although it seems that others are having conversations like â € CERN's room women come and go / Talking of Michelangelo. (Lines 13 – 14/35- 36), speaking of Michelangelo would be a kind of escape of each speaker resorts not being touched by another person € ™ s actual words on the real life situation. The talk of Michelangelo, in other words, there is a genuine form of communication as it does not penetrate live peoplee € ™ s real life, in this case the speakers themselves. Communications equipment, generally referred to, infiltrates the mind of the communication and makes his way inside. Thus defined, there seems no sign of communication in the chat Michelangelo where some women, presumably, to maneuver on some already known, stereotypical talk about Michelangelo, in turn, be an artist, is deliberately chosen by Eliot as a source of attraction to women. It acts as an entertainment theme to discuss. However, women, and the nature of such importunate talks, focus on the Witting together, putting in more familiarity with the artist and his works. Not yet come into actual conversation about fellow of people's real life. This could have the same cause as Prufrock € ™ s still reluctant.
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With repetition of two lines, together, there are three places in Eliot's poem, which refers to the lack of communication. Line 97 (repeated in line 110) line 103 and line 117 (13-14). Although the idea is common to all lines mentioned above, the reasons appear to be different in each one of them. In lines 97 and 110, for example, one can see that Prufrock is very communicative, because fear of being misunderstood. In lines 103 and 117, however, making it reluctant Prufrock is the simple fact that he is unable to pronounce their words: â € œFull of punishment, but a little obtuseâ € (line 117).
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The fear of being misunderstood is basic for Prufrock € ™ s choice to remain silent. This fear, expressed in lines 97 and 110, the results of awareness by the idea Prufrock lack of communication. In the two lines of Prufrock imagines he would be able to break the ice and talk to someone, a woman in this case, what would be the result that? Prufrock believes that by being misunderstood by the lady. She said: â € œThat is not what I meant at all. That is not at alla € (Lines 97-98 109-110). Thus Prufrock is never a conversation and silent.
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There is also another reason for Prufrock's silence. In lines 103 and 117 explicitly refers to the act. Line 103 reads: â € œIt is impossible to say exactly what I mean! Â € It seems to be willing to express what is inside. However, it seems devoid of means, therefore, words. Eliot goes ahead with this idea to line 117, where summarized briefly and beautifully Prufrock: â € œFull of punishment, but a little obtuseâ € (13).
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Lack of communication as a matter of modern Mana € ™ s, Prufrock's life, in turn, brings up the problem of isolation.
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The theme of isolation modern man is also essential for Eliota € ™ s â € œThe Love Song.â € Here Eliot is to show the man as being isolated from the community. This man is unable to go to the public. As discussed earlier the man is torn between two beings: social self, ie, raising in the community, and his own self, a living for himself. In â € œThe Love Song € these two seem to contradict each other. This rarity in itself, implies that relationships man are in vain and useless as well. The man must withdraw to distances far from his mind. The poem as a whole, says the idea. The poem is a monologue of a conversation.
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â € œThe Love Song €, being a monologue, is again a symptom of Prufrock € ™ s isolation. In this sense, all actions take place in speakerâ € ™ s mind. No real action. Walking â € œat dusk through narrow streets €, € â € œcoming of the dead, â € € œdisturbing the universeâ, even such minute actions of â € œscuttling through the floors of silent seas € and other references to the action, interspersed throughout the poem, but the actions are wrong and false that take place in Prufrock € ™ s imagination. He does nothing. He is far from the real world to perform an action. Is isolated. He can enjoy being with others people or can itâ € ™ s so painful to him. Others € ™ experience is better. GB Harrison in his book Great British writers, describe these people as â € œPeople whose pleasure is so sordid and so weak that almost seem more sad that his PAINSA € (830).
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Prufrock € ™ s isolation is reported in different ways â € € ~ The Song Love. In a series of lines can be seen that Prufrock is considered a man who stands out from the community. He looks to people outside their groups. This can be traced in lines 42, 44, 49, 55 and 62. Except for lines 42 and 44 in the remaining lines Prufrock goes to the people. It refers to different parts of their bodies. Line 49 reads. â € œFor have met all € all.â known as Line 55: â € œand I have known the eyes already, known all.â € and finally the line 62: â € œAnd I have known the arms already, known them alla € (13). One study shows that about Prufrock, by naming body parts, emphasizes that none of both appeal to him as a whole. Nor could compensate for their isolation. The sexual connotations are obvious.
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The idea of isolation, however, finds a new dimension in lines 42 and 44. In these lines from Prufrock shows its awareness of the people around him. He thinks he looks quizzically. They are searching for flaws. The most horrible scene takes place when Prufrock imagines, starts talking about his physical deficiencies. His hair and his arms and legs are the target of their criticism. Line 42 reads: â € œThey say: â € ~ How hair is growing thin! â € ™ â € Line 44 is another example: â € œthey to say: â € ~ How the arms and legs are thin! â € ™ â € (Eliot 12) This sense of consciousness about the environment is described as an obstacle to reaching an understanding of the surroundings. The â € McGraw-Hill Guide to English Literature says the idea: â € œThe consciousness presented in the poem is one extremely important in anxiety and he is unable to draw conclusions about anything € (321). He is nervous about it. He thinks he is under their control. Therefore, she feels more isolated from them. He therefore gets to the point that is â € œThe cameras SEEA € the only appropriate place for him to dwell (line 129) DES Maxwell in an essay entitled â € œThe early poem, in € Critics of books on TS Eliot states that never œPrufrockâ € â € | â € ~ penetrates beyond the cups, the marmalade, the TEAA ™ €, a conclusion, either with the ladies in the poem, or your surroundings € (14).
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Duplicity, lack of communication, and isolation are three main dilemmas that Prufrock suffers € â € œThe Love Song. Society appears to have a stake that. However, Prufrock, the representative of modern man, himself, seems to be responsible for their suffering. That's because everything that happens within it. As a result, becomes more and more alienated, hence the affliction of modern man.
Bibliography
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 · Abrams, MH, David, et al. The Norton Anthology of English Literature. New York: WW Norton & Company, Inc., 2000.
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 · Gordon, Lyndall. The Wasteland and Other Poems, London: Faber and Faber, 1940.
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 · Harrison, GB main British writers from New York, Harcourt, Brace & World, Inc. 1957.
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 · Kenner, Hugh. The invisible poet: TS Eliot. London: Mathu & Co., Ltd, 1985.
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 · Lawrence, Karen, Seifter, Besty, and Ratner, Lois. The McGraw-Hill Guide to English Literature. 2 vol. 4, USA: McGraw â € "Hill, Inc., 1985.2:321.
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 · Scofield, Martin. TS Eliot's poems. London: Faber and Faber, 1994.
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 · Sigg, Eric. The American TS Eliot. New York: Cambridge University Press, 1989.
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 · Sullivan, Sheila. Reading in Literary Criticism: Critics TS Eliot. New Delhi: George Allen and Unwin Publishers, 1995.
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 · Traversi, Derek. TS Eliot: the longer poems. New York: Harcourt Brance Jovanovich, 1976.
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About the Author
Born, raised and educated in Iran, I live and work in Kuwait now.
Robert Pinsky reads from Essential Pleasures
Tags: books, english, literature, Poetry, reference