Forever Spiritually Persistant
The structure of Preludes is governed by the notion of time and is experienced through the observation of the conscious but actionless individual. This ever advancing element of time suggests a journey of sorts, perhaps of spirituality or spiritual degradation.
Similar to The Love Song of J. Alfred Prufrock, Preludes is a conscious journey through a world of torturous repetition, though unconcerned with topics of Michelangelo. This contrast of high and low ranking society between the two works suggests a common ground of spiritual decay, regardless of the classes. The societies are made up of drastically different classes but result in similar conclusions; the notion of burnt-out days and ways, signifying the destruction of society’s spirit and morality.
Throughout Preludes, the structural element of time is portrayed through images and sensations associated with daily actions. Points in time are made obvious through meaningless tasks; early mornings are defined by the raising of dingy shades and evenings by the "smells of steaks in passageways," (T.S.Eliot: The Complete Poems and Plays [CPP], 12) and the lighting of the lamps. As the initial stanza begins, we are aware that evening is upon us. The notion of scheduled action is made through the reference of, "Six o’clock," (CPP, 12). Images of poverty and lower class filth set the scene and allude to "the burnt-out ends of smoky days," (CPP, 12) painting a disgusting picture of society’s surroundings. Deepening the feeling of emptiness, there stands a "lonely cab-horse," (CPP, 12) the first notion of actual emotion on a street of meaningless leaves and newspaper.
In the second stanza time becomes evident with the specific sensations of...
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...g with the sordid images of the street and of society, suggests a new, slightly more kind idea of the street:"I am moved by fancies that are curled / Around these images, and cling: / The notion of some infinitely gentle / Infinitely suffering thing," (CPP, 13). These last lines seem to portray a forgiving vision of society, an almost compassionate attitude toward the filth and the spiritual degradation.
Contradicting to an even further extent, the attitude of the work, the final stanza seems to ridicule the previous: "Wipe your hand across your mouth, and laugh; / The worlds revolve like ancient women / Gathering fuel in vacant lots," (CPP, 13). Concerning itself with the world as a whole, the lines utilize a simile to characterize the inevitable persistence of meaningless action, action that sustains persistence, inturn sustaining a spiritually defunct society.
In this poem, the speaker is talks about his experiences in one significant morning. The poem introduces a beach environment where the speaker talks about collecting rocks, while seeing a dead otter, an oyster fisher, and a bird trying to find its prey. He recalls that this morning is the morning after contemplating of dying, but in the second stanza he has a change of feeling. Instead of seeing disturbances, he sees things that symbolize piece and serenity – butterflies, a couple, the sun. Taking into account all these literal events make the story far too normal. However, what makes this poem noteworthy is its two-sided arguments for the natural order of the world – chaotic in nature or underlying order.
For many people, the early hours of the morning can hold numerous possibilities from time for quiet reflections to beginning of the day observations to waking up and taking in the fresh air. In the instance of the poems “Five A.M.” and “Five Flights Up,” respective poets William Stafford and Elizabeth Bishop write of experiences similar to these. However, what lies different in their styles is the state of mind of the speakers. While Stafford’s speaker silently reflects on his walk at dawn from a philosophical view of facing the troubles that lie ahead in his day, Bishop’s speaker observes nature’s creations and their blissful well-being after the bad day had before and the impact these negative thoughts have on her psychological state in terms
Danse Macarbre by French composer Camille Saint-Saëns and Symphony Fantastique by Hector Berlioz are two such compositions that revolve around the central concept of the supernatural. The pieces contrast in their musical representation and programmatic portrayal of death and the supernatural. Where as March to the Scaffold by Berlioz presents the matter as a serious, dark and sinister experience, Danse Macarbe, although still dark and fear-inspiring, is much more jovial and rambunctious in it’s portrayal of the supernatural.
During the poem the speaker does not address his readers. The readers are simply overhearing a man assessing the society in which he lives as he daydreams about what is could be and yet what it is not. It is evident that his goal is to get the readers to look down upon this society which is so caught up in daily routine; prohibiting anyone from having freedom of imagination. This detachment that is created between the speaker and his readers incorporated with the boring monotone at the very beginning of the poem gives the readers a negative impression of the society before they begin to analyze the actual words of the poem.
For some, the expectation to stay home, give up work, mind one’s husband, take care of children, and even just having children was so great that it overruled the wishes of such women, the social pressure to live a certain type of life tangible in everything from advertising to entertainment to law. The structure of the piece itself supports this idea: There are three stanzas, each seven lines, each with a repeating rhyme scheme (with only one discrepancy in the sixth line of the second stanza). Even the number of syllables only fluctuates slightly, clinging to a general number of nine, with the final couplet being eleven, then five syllables. The irregularities in the quantity of syllables, and the single break from the rhyme scheme among a biblically numbered work do conjure a speaker literally confined in the structure, with the “imperfections” perhaps the manifestation of her attempting to escape what has been imposed upon her, or her inability to fit into the role despite attempting
The sense of time is apparent to allow for an understanding of the time that passes in his life. In the poem, he points out the "sunlight between two pines," leading to the idea that it is early in the day while the sun is still shining until he decides to lean back and watch “as
Desire is constantly channeled into another concept instead of naming it directly. This is done so by Sidney to turn an abstract sensation into a solid, concrete object that the audience can better understand. The use of numerous metaphors throughout the poem, including “band of all evils,” cradle of causeless care,” and “web of will, whose end is never wrought,” contributes to a larger metaphor that is in turn greater than the individual. These metaphors contribute to the speaker’s negative view of desire by comparing it to sources of evil and destruction. Through the use of apostrophe in the poem, desire is portrayed as another person, and the reader comes to realize desire’s detrimental nature through what seems to be a negatively impactful relationship between two people with desire playing the role of the manipulator as shown in the line, “But yet in vain thou hast my ruin sought.” Desire does nothing but seek to destroy lives while not revealing its true intentions. Yet, the speaker knows better now after becoming a victim of the concept. By the use of this poetic device, the reader is better able to sympathize with the speaker, assuming he has also gone through a similar situation whether with desire itself or a person whose behaviors mirror that of what desire is described to be in the poem. Desire is an abstract concept that is so different from a person, yet by continuing it through the poem, it serves to draw comparison between the two unlike
On the right, his art piece depicts the streets of London in chaos with drunk people crowding the streets. People of all ages and professions participate in various sinful behavior, such as laziness and lust. In contrast, on the left a civilized society and ordered is portrayed with noone partaking in gin consumption.
Upon reaching the final stanza, a noticeable shift takes place in the story. Looking into the dates of completion of the poem, I noticed the differing stanzas were constructed in separate years. The first two preludes were written within 1909 and 1910 at Harvard. The third section was composed in Paris within a year, and the fourth prelude was composed in London in 1911. Although the poem is believed to be a connected prelude, the story appears be told over a period. Mainly because of the different point of views, and conflicting ideas, even though Eliot’s main outlook was a day’s period. The first two sections written had a suspicion of a main character being present. Two years later, the story now has different points of perspective drawn from the story.
In the third stanza the speaker looks toward the future, “Tomorrow,” when to one will object to his dining with the others. A change comes in the fourth stanza when this hopeful tone switches from hopeful to a near mockery. This shift is characterized by the word “Besides.” This structure creates a chronological state of events. With the poem organized this way the reader can realize that the black...
The first passage, extracted from author Charles Dickens’ book Oliver Twist, establishes the meaning of the morning rush to work in the year 1837; Dickens creates this meaning through his specific sentence structure and his continuous use of imagery within the extract. The second passage, extracted from The Buddha of Suburbia, written by Hanif Kureishi, establishes a modern description of the class division created by the city of London; Kureishi creates this meaning with the use of characterization and figurative language. Both Dickens and Kureishi, are able to create a theme of society and class that is accurate to the time period in which each individual passage is written.
First, she begins the poem with the word “arrive”, in lower case and paragraph indented. The verb’s drop from the title and lack of proper capitalization diminish the self-important visitors. Then, Brooks’ employs sensual imagery that repels the visitors, such as the “stench; the urine, cabbage, and dead beans”.The faint-hearted “Lover’s of the Poor” are alarmed and finally routed by the poverty, as they state “Oh Squalor!”. The women are also put off by the words “Children, children, children—Heavens!” To the stuck-up visitors, there is something extremely repugnant in the prolific reproduction of the poor. Brooks reveals the ladies’ genuine feelings regarding the poor through references to their “love so barbarously fair,” their “loathe-love,” and their desire to refresh with “milky chill.”. Furthermore, alliteration throughout strengthens the underlying-tone of the poem. It is through these devices that one truly observes the true attitudes the two parties have towards
“Preludes” by T.S. Elliot is a series of images to portray the dark and dreary state of a machinated city life. There are vivid imagery and foolproof messages. Elliot does not approve of the 'cogs-in-the-machine' way of life. There is a sudden change of atmosphere in the first stanza when he writes and then, the lighting of the lamps...' People are portrayed as just going through the motions, not really enjoying or looking forward to life. There is no light at the end of the tunnel. It is a melancholic poem, one that evokes sadness.
The second stanza is in sonnet form, and develops the poem further by introducing a sphinx-like creature. This creature is akin to an anti-Christ of sorts, and a play on the Christian prophecy that the poem is named after. The metaphorical meaning of this creature is encased in modernism ambiguity, modernism being an unconventional literary style, with open-ended symbolism and messages. And thus, reader’s have yet to unanimously agree on an interpretation. However, I and several others, interpret it as the physical embodiment of the products of a conflicted post-WWI environment. Since the environment in the first stanza is volatile, and of it may arise a wretched and vile place that would envelope violence, and death. Violence and death that may derive from malicious intent and the scuffle of control from various states. And overall, makes for a frightening reality. Under this sentiment the logic becomes clear as to why readers commonly interpret the second stanza as an inadvertent prophecy of
The first passage, extracted from author Charles Dickens’ book Oliver Twist, establishes the meaning of the morning rush to work in the year 1837; Dickens creates this meaning through his specific sentence structure and his continuous use of imagery within the extract. The second passage, extracted from The Buddha of Suburbia, written by Hanif Kureishi, establishes a modern description of the class division created by the city of London; Kureishi creates this meaning with the use of characterization and figurative language. Both Dickens and Kureishi, are able to create a theme of society and class that is accurate with the time period in which each individual passage is written.