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Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufrock
In Episode 8 of Ulysses, Joyce sends Bloom and the reader through a gauntlet of food that enlarges one of the novel¹s main linguistic strategies, that of gradual digestion. While Episode 10 may seem like a more appropriate choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliot¹s poem "The Love Song of J. Alfred Prufrock," the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-hero¹s own inability digest thoroughly any complete thought all the way through.
Bloom describes the process of eating with realism appropriate to the task: "And we stuffing food in one hole and out behind: food, chyle, blood, dung, earth good: have to feed it like stoking an engine" (144-5). Indeed, this is the path words take in the novel; they begin in a pure form, as written on a page (such as Martha¹s "Are you not happy in your home you poor little naughty boy?" which, despite its impure implications, is at least black ink on white paper) and filters into every stage of Bloom¹s journey (as in Episode 8, 137). The gradual digestion of words fits with another of Martha¹s lines, the typographical error "I called you naughty darling because I do not like that other world" (131). These words become "worlds," carving out a space as they travel throughout Dublin with Bloom. Bloom tosses the "throwaway" into the Liffey, and its words sail down not only the river, but alongside Bloom, causing him trouble and marking him as a throwaway himself. Words often hint at their own creation or foreshadow another...
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...urface giddiness of "mermaids singing, each to each." Our paralysis in reading "Prufrock," from stanzaic symmetries ("And would it have been worth it, after all"/"That is not is, at all," used twice with minor variations) that indicate Prufrock¹s stalled action to the anatomization of pluralized body parts ("eyes"/"arms") that rest heavily on a local item while emphasizing its multitude and power, "Disturb[s] the universe" as much as Prufrock¹s own perambulations do, that is, not at all. He only sinks further down, drowning not only in other "human voices" but, more importantly, in his own constipation.
Works Cited
Eliot, T. S.. "The Love Song of Alfred J. Prufrock." Making Literature Matter: An Anthology for Readers and Writers. 2nd Ed. Schlib & Clifford. Boston: Bedford, 2003. 851-855.
Joyce, James. The Portable James Joyce, New York: Penguin Books, 1996
Eating and drinking is not only a necessity, but also a pleasure. Humans have known and experienced this since the beginning of man. Food plays a very important part in everybody’s daily life. However, the role of food in F. Scott Fitzgerald’s work The Great Gatsby and John Steinbeck’s novel The Grapes of Wrath vary immensely. The complexity and need for sustenance differ between the books, but both reflect the events, viewpoints, and attitudes of the time periods they are set in.
Eliot, T.S.. "The Love Song of J. Alfred Prufrock." An Introduction to Poetry. 13th ed. Kennedy, X. J., and Dana Gioia. Boston: Little, Brown, 1966. 369-372. Print.
Eliot, T. S. "The Love Song of J. Alfred Prufrock" in An Introduction to Literature. Ed Sylvan Barnet et al. 13 ed. New York: Longman. 2004. 937-940.
Eliot, T.S.. "The Love Song of J. Alfred Prufrock." The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: Norton, 1996. 2459-2463.
In Galway Kinnell’s poem, “Blackberry Eating,” assonance, alliteration, and refrain are used in reinforcing the poem’s meaning that just like the speaker’s interest for “ripest” blackberries as described throughout the poem, words are also rich and intense, thus one is eating straight from the tree of knowledge.
T.S. Eliot, The Love Song of J. Alfred Prufrock. The Norton Anthology of English Literature. 6th ed. Vol. 2. ed. M. H. Abrams New York, London: Norton, 1993.
In Galway Kinnell’s “Blackberry Eating,” the author utilizes several literary devices that enhance the symbolic meaning behind the poem. Kinnell uses repeated alliterations throughout the poem through several constant uses of soft sounds that are interrupted quickly by heard sounds to produce pathos for the readers. The slow rhythm of the poem creates a sense within the readers of savoring the blackberries of the poem. The whole poem is an extended metaphor that represents the relationship of tangible blackberries and intangible words. Through sensory imagery, including sight, touch and taste; the author creates a parallel to both the reader’s senses and the word that are contained within the poem. This style that the author has created formulates
So often, it seems, life can seem like a "patient etherized on the table" (Eliot, 3). Be it the apparent futility of existence as a whole, or the insecurity of those single moments of doubt; life is often fleeting. I believe life is best described as a fickle beast, always elusive; always turning down some new and unexpected road. This fleeting life is what both Jay Gatsby of The Great Gatsby and Alfred J. Prufrock of "Love Song of Alfred J. Prufrock" experience. These two men experiences move down remarkably similar paths as they quest for love and life. Yet each has sealed their shared fate in a different manner. As they head toward the seeming abyss of death, both remiss on all they wish they had done during their lives. By the time each man meets his end they both feel they have failed themselves and life as a whole.
Ernest Hemingway discusses the theme of hunger throughout A moveable feast by exploring and describing the different types of hunger that he felt. He aims to explore this theme in the passage where he strolls with Hadley, and they stop to eat at the restaurant Michaud’s. Through repetition and use of unconventional detail and word choice, Hemingway shows that he has more than one type of hunger, and needs to differentiate between them. Hemingway strives to tell that hunger is a feeling that is deep within someone, that changes depending on the situation and varies in intensity and meaning.
T.S. Eliot’s “The Love Song of J. Alfred Prufrock” tells the speaker’s story through several literary devices, allowing the reader to analyze the poem through symbolism, character qualities, and allusions that the work displays. In this way, the reader clearly sees the hopelessness and apathy that the speaker has towards his future. John Steven Childs sums it up well in saying Prufrock’s “chronic indecision blocks him from some important action” (Childs). Each literary device- symbolism, character, and allusion- supports this description. Ultimately, the premise of the poem is Prufrock second guessing himself to no end over talking to a woman, but this issue represents all forms of insecurity and inactivity.
T.S. Eliot has been one of the most daring innovators of twentieth-century poetry. His poem“The Love Song of J. Alfred Prufrock”, is different and unusual. He rejects the logic connection, thus, his poems lack logic interpretation. He himself justifies himself by saying: he wrote it to want it to be difficult. The dissociation of sensibility, on the contrary, arouses the emotion of readers immediately. This poem contains Prufrock’ s love affairs. But it is more than that. It is actually only the narration of Prufrock, a middle-aged man, and a romantic aesthete , who is bored with his meaningless life and driven to despair because he wished but
Miss Temple can be described as the nondiscriminatory woman superintendent of Lowood. During their very first meeting Jane claims how she is "impressed by her voice, look and air" (180). Helen, another student that Jane befriends at Lowood, describes Miss Temple as being "above the rest, because she knows far more than they do" and "overall good and very clever"(221). Having Helen describe Miss Temple this way speaks volumes because she herself is very fair-minded and admirable towards Jane. Miss Temple's strongest quality is her ability to be a role model from the girls, this quality is depicted by Jane as "considerable organ of veneration, for I yet retain the sense of admiring awe with which my eyes traced her steps" (216).
The title T. S. Eliot chose for his poem "The Love Song of J. Alfred Prufrock" is ironic. Mr. Prufrock does not love anyone, nor does he believe he is loved. He has disdain for the society of which he wishes he were a part, and he believes society views him no differently. The imagery of Mr. Prufrock's thoughts provide the audience a more detailed insight into his character than had Mr. Eliot simply listed Mr. Prufrock's virtues and flaws. Mr. Prufrock is seen as an exaggeration or extreme for the sake of literary commentary, but the world has many Prufrocks in many differing degrees, and T. S. Eliot has made them a little easier to understand.
T.S Eliot, widely considered to be one of the fathers of modern poetry, has written many great poems. Among the most well known of these are “The Waste Land, and “The Love Song of J. Alfred Prufrock”, which share similar messages, but are also quite different. In both poems, Eliot uses various poetic techniques to convey themes of repression, alienation, and a general breakdown in western society. Some of the best techniques to examine are ones such as theme, structure, imagery and language, which all figure prominently in his poetry. These techniques in particular are used by Eliot to both enhance and support the purpose of his poems.
Many researchers have anticipated theories about the different approaches that people across the globe use when they want to locate a recognized entry in an unordered list of options. Norman and Vandierendonck recommended that people could only process one menu at a time. This idea or recommendation that people can only process one item at a time could be related to sequential linear menu. However, they did not authenticate the low-level hypothesis empirically. Card S. K. the writer of “Visual search of computer command menus” proposed that people randomly choose which item t...