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Analysis of the love song of j alfred prufrock
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The Missing Female in The Love Song of J. Alfred Prufrock
For Eliot, poetic representation of a powerful female presence created difficulty in embodying the male. In order to do so, Eliot avoids envisioning the female, indeed, avoids attaching gender to bodies. We can see this process clearly in "The Love Song of J. Prufrock." The poem circles around not only an unarticulated question, as all readers agree, but also an unenvisioned center, the "one" whom Prufrock addresses. The poem never visualizes the woman with whom Prufrock imagines an encounter except in fragments and in plurals -- eyes, arms, skirts - synecdoches we might well imagine as fetishistic replacements. But even these synecdochic replacements are not clearly engendered. The braceleted arms and the skirts are specifically feminine, but the faces, the hands, the voices, the eyes are not. As if to displace the central human object it does not visualize, the poem projects images of the body onto the landscape (the sky, the streets, the fog), but these images, for all their marked intimation of sexuality, also avoid the designation of gender (the muttering retreats of restless nights, the fog that rubs, licks, and lingers). The most visually precise images in the poem are those of Prufrock himself, a Prufrock carefully composed – "My morning coat, my collar mounting firmly to the chin, / My necktie rich and modest, but asserted by a simple pin" -- only to be decomposed by the watching eyes of another into thin arms and legs, a balding head brought in upon a platter. Moreover, the images associated with Prufrock are themselves, as Pinkney observes, terrifyingly unstable, attributes constituting the identity of the subject at one moment only to be wielded by the objective the next, like the pin that centers his necktie and then pinions him to the wall or the arms that metamorphose into Prufrock's claws. The poem, in these
In his poem Eliot paints the picture of an insecure man looking for his niche in society. Prufrock has fallen in with the times, and places a lot of weight on social status and class to determine his identity. He is ashamed of his personal appearance and looks towards social advancement as a way to assure himself and those around him of his worth and establish who he is. Throughout the poem the reader comes to realize that Prufrock has actually all but given up on himself and now sees his balding head and realizes that he has wasted his life striving for an unattainable goal.
prophet like Lazarus or a prince like Hamlet, and he slips into the safety of a
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.
On the surface, ?The Love Song of J. Alfred Prufrock? is about an older man who is distressed by his own inability to tell a woman of his desire for her. He tries to relay his feelings to her but comes up with all kinds of excuses not to, and ultimately does not. The speakers? real problem is not that he is just too timid to confess his love for this particular woman, it is that he has a somewhat unproductive, bleak life and has a lack of willpower and boldness to change that life.
The editors of anthologies containing T. S. Eliot's "The Love Song of J. Alfred Prufrock" invariably footnote the reference to Lazarus as John 11:1-44; rarely is the reference footnoted as Luke 16:19-31. Also, the reference to John the Baptist is invariably footnoted as Matthew 14:3-11; never have I seen the reference footnoted as an allusion to Oscar Wilde's Salome. The sources that one cites can profoundly affect interpretations of the poem. I believe that a correct reading of Eliot's "Prufrock" requires that one cite Wilde, in addition to Matthew, and Luke, in addition to John, as the sources for the John the Baptist and Lazarus being referenced. Furthermore, the citation of these sources can help explain Eliot's allusion to Dante's Guido da Montefeltro.
Okonkwo is often described as being similar to characters in Greek tragedies. Okonkwo knew that the end of his clan was coming, and that they would do nothing to prevent it from happening. He took his life out of desperation. He had struggled his whole life to become a respected member of his community, and suddenly his world is turned upside down and changed forever because of an accident. Okonkwo sees that he is fighting a losing battle, so he quits. Suicide was one of the biggest offenses that could be committed against the earth, and Okonkwo?s own clansmen could not bury him. Okonkwo?s death symbolizes the end of patriarchy in Umuofia. The last page of the book is from the point of view of the white Commissioner, who notes that he wants to include a paragraph on Okonkwo?s life in his book entitled The Pacification of the Primitive Tribes of Lower Niger. Okonkwo?s struggles, triumphs and defeats are all reduced to a paragraph, much like his culture and society will be reduced.
As Ernest Hemingway once stated, “It’s none of their business that you have to learn to write. Let them think you were born that way.” Here, Hemingway illustrates that no one should dictate how a person writes, for the reason that it’s all about self expression. Elliot understood this completely, he wrote during World War one when the world was in turmoil. Throughout “The Love song of J.Alfred Prufrock” T.S. Elliot uses vivid diction to intensify his imagery. Sprinkled throughout the poem, Eliot gives the story character by applying symbolism and rhyme. While the structure of the poem contains transition sentences, in order to establish repetition. Multiple responsibilities of a writer would be that they want to leave the reader with an impression.
Asking someone out might seem a little hard for a group of people, but most couples start happy lives easily. On the other hand, some do not have enough social skills to start an exciting conversation, or they are too shy to start a conversation. Meanwhile, some people have enough social abilities, but they do not have a stunning appearance. Eliot in “The Love Song of J. Alfred Prufrock” decided to create a character named J. Alfred Prufrock who is one of the most unfortunate characters who is afraid of socializing with women because he is not confident enough, so it makes a great sense of dissatisfaction and loneliness in him.
Poems are often difficult to understand. They are written in an indirect way, but this allows authors to portray themes differently than in other pieces of literature. Various literary techniques display these themes, and the indirect way of stating them forces readers to use a deeper level of thought. T.S. Eliot, for instance, expresses a human tendency in his poem, “The Love Song of J. Alfred Prufrock.” By using personification, symbolism, and allusions, he displays the tendency of individuals to worry about what others will think about them, their thoughts, and their actions. This results in individuals cowering from their desire to talk to someone or present an idea.
...side made him suffer. He did it to himself. If he wasn't so caught up on the idea that if you weren't violent and brave then you were a woman, perhaps he would still be alive at the end of the novel. He takes his own life because he realizes everything he has done to be that powerful leader he has always wanted to be was a waste. When he comes back from exile, everything is different. He realizes that the people in the village don't need him. They are content with change and adapting to a new way of life, unlike himself. They don't want to go to war and have bloody battles like he does. Okonkwo realized his village was able to survive without him. By Okonkwo taking his own life, he proved his misery and the idea of him being truly weak at heart was affirmed.
From an early age, Okonkwo was ashamed of his father, Unoka, who was unable even to feed his family. The unpredictability of receiving enough food at a young age was enough to inspire fear and embarrassment in Okonkwo who associated this embarrassment with his father and was given further justification for these feelings when he went out into Umuofia, discovering that the
Okonkwo, the main character of the book, was born the son of Unoka, who was a loafer. Unoka was too lazy to go out and plant crops on new, fertile land, and preferred to stay at home playing his flute, drinking palm wine, and making merry with the neighbors. Because of this, his father never had enough money, and his family went hungry. He borrowed much money in order to maintain this lifestyle. Okonkwo perceived this as an imbalance toward the female side in his father's character: staying at home and not using one's strength to provide for the family is what the women do. In reaction, Okonkwo completely rejected his father, and therefore the feminine side of himself. He became a star wrestler and warrior in his tribe and began providing for his family at a very young age, while at the same time starting new farms and beginning to amass wealth. He is very successful, and soon becomes one of the leaders of his tribe and has many wives and children. His big ambition is to become one of the powerful elders of the tribe, for what could be more manly than that?
T. S. Eliot's poem "The Love Song of J. Alfred Prufrock" reveals the unvoiced inner thoughts of a disillusioned, lonely, insecure, and self-loathing middle-aged man. The thoughts are presented in a free association, or stream of consciousness style, creating images from which the reader can gain insight into Mr. Prufrock's character. Mr. Prufrock is disillusioned and disassociated with society, yet he is filled with longing for love, comfort, and companionship. He is self-conscious and fearful of his image as viewed through the world's eye, a perspective from which he develops his own feelings of insignificance and disgust. T. S. Eliot uses very specific imagery to build a portrait of Mr. Prufrock, believing that mental images provide insight where words fail.
Since Okonkwo is a tragic hero, he must have tragic flaws. The first of which is his obsession with war, fighting, and conquering. Okonkwo constantly must be engaged in some activity that has physical exertion or combat. For Okonkwo, the desire to conquer and subdue is described as being, "'...like the desire for woman'" (30). He possesses a one-track mind that was focused on nothing but success. His second tragic flaw is that he can show no other emotion except for anger. He never shows his fondness for the young hostage, Ikemefuna, who eventually regards Okonkwo as his father. Inside, Okonkwo wishes that Ikemefuna were his natural son instead of Nwoye. It is also this flaw that causes him to beat his wife during the weak of peace for, "...killing this banana tree" (27). His anger almost causes him to kill his second wife with a gun. He feels very sorry for this act, but cannot show his true emotions. The example of this is when the Oracle of the Hill deems that Ikemefuma must die, but not by Okonkwo's hand, since he calls him father:
According to Okonkwo, his fathers’ characteristics were considered feminine, he believes that no man should ever hold such qualities. Therefore, Okonkwo decides never to be like his father and does anything in his power to avoid it from happening. Once Okonkwo makes that decision, the