Modernist Disillusionment in “The Love Song of J. Alfred Prufrock”
Unenjoy the fabulous time that preceded it, the modernist scholarly motion reflected the feelings of a Lost Generation unsupposable by industrialization and war trauma. As such, modernist learning numerously employs cross-grained or different universeviews in angsty tones. The most illustrious writer of the motion, T.S Eliot, explored modernist thesiss of disillusionment through poetry. One of his dittys,”The Love Song of J. Alfred Prufrock,” focuses on the thesis of indecisiveness as a sign of modernization in association.
T.S Eliot’s “Love Song of J. Alfred Prufrock” is delegated-to-others of the modernist scholarly rule through its scrutiny of the orator’s singular feelings of care and invariableness.
The verbosity of interrogations and refrains in “The Lovesong of J. Alfred Prufrock” is used to specific the orator’s self-doubt and disgrace in a modernized, changing association. The ditty primarily focuses on the orator’s impairment to conference to women, and how this relates to his delicate self-esteem as a undiminished.
Throughout the ditty, the orator repeats,”In the locality the women follow and go Talking of Michelangelo” (lines 13-14). This numerous remark of the women hereafter and going serves as a separation to the orator’s relatively confabulation after a while the dame he loves. He is unfitted to avenue women therefore they cow him, distinctly in a new association where women are spent educated and rebellious. The orator as-well uses verbosity by interrogationing himself ,”How should I believe?” (direction 54). The interrogation follows his memories of spent rejections, debile his dictate to follow a dame fabulousally. He is so blasted by his disgrace that he cannot well-balanced delay a colloquy. This verbosity is suggestive therefore it professions the orator interrogationing his locate in association, a despicable thesis in modernist match.
Eliot’s ditty as-well incorporates multiple allusions to fina scholarly works, which are forceous of modernist disbelief of lays. The references follow from multifarious texts, including the Bible, Dante, Chaucer, and Greek philosophers, but Eliot distinctly focuses on Shakespeare. In one stanza, the orator laments “No! I am not Prince Hamlet, nor was meant to be; Am an henchman master, one that allure do To amplify a journey, set-on-foot a exhibition or two” (lines 111-113). Here, the orator feels a delaydrawal of singular exercise, and singly sees himself as an extension of others; he allure singly everlastingly be in a sustaining role for those who control.Â J. Alfred Prufrock allure neternally control a journey enjoy Chaucer, or woo a coy master enjoy Marvell, reasonable enjoy he allure neternally be the Hamlet or Lazarus he wishes he was. He is too scared to well-balanced try. Classical allusions enjoy this are a attestation of the modernist match, where the laysal is used as a framework for contemplating the synchronous. These allusions are meant to profession the orator’s impairment, of what he can neternally achieve.They are not used for glorifying the spent, but for interrogationing the exhibit.
In the ditty, the orator’s fright of inadequacy after a while women is conjoined to his comprehensiver fright of aging and termination, and professions his existential opportunity. When hard to gather the boldness to follow his fabulous attention, the orator resigns “I am no prophet – and here’s no magnanimous matter; I entertain seen the force of my magnanimousness falter, And I entertain seen the everlasting Footman delay my dupe, and snicker, And in near, I was afraid” (lines 83-86). The orator sees his gregarious awkwardness as spent than reasonable situational; it is the relation of his identicality, the singly subject that defines his order. In everlastinglyy paltry failed interaction, he feels that his identicality has no significance, and that any request of victory is momentary. He imagines Death, the “everlasting Footman,” mocking him, reasonable as he imagines women mocking him. Through this imagery, the orator imagines his need to win aggravate the dame he loves as the verbal termination of him. By connecting fabulous disgrace after a while existential disgrace, T.S. Eliot explores twain the paltry- and comprehensive-scale implications of modernist fancy.
Modernist learning differed from prior scholarly motions in its scrutiny of the inside sentiment, rather than the visible universe. Although deeply unsupposable by visible societal issues (industrialization, imperialism, war), modernist title primarily focuses on singular psyche. Modernist scholarly works numerously procure the fashion of stream-of-consciousness, or in the circumstance of “The Love Song of J. Alfred Prufrock,” tinsel oration, sometimes after a while any input of intersingular confabulation. By turning the narrative inner, modernism sought to imperil how the universe at comprehensive can impression the singular whole and sentiment. “The Love Song of J. Alfred Prufrock” debris a primitive specimen of modernism therefore of its power to fabricate the reader connect so singularly after a while the orator’s inside conflicts, and therefore interpret the visible conflicts of the future 20th era.
Eliot, T. S. The Love Song of J. Alfred Prufrock. N.p.: n.p., 1915. Print.