Do you have problems identifying the subject? Why or why not? What adjectives can be used to describe the subject of the painting? How are time, space, and movement depicted in this painting?
Thinking about the poems you read in Lesson Two: Thirteen Ways of Reading a Modernist Poem , does the point of view in the painting more resemble a Romantic or modern sensibility?
Recall the following chart from Lesson One: Understanding the Context of Modernist Poetry , available as a PDF , and ask students brainstorm more comparisons to add to the chart based on their new understanding of modernist art and poetry: Pre-Modern World e.
Point out that the poem was published in Alternatively, pass out the Prufrock Analysis Worksheet and ask them to re-read the poem carefully and answer the questions, either individually or in groups. How can you account for these similarities e. Students might suggest any of the following: his digressions, his fear of socializing, his bitterness toward the social world, his linguistic impotence, his self-questioning, his repetition, his social paralysis, his fear of aging, his self-doubt, his fear of women, and so forth.
Alfred Prufrock as an individual seeking love. The ad should be rooted in the poem itself, and you should use descriptive adjectives.
Ask students to write a character sketch of J. How do they picture him, and why? How would they describe his relationships with other people? The analysis of these allusions shows correlation between certain details of the lyrical structure and throws light upon some obscure passages in the poem. Moreover, these allusions form a continuum spanning from the Trojan war to the World War I.
The biographical material related to the time of creation of the poem, i. The dichotomy of these characters is compared to the relationship between the speaking voice of the poem «I» and the auditor «you».
Le geometrie del disordine. The poetry of the 20th Century is like a subterranean current that slowly worked on its foundation, uprooted the status quo-sit values and aimed at creating new ones. The Poets of this era broke away from the narrative tone and focused The Poets of this era broke away from the narrative tone and focused more on fragments and combining images from different aspects of life.
Eliot and W. Yeats are two acknowledged poetic figures of this era. In this essay, I have attempted to study and highlight their movement away from Romantic and the Victorian poetry towards the notion of "Make It New". Emotions and Objective Correlative of J. Alfred Prufrock. Which is to be blamed—the world or himself? The shift between blaming society and blaming the self is one of the main confusions. Images evoke roughly three main emotions: discomfort with society, self-doubt, and finally, a sense of total impotence.
The Love Song of J. Start with poem lines then head to summary, form and commentary. Alfred Prufrock-A Critical Note. Eliot has created a distinct picture of a modern man in Prufrock. He has emerged with all sorts of works and there is a constant reference to tea-coffee, the marmalade and time.
The plenty of time he has for "visions and revisions" before The plenty of time he has for "visions and revisions" before taking a toast and tea is a sort of irony and satire on a modern man who has the absence of vision and reflection. Depression on a Screen.
Alfred Prufrock in the Light of Cognitive theories of Depression. This study Beck, in particolare le teorie cognitive e i criteri diagnostici da lui elaborati per interpretare e analizzare sintomi e livelli della depressione. Prufrock veut s'exprimer, atteindre une interlocutrice par la force des mots. Turgenev - T. You see, here, Prufrock has moved into these rhyming tercets. He says quite simply and definitively:. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black.
And as he describes this, there is kind of heightening of conventional lyric language with that alliteration and with those images:. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown. I think that Prufrock has really no clarified, no specified desire, except maybe to hear the mermaids. In a sense, I think, you could say he wants Romantic singing.
He wants to hear it. He wants to hear them. He wants to linger with them, to have access to their element, and to that extent to be among them and even like them. It is a wish for, specifically, freedom from human voices, which I take to be the endless, overheard inner voices in which the quoted, repetitive speech that makes up his consciousness consists.
The Waste Land is a poem that comes in five parts. In the landscape of The Waste Land , we are waiting for water. And thunder promises that water, and it also, importantly, represents a kind of speech: a speech that comes out of nature, something that the thunder says, has all kinds of mythological resonance.
You might even view it as the voice of myth itself, here able to be given a voice and a hearing in the poem. There is a note explaining this, coming to us from your editor and from Eliot.
It gives us these instructions. And the endnotes we have here are worth contemplating. And of course, Ugolino would eat his children. Eliot continues. He gives us that little fragment from Dante, and then he says:.
Bradley, Appearance and Reality , p. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it…. In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul. Eliot worked on Bradley for his thesis. Consciousness is a condition in which we are locked into our own, I think, linguistic representations of reality without a common language to share them.
How can a common world be created out of radically private experience? Well, this is, I think, the central question that The Waste Land is meditating on, responding to. April is the cruelest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.
Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, And drank coffee, and talked for an hour.
He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter.
And one of the ways in which it is extraordinary is the modulations, and where do we pinpoint the turning points between the initial, vatic, general voice of the poem and then that extremely personalized first person, who will be Marie, named that way through that memory. Somehow there is a variety, I think, a range of voices here. And how Eliot moves from the one to the other is a question for us as readers. I think it also raises, again, this central problem that the poem is concerned with.
And that is, what is the relationship, how do we articulate the relationship between the general and the particular, between experience that is generalizable and that which is almost irreducibly private? Here they are, writ large. Desire, it seems, is painful because it breaks things open that are closed and shut. All of these are, to a degree, conventional Romantic topoi , motifs. Where exactly does the poem modulate into personal memory?
Marie has a kind of exemplary privacy about her and her memories and her sense of frustrated desire and longing. The condition of locked-in sensibility and difficult private emotion is, from the very beginning of the poem, associated with metropolitan culture, a culture where there are many languages, speakers from many places.
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