Human Insecurity in T.S Eliots The Love Song of J. Alfred Prufrock Ess

Human Insecurity in T.S Eliot's The Love Song of J. Alfred Prufrock T.S Eliot's The Love Song of J. Alfred Prufrock is an examination of human insecurity and folly, embodied in the title's J. Alfred Prufrock. Eliot's story of a man's "overwhelming question", his inability to ask it, and consequently, his mental rejection plays off the poem's many ambiguities, both structural and literal. Eliot uses these uncertainties to develop both the plot of the poem and the character of J. Alfred Prufrock. The poem's setting is one that conjures up images of vagueness. It is filled with "yellow fog" and "yellow smoke", both of which suggest a certain denseness and haziness. Similarly, Prufrock is faced with another kind of mist - "perfume from a dress (65) that sends him back into his spiral of insecurity. The importance of Prufrock's "overwhelming question" (presumably, proposing to a woman) is placed alongside items such as "tea and cakes and ices (79)" and various other trivialities such as novels, teacups, marmalade and "skirts that trail across the floor(102)". Prufrock's inner, mental world of thoughts and questions is divided from his outer, physical world which is composed of material objects; it is ironic then, that the material world inside the room is the one that is hidden by "...yellow fog that rubs its back upon the window panes/The yellow smoke that rubs its muzzle on the window pane (15-16)". Prufrock is trapped in this artificial world, however he is too afraid to escape - he asks himself if he dares "to disturb the universe"; and apparently, he doesn't. The poem is also ambiguous regarding the identity of Prufrock's audience. Prufrock refers clearly to a "you and I" in the first stanzas of the poem but later... ... he feels uncomfortable with Hamlet's "Prince" and the qualities associated with it. J. Alfred Prufrock is a tragic figure in his own right; indecision being his tragic flaw. Eliot's character is a compelling portrait of insecurity, trapped in a rigid and materialistic environment by his own doubts and fears and unable to reconcile his desires with his actions. Works Cited and Consulted 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. Pinion, F. B. A T.S. Eliot Companion. Totowa: Barnes & Noble Books, 1986. Sharma, Jitendra Kumar. Time & T.S. Eliot: His Poetry, Plays, and Philosophy. New York: Apt Books, INC. 1985. Spurr, David. Conflicts in Consciousness: T.S. Eliot’s Poetry & Criticism. Urbana: U of Illinois P. 1984.

Immortal Characteristics in the Iliad and the Aeneid Essay

Although written in two distinct eras, The Aeneid and The Iliad offer views of the Trojan War, which have been studied for centuries.   The Iliad, written by Homer in 750-650 BCE, portrays the tale from the Greek point of view.   Sometimes thought to have been a mythic person himself, the telling of The Iliad is attributed to him nonetheless.   The story, written originally in ancient Greek, speaks from an omniscient narrator who can share all details encountered in the main character, Achilles, involvement in the war. Achilles has refused to fight in retribution for Agamemnon stealing his war prize, Briseis.   The Aeneid, on the other hand, is known to have come from the Roman poet, Virgil.   Although the main character, Aeneas, tells portions of the story, Virgil himself narrates the majority of the tale.   Aeneas is traveling to Italy to build a race of Romans.   Juno, who is still angry with the Trojans, sets Aeneas off course and the story begins with a recounting of the war itself. In the way the tales themselves offer varying illuminations on the same setting in Greece, the Gods portrayed share differing characteristics.   In The Iliad, Zeus stands as the king of the Gods.   He refuses to take sides in this war of men, although his favor moves to the Trojan side after Achilles’ mother begs him to intervene.   We find Zeus bothered by the request.   He is involved with domestic disputes already with his wife, Hera, and is reluctant to do any further damage to his solitude.   â€Å"Here is trouble.   You drive me into open war with Hera sooner or later: she will be at me, scolding all day long. Even as matters stand she never rests from badgering me before the gods: I take the Trojan side in battle, so she says,† (Homer, I.593-599).   He does go on to promise he will do as she has asked, although the reader can sense his foreboding in doing so.   His foresight is strong though, as Hera’s reaction is as he said it would be – biting and harsh.   Ã¢â‚¬Å"Who is it this time, schemer?   Who has your ear?   How fond are you of secret plans, of taking decisions privately,† (Homer, I.620-622).   Zeus is portrayed as a beaten God, one who is verbally assaulted by his own wife and appears to be weary of her scorn. One can sense the laughter as the words are written, the hidden personalities that are so similar to common man. Jupiter, however, does not worry over what he will go through personally in order to grant the wish of the goddess who has appealed to him.   Ã¢â‚¬Å"With the serenity that calms the weather, and lightly kissed his daughter.   Then he said: No need to be afraid, Cytherea.   Your children’s destiny has not been changed,† (Virgil, I.345-348).   Jupiter has granted what she sought, and promises that her progeny will found the great kingdom of Rome, named after one of the twin sons to come from Aeneas.    The reader can already discern favoritism for the Romans by this issuance of Jupiter.   He is not a hen-pecked God as Zeus is, although Jupiter’s wife is not a timid creature.   Much like Hera, she is vastly upset and carried a grave distaste for the Trojans.   Jupiter, however, feels Juno will eventually relax.   â€Å"Juno, indeed, whose bitterness now fills with fear and torment sea and earth and sky, will mend her ways, and favor them as I do, Lords of the World, the toga-bearing Romans,† (Virgil, I.376-379). The reader gets the sense that the Greek Gods as told of by Homer are seen as folly.   Zeus is not the almighty master, as one would suspect the king of the Gods to be.   He is stuck between caring for his subjects, the minor Gods, and listening to the gripes and complaints of his wife, the telling is almost comical.   Virgil, however, tells the origination of a great race of people, his own Romans.   The Jupiter is patient and assured of the greatness to come.   His caring ways with his daughter and sincere belief that all will be as he said indicate his power and greatness, showing him to be a true King of the Gods. The physical separation between God and mortal man is great.   In the eleventh book of The Iliad, we find Zeus directly interfering with the battle on hand.   â€Å"Now Zeus, the son of Kronos roused an uproar along his host, and sprinkled bloody dew from highest heaven, being resolved that day to crowd great warriors in to the undergloom,† (Homer, XI,58-61).   The battle between Greek and Trojan forces allowed yet another display of Zeus’ great power over man. Zeus demonstrates this power while protecting Hector. â€Å"Hector moved forward with his round-faced shield.   As from night clouds a baleful summer star will blaze into the clear, then fade in cloud, so Hector shone in front or became hidden when he harangued the rear ranks – his whole form in bronze aflash like lightening of father Zeus,† (Homer, XI.67-72).   The soldiers recognize the ability of Hector to shadow himself as the protection of the Gods.   Zeus’ otherworldly display of power and support for the Trojan cause signifies the justness of their cause, yet as we already know, his might is not good enough.   Troy will lose the battle and the God is not all-powerful in the end. The Aeneid however, shows the true power and wisdom of Jupiter is not only just, but up to the task as well.   Aeneas will reach his destination, and Rome will become the great power it is meant to be.   Jupiter sees that Aeneas has fallen sedentary with his love for Dido and remains with her rather than fulfilling his duty as Jupiter told him.  Ã‚   The scourge of the earth is not brought down on his head to force him off the island.   The all-powerful Jupiter simply sends a messenger, Mercury.   â€Å"From bright Mount Olympus he that rules the Gods and turns the earth and heaven by his power – he and no other sent me to you, told me to bring this message on the running winds: what have you in mind?   †¦the land of Rome are due,† (Virgil, IV.365-375). Aeneas is reminded of his family fortune and honor, which are on the line.   True to his word and loyal to his God, Aeneas leaves Dido to fend for herself.   Her misery and subsequent suicide are not given any thought by Jupiter, the mission is at hand and the great Roman peoples are far more important than a single female.   â€Å"Beating her lovely breast three times, four times, and tearing her golden hair, ‘Oh Jupiter! †¦will this man go, will he have mocked my kingdom, stranger than he is and was,’† (Virgil, IV.816-820)?   Jupiter pays her no mind; the Roman Empire is at stake.   Again, it is in silent action, verbal mandates that Jupiter issues his power.   He is not forced to resort to mortal measures to ensure his will is done. Zeus is portrayed as the mover, the God who has to physically partake in things to get anything accomplished.   The stronger God of the two, Jupiter, simply asks and gets what he wants.   The fear of retribution is fierce amongst not only the people, but also the Gods.   He does not take pity on the fallen as Zeus does.   In terms of masculine strength, Jupiter is by far the strongest.   Of course, such an amazing group of warriors, philosophers and artisans could never have come from so slovenly a King as Zeus. As the war wages on in The Iliad, Zeus is once again shown to be a weaker form than the mighty Jupiter.   Achilles has lost his best friend, Patroclus, in battle. Heartbroken, he vows to return to the battle immediately to slay Hector in revenge.   Although Zeus has long since gone to help the Achaeans in fighting this war, â€Å"Zeus took pity on them, saying quickly to Athena: Daughter, you seem to have left your fighting man alone.   Should one suppose you care no more for Achilles?   The he sits, before the curving prows, and grieves for his dear friend. The other soldiers flock to meat; he thirsts and hungers.   Come, infuse him sweet nectar and ambrosia, that an empty belly may not weaken him,† (Homer, XIX.374-382). Athena then goes off to give the poor warriors some nourishment so they may fight bravely in their final battles.   His heart still belongs to the losing side.   We see his weakness again with the interference into the battle.   In calling the Gods to Mount Olympus, Zeus tells them, â€Å"You know what plan I have in mind and why I called you, why you are here. Men on both sides may perish, still they are near my heart.   And yet, by heaven, here I stay at ease upon a ridge.   I’ll have an ample view here.   But you others, go into action, side with the men of Troy or with Achaeans, as each has a mind to,† (Homer XX.22-29).   Zeus lazily tells the other Gods that the people are dying and it breaks his heart.   However, he will sit on the mountaintop and watch the spectacle.   They should go down and help whichever side they feel is just, but he will just watch.   Homer again makes fun of the God.   He is a couch potato during the war he was powerless to stop in the first place.   His wife is constantly meddling in the affairs of state, and Zeus will not step in to act according to his heart. Jupiter does not have this problem toward the end of The Aeneid.   When fighting has broken out in Italy and the great Romans are fighting amongst themselves, Jupiter is asked his opinion.   He responds in a regal and self-assured manner.   When he opens his mouth to speak, all of the earth responds in kind. â€Å"The almighty father then, chief power of the world, began to speak, and as he spoke the great halls of the Gods fell silent, and earth quaked, and silence reigned in the highest air, the west-winds went to rest, the deep sea stilled his waters to calm,† (Virgil, X.137-142).   He has decided that fate will serve each man his own plate.   Jupiter no longer condones divine intervention.   This surprises virtually everyone present, as they have interfered in these matters right from the start.   Yet, the King of the Gods has spoken and it cannot be any other way.   â€Å"He took oath nodding, making all Olympus tremble at his nod.   There was an end of speaking.   Jupiter form his golden throne arose, and lords of heaven on either hand escorted him to the threshold of his hall,† (Virgil, X.160-164). Although the King of the Gods in each depiction of the Trojan wars and its eventual outcomes acted in extremely different ways, the act remains that they were in control the entire time.   The main protagonists for each tale are not afforded this same luxury.   In The Iliad, Achilles never has control over his bloodlust for Agamemnon.   His search for glory and the switching of sides is beyond his control so to speak.   The usurping of his prize from the war damaged his pride and it is the sole driving force for him.   When his best friend is killed, he appears to have devised a higher purpose for his rage, yet the reader notes he is still guided for his own gratification throughout. Aeneas, blindly does as he is bid to do.   He leaves his heart behind when he leaves Dido on the island.   Jupiter is not concerned with the trivial matters before him, and concerns himself only with the Roman creation.   Aeneas cannot simply believe that Dido will eventually understand what he must do, unlike Jupiter feelings for Juno.   The foresight the Gods portray separate them greatly from humanity, making the people seem as though they are simply pieces of a chess game, there for the amusement of creatures bored with eternity. Although Homer pokes fun at the God from the past and uses the tale to tell of the heroism of the Greek people, he fails to place his own God at the forefront as a just and caring ruler.   Virgil at least shows the God of the Romans as one who delights in the magnificence of the race. Physically the gods are far superior to the men they control, but in the case of Zeus, he is far from being above the simple human frailty of emotion.   Homer instills a sense of commonality between the people and their God, one in which the playing field is an equal one.   The Gods are affected by this war almost as much as the people are.   When interfering in the matters of men, the Gods are shaken to the core in some instances, harmed in others, and heartbroken other times still. For Virgil, the people end on the positive note.   The great anti-hero is dead, and the true hero does not turn out to be Aeneas, but the Romans themselves.   The reader sees throughout the epic poem, that Virgil had them in mind all along.   The creation myth of the great empire seeks to solidify their place in the world and by showing that that creation came from a just and powerful authority – he accomplishes just that. Works Cited Homer.   The Iliad. Trs. Robert Fagles.   New York, NY: Penguin Classics, 1998. Virgil. The Aeneid. Trs. W.F. Jackson Knight. New York, NY: Penguin Classics, 2006.

Islam A Common Trend - 800 Words

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