Anlysis Of

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Anlysis Of “Dream On Monkey Mountain” By Derek Wallcot And “The Love Song” By Alfred Prufrock Essay, Research Paper The conscious and subconscious are two important themes in discussing both the 1919 poem “The Love Song of J. Alfred Prufrock” by T.S. Eliot, and the Derek Walcott’s 1967 play “Dream on Monkey Mountain.” In discussing the authors use of the conscious and subconscious in these two works many similarities and differences can be found. In T.S. Eliot’s poem “The Love Song of J. Alfred Prufrock,” Eliot startles the reader by using dramatic shifts in and out of the main character Prufrock’s thoughts (subconscious) and what is consciously going on. The Poem is about a timid and downcast man in search of meaning, of love, in search of something

to break him from the dullness and superficiality that he feels his life to be. Eliot lets us into Prufrock?s world exploring his progression of emotion from timidity to self-disparagement and, ultimately, to despair of life. In this “Love Song,” Prufrock searches for meaning and acceptance by the love of a woman, but fails miserably because of his lack of self-assurance and because of his mouse-like meekness. Prufrock is a man for who, it seems, everything goes wrong, and for whom there are no happy allowances. In a very real way, Prufrock’s story is twentieth century mankind’s story, too. Eliot’s “Prufrock” is brilliant commentary on the fallenness, the emptiness, and the final despair of modern individuals. The emptiness and the shallowness of Prufrock’s

“universe” and of Prufrock himself are evident from the very beginning of the poem. The lines “When the evening is spread out against the sky / Like a patient etherized upon a table” (2-3) suggest a certain lifelessness. Likewise, the women who “come and go / Talking of Michelangelo” (13-14) seem to have nothing better to talk about, for when the women are revisited a few lines down, they are still talking about the same dead artist (35-36). The “yellow fog” (15), which by its color has connotations of sourness, “curled once about the house, and fell asleep” (22). Prufrock has already witnessed this dull event many times, saying: “I have measured out my life with coffee spoons” (51). The evening “sleeps so peacefully!” (75), cries Prufrock, and perhaps

there is a tone of bitterness in his voice. All this shows, in Prufrock’s case, the falsity of the elite social existence, which is thought by some to be the pinnacle of social involvement, and, in a broader context, what social life is often like in our era. In his doubting state, Prufrock compares himself to others. In line 94 he alludes to Lazarus. He uses this allusion to exaggerate his oldness. Lazarus was an aged man who was restored from death by Jesus. Prufrock considers his age to be a ‘death’ to his romantic zeal. Being raised from the dead would restore the romance to his life. However tells himself this is impossible. The dramatic climax of this poem occurs in line 111. here, Prufrock alludes to Shakespeare’s Prince Hamlet. He uses this allusion to show his

inferiority, and his inability to declare his love. This is also the dramatic climax of his poem, where all the internal debating comes to an end. He finally gives in to his timid character and starts his journey into a ‘dream world’. For example in the last three lines, Eliot paints a contrasting picture of a serene ocean setting. Like line one, line 129 includes a mysterious second person. Who is “we” referring to? It could be Prufrock and himself, him and the mermaids, or all humankind. In line 130 the seaweed is red and brown. This symbolizes the decaying of Prufrock’s heart. His present dream-like state is destroying his heart. Only the return to reality can stop this destruction. Prufrock’s dream like state created by Eliot can be contrasted by Makak’s dream