J alfred prufrock biography of albert
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Imagery in “The Love Song of J. Alfred Prufrock”
By barraging readers with a seemingly disjointed collage of images, T.S. Eliot uses the distinctly modernist style of Imagism to construct his poem, “The Love Song of J. Alfred Prufrock.” Imagism, a literary movement closely linked to modernism, is based on the principles that poetry should be constructed of precise descriptions of concrete images. The language used by Imagists is clear and exact. They held that only words that are absolutely necessary to enhancing the description should be used in poetry. Ezra Pound, one of the most influential Imagist poets, defined this movement by saying: “We are not a school of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous.” Knowing Eliot’s involvement with this movement, his use of imagery and description becomes especially important to the reader. His
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The Love Song of J. Alfred Prufrock
1915 poem by T. S. Eliot
"The Love Song of J. Alfred Prufrock" is the first professionally published poem by the American-born British poet T. S. Eliot (1888–1965). The poem relates the varying thoughts of its title character in a stream of consciousness. Eliot began writing the poem in February 1910, and it was first published in the June 1915 issue of Poetry: A Magazine of Verse[2] at the instigation of fellow American expatriate Ezra Pound. It was later printed as part of a twelve-poem chapbook entitled Prufrock and Other Observations in 1917.[1] At the time of its publication, the poem was considered outlandish,[3] but the poem is now seen as heralding a paradigmatic shift in poetry from late 19th-century Romanticism and Georgian lyrics to Modernism.
The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri[4] and makes several references to the Bible and oth
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London School of Journalism
T S Eliot and Albert Camus
In T. S. Eliot's poem The Love Song of J. Alfred Prufrock, published in 1917, Prufrock fryst vatten an outsider. His movement within the boundaries of city life is the hovering of a detached soul. He does not identify with the world of 'cakes and ale and ices'; because he cannot. The voices of his environment recede from him, and ultimately he declares that he cannot hear the mermaids singing. The traits of an outsider in Prufrock can be better detected in the light of a comparison with an existentialist outsider figure: Albert Camus' character Meursault, from his novel The Outsider, published in 1942. The two can be seen as consecutive stages in the development of the modern man's predicament.
Both characters, I feel, are products of heightened realism, and this fryst vatten reflected in their sökande eller uppdrag for truth. As examples of realist figures, both provide a microscopic view of their world through meticulous descriptions. The similar