Comparison of The Arrival of the Beebox and The Love Song of J Alfred Prufrock Essay

Comparison of The Arrival of the Beebox and The Love Song of J Alfred Prufrock Essay

In Sylvia Plath’s “The Entrance of the Bee Box” and T. S i9000. Eliot’s “The Love Tune of T. Alfred Prufrock” both loudspeakers are burdened by wonderful mental anguish caused by their feeling of insignificance and powerlessness in the world. They both dread and recognize the prospect of death, although acknowledging lifestyle as its reverse. These are the 2 sides of the human experience. Through an internal monologue, Prufrock explores his feeling of uselessness and displacement in culture, while in “The Entrance of the Bee Box”, the speaker is involved with their powerlessness over their particular mind, and impending implications. Throughout “The Arrival from the Bee Box”, the presenter is concerned with their powerlessness towards the noises within their mind. The speaker will contradict or perhaps argue with themselves as shown by simply contrasting strengthen and view. While the loudspeaker knows that “(the box) is definitely dangerous” that they still “can’t keep away from it”. The loudspeaker wishes to “be fairly sweet God”, however denies looking for power by simply proclaiming that “I was not a Caesar”. This bi-polar behaviour is usually shown by inconsistent rhyming throughout the composition. In the initially stanza “lift” is rhymed with “midget” and “it”, yet consist of stanzas no rhyming is located at all. Inconsistently throughout the composition, internal rhymes are found – “square being a chair”, “din in it”, “It is dark, dark” – which in turn add to the distaccato feel in the poem. The “din” from the ‘bees’ is usually emphasised profusely by using echo and onomatopoeia – “It is the noise that appals me most of all. The unintelligible syllables” – that highlight the true noises and confusion in the speaker’s mind. The noise with their mind is usually highlighted by many people metaphors that compare requirements to “furious Latin”, a “Roman mob”, “angrily clambering”, “a box of maniacs” and “unintelligible syllables”. The tone from the end from the piece seems to ask for support as the speaker requires many questions such as “how hungry they are? ”, “if they would ignore me? ”, “how may i let them away? ”, and “why should they turn on me? ”. The speaker conveys a wish to be in control, yet accepts that they are insignificant towards the power of the noise within their mind. In T. T. Eliot’s “The Love Tune of L. Alfred Prufrock”, Prufrock is concerned with his impression of his insignificance and displacement in society. Eliot makes use of metaphors – “measured out my life with espresso spoons”, “When I i am pinned and wriggling for the wall” – to show that Prufrock examines life to coffee and feels like an insect over a wall. Contrastingly, Plath uses metaphors to stress an exact audio, the noises of the bees in the speaker’s mind. Eliot also uses much more unnecessary repetition than Plath in his poem – “Before the currently taking of a toasted bread and tea”, “fix you in a formulated phrase”, “When I i am pinned and wriggling for the wall” – whereas Plath nearly did not use virtually any alliteration by any means apart from “black on black” perhaps since her piece sounds a lot more like a story applying conventional words and phrases when compared to Eliot. Both Eliot and Plath personify many objects within their pieces. Plath describes the bees like a “Roman mob” and Eliot compares the yellow haze and smoking to a feline as it “licks its tongue”, “leap(s)”, “rubs its muzzle” and “curled… and droped asleep”. A distinctive literary system that Eliot uses is usually anaphora – “To have… To have… To roll… To say…” – which in this instance describes all the things that Prufrock could have completed, but never did. The central connecting burden that both speakers happen to be plagued with is a powerlessness to their Sword of Damocles; the bees ruling the speaker’s helpless mind and Prufrock’s feeling of alienation and uselessness inside the real world.

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