Eliot and Lawrence

T. S. Eliot and D. H. Lawrence Comp ar and Contrast their Techniques and Themes T. S. Eliot and D. H. Lawrence, although they ar twain contemporary authors of Modernist period, gestate different values and techniques. They argon both born in mid-eighties when the world go intos the industrial age. man both witness the dynamic transition, they both criticize the modernity but in different methods. Two authors dealings regarding techniques and themes would be analyzed by comparing Eliots The sock yell of J. Alfred Prufrock (1915) and Lawrences two poem How Beastly the conservative is (1929) and Bavarian Gentians (1923).Eliot and Lawrence both display modernistic sentiments. Modern set class of England, so called Bourgeois is pie-eyedly criticized in Lawrences poem, How Beastly the Bourgeois is. The title itself understandably demonstrates Lawrences hostility towards bourgeois. The poem begins describing how bourgeois seem fancy outside. However, if he were let to be face d with a nonher mans need, or to a bit of moral difficulty (11-12), he goes soggy identical a wet meringue (13). He is all wormy and hollow inner(a) merely like an old pick.To Lawrence, bourgeois hold every aspect of cultural decay in the modern Western world. One of natural modernist tactic is to criticize modernity which allow ins the suddenly enhanced status of the middle class who lack corresponding intellectuals. Eliot also demonstrates Modernism. He was a come across figure of Modernism and was so important a figure that the primaeval Modernism era in 19th century is also called The years of Eliot. In The Metaphysical Poets, written in 1915, he introduces his vistas on what clean-cut features Modern or Metaphysical poets should accustom.Although his early poem The Love stress of J. Alfred Prufrock is published prior to the book review, it also displays modernistic features. First of all, Prufrock, the verbaliser of the poem, is non going for telos. His utterance s are not logically connected and thence fail to be accumulated into certain purpose. In this poem, his objective would be to declare his whop as the title implies. However, all he does is to slew and revision (33). Constantly suggesting well-nighthing bold but neer do as so, he doesnt move forward but always retreat. And then there will be timeTo wonder, Do I dare? and, Do I dare? Time to turn back and descend the gradation, (37-39) His unfertile feelings are shown in cables lengths 39 as he descend the stair or as he uses the word digress (66). He keeps inferring to en multifariousnessle question but it doesnt lead to actions, which reminds of Bourgeois. An former(a)wise similarity amid Eliot and Lawrences poems is the coherent relationships between contents and structures. In Bavarian Gentians, gentians are compulsively modified by various embellishments. Bavarian gentians, big and dark, plainly dark arkening the mean solar day, torch-like, with the smoking blue peddleness of Plutos gloom, 5ribbed and torch-like, with their consume of darkness spread blue down flattening into apexs, flattened under the sweep of white day torch-flower of the blue-smoking darkness, Plutos dark-blue daze, black lamps from the halls of Dis, burning dark blue, giving off darkness, blue darkness, as Demeters pale lamps give off light, 10lead me then, lead the way. (3-10) Words or phrases such as big and dark, only dark and again darkening the daytime qualifies gentians and those embellishments dont stop until the line 6 before the chief(prenominal) verb sweep.Compulsive embellishments start again after the main verb, and what the speaker system does from line 3 to 10 is just to describe how dark and blue the gentians are. This strikingly repetitive structure helps expressing the desperate desire the speaker has for deadly liveliness. Bavarian gentians itself contains vitality as the word Bavarian infers. Also, its role is to lead the speaker to underworld where ultimate source of vitality seems to reside. Prufrocks utterances are dull and redundant as well. For instance, he uses triplets from line 122 to 124. Shall I part my hairsbreadth behind? Do I dare to eat a speak?I shall wear white flannel trousers, and walk upon the beach. I nurture heard the mermaids singing, each to each. (122-124) Triplet is a coercive technique to bring to an end because it lets reader to feel that virtuallything is completed. However, Prufrock could not insist temptation to add some more(prenominal) than. Right after the triplet, he continues as if he murmurs, I do not think they will sing to me (125). This endless revision deflower the case of the triplet and even makes it redundant. Triplet turns out to be in vain and this structure strengthens Prufrocks indecisive character, in accordance with contentsEliot and Lawrence are also both talented in using vivid and powerful images. In How Beastly the Bourgeois is, Lawrence borrowed the hollow a nd damp image of mushroom to describe Bourgeois. It starts Nicely groomed like a mushroom which gives some humor to the poem. In Bavarian Gentians, repetition of dark and blue makes strong impressions. The gentians are like dark torch darkening the daytime (4) and their blaze of darkness (5) assign unimaginable darkness to the gentians. The vivid and powerful images of gentians are so impressive that it remains long after the poem is finished.The Love Song of J. Alfred Prufrock is also famous for shocking images, devised by Eliots taste to achieve sudden contrast. When the evening is spread out against the sky Like a patient etherized upon a table (2-3) This striking juxtaposition leaves strong images. Evening, like a patient etherized upon a table presents a symbolic landscape where Prufrocks unfruitful floundering eventually ends to be drowned. Line 8 to 9 also shows Eliots brilliance. The lines tedious argument / Of insidious end (8-9) successfully secure the effect by putting unexpected lyric poem joined together.Eliot deliberately polished his lines to give exactly this unusual feeling. Samuel Johnson, however, criticized this kind of juxtaposition. He first named them metaphysical poet with negative connotation. Also, he diminished the effect by arguing that in metaphysical rhyme the most intricate ideas are yoked by violence together (Samuel Johnson, Cowley). However, Eliot rebutted Johnsons review in The Metaphysical Poets. The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his message.Furthermore, he encourages that poetry should include heterogeneity of material compelled into unity only differ in degree. While both Eliot and Lawrence create powerful images, their concepts of image are very different. Lawrence claims poetry must be spontaneous, flexible, alive, direct utterance from the instant, whole man, and should express the pulsating, swinish self (T he Poetry of the Present, 1919). His version of successful poetry should contain sensible feeling of instinctual self. On the contrary, Eliot is strongly against dissociation of sense and sensibility.Therefore from Eliots headway of view, Lawrences inclination toward sensibility is not desirable. In Eliots point of view, Lawrence could even be categorized as a romantic poet. It is because Lawrences trust in instinctive raw feeling might strike him to Romanticism where humans individual feelings were though highly of. Eliot endeavors to quit image by letting people feel their thought as immediately as the odour of a rose (Metaphysical poet). For him, thoughts do not conflict with feelings. They are rather harmoniously joined together and obtain memorable expressions.He used allusion to achieve these effects. When classical literature is inserted as an allusion, a text is connected to an other, enlarging the thought and feelings of the text. While Romanticism regards poets genius as important, Eliot regards classical texts as so. Meanwhile, Lawrence values poets genius above others as he tries to capture ecstatic moments of vitality through his vision as shown in Bavarian Gentians. Eliot might advise Lawrence to control his overwhelming exasperations and use classical literature instead, for old texts often possess depths which enlarge the meaning of poetries.For example, an epigraph attached to the Love Song alludes to Dantes Inferno. Guido confesses his sins to Dante only because he thought Dante would not be able to escape from the inferno and infamy him. Guidos utterance takes place because Guido presumes that his utterance would mean nothing as if it has never existed. Prufrockss utterances are also facing ontological question. Unlike its title, love is neither ever achieved nor even declared. He confesses Its impossible just to say what I mean (104). His utterances fail without accomplishing any goal.Therefore, the epigraph arranged cryptical conte xt in accordance with Prufrocks situation. Although Lawrence might be connect to Romanticism with regard to his trust in human instinct, he is not Romantic poet. Contrary to typical Romanticism which tends to be often criticized for its lofty detachment, Lawrence sings the vitality of human instinct, closely related to reality. In Bavarian Gentians, the speaker does not fly away from reality but rather goes vacuum tube and face the reality of realities demise. Gentians dark and blue power guides the speaker to enter into the presence of Pluto.Were it not been for his desire for the centerfield of vitality, this brevity to face death would not be possible. Lawrence takes off his mask of persona unlike other romantic poets such as Wordsworth and Yeats (J. Kim, Lawrence) and vigorously recites his raw feeling as it is. As Eliot pursues to incorporate erudition into sensibility (Metaphysical Poets), he would prefer Bavarian Gentians to How Beastly the Bourgeois is. While Lawrence exposes direct feeling in both poems, Bavarian Gentians uses myths of Persephone or Odysseus. and Persephone herself is but a voice r a darkness invisible enfolded in the deeper dark of the arms Plutonic, and pierced with the passion of dense gloom, among the splendor of torches of darkness, shedding darkness on the lost bride and her groom. (16-20) Persephone or the lost bride and her groom could be seen as allusions as it strengthens both the images of behavior and death. Persephone, combined with his mother Demeter, symbolizes uncontrollable vitality of land. Within this context, it become more persuasive that the speaker does go underg dress circle searching for essence of vitality retained in death.Regardless of their different techniques and themes, Eliot and Lawrence deliver messages and images vibrating with energy. They are contemporary poets with sarcastic minds. Each took different measures to depict problems but both proved to be effective. Eliot who went over to Engla nd in pursuit of tradition, he referenced other works of literature within his text. This technique, called allusion enabled Eliots text to be weaponed with richer context in which the texts could be more delicately understood.Lawrence, on the other hand, focused more on expressing innate vitality of human world just like a person who was passionate enough to bolt with his lover. He created direct and vivid images. Ceaselessly correcting himself, Prufrock loses his momentum. Eliot shows alienated character without reservation any adjustments. He rather chooses to borrow classical literature to round Prufrocks character. Lawrence, meanwhile, tries to solve the problem of his era by suggesting the power of vitality. He urges others to pursue the vital power to the end, even till one faces death, where the essence of the power could be found. (1835 words)