T.S Eliot’s Journey of the Magi and The Love Song of J. Alfred Prufrock
T.S Eliot’s Journey of the Magi and The Love Song of J. Alfred Prufrock, Bruce Dawe’s Not So Good Earth and Robert Frost’s Out, Out each educe draws amid their agreement in regulate to enlist the interior and liking of the reader. Full poets tool a difference of techniques amid their strains such as personification, symbolism, feeling phraseology and visionry to mature on the expectation of attractive the interior and liking of the reader. In doing so, the poets entreat the reader to draw the strains notionls, fullowing ce accentuated enlistment amid the interior and liking of the reader.
The manifestation of personification amid Frost’s Out, Out serves to identify the proverb to a dog or a possessed animal. Hence, the buzz proverb is ceged as a unpremeditatedice amid Frost’s lot, with its manifest fixed to do the young-person damage evoking a appreciation of trepidation amid the interior and liking of the reader, this is plum amid the strain in stanza single, when “the buzz proverb snarled and rattled.”
Whereas Eliot amid The Love Song of J. Alfred Prufrock personifies the yellow steam accompanied by a hale chime and assonance which advance enriches enlistment amid the interior and liking of the reader, this is plum amid sequences 15-22, with the stread sequence commencement with irregular personification, “the yellow bewilderment that rubs its tail concurrently the window-panes.”
When looking at the object of the strain Out, Out, Frost paints a gruesome vision as the young-person’s operative is sliced unpremeditated by the proverb, “holding up the operative, /Half in accost, yet half as if to keep/The estate from spilling.” As this is the primitive symptom that is given that the young-person may fade, as the stipulatement “life” is manifestationd instead of “blood” in this precedence.
Caesura is to-boot manifestationd concurrentlyside this visionry to enlist the likingset and interior of the reader well-balanced advance, as the pamanifestation succeeding “life” is stipulated which slows down the tread. Frost to-boot makes the withhold utilisation of fulliteration through such “h” sounds and assonance in the gentle “a” sounds of “half” and “hand” which suggest to the appreciation and expectation that age is moving sloth as the young-person begins to clasp the hardship of the standing at operative, this full fulluding well-balanced advance to the expectation of attractive the reader through ceming visions trepidationally clasping the interior and liking.
Whereas Eliot in The Love Song of J. Alfred Prufrock indicates that Prufrock is scant self-esteem, this is plum through the visionry in sequences 57-61 when he describes himself as an insect “pinned and wriggling on the bastion.”
As the conclusive sequences of the strain (121-123) encapsulate the notion of attractive the interior and liking of the reader well-balanced advance through some irregular deep visionry, including the singing of mermaids and sea-girls wearing offal. Accompanied by single of the strains most fictitious metaphors, the unspotted capped waves are compared to “unspotted hair.”