Comparing Joyce’s Ulysses and T.S. Eliot’s Love Song of J. Alfred Prufr

Comparing Joyces Ulysses and T.S. Eliots cut Song of J. Alfred PrufrockIn consequence 8 of Ulysses, Joyce sends Bloom and the reader through a gauntlet of viands that enlarges one of the novels main linguistic strategies, that of gradual digestion. maculation Episode 10 may seem worry a more all(prenominal)ot choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliots metrical composition The Love Song of J. Alfred Prufrock, the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-heros cause inability digest thoroughly any complete thought all the way through. Bloom describes the process of eating with realism appropriate to the proletariat And we stuffing food in one hole and out behind food, chyle, blood, dung, populace good have to feed it like stoking an engine (144-5). Indeed, this is the path lyric poem take in the novel they begin in a pure form, as written on a page (such as Marthas argon you not happy in your home you poor little naughty male child? which, despite its impure implications, is at least black ink on white paper) and filters into every stage of Blooms journey (as in Episode 8, 137). The gradual digestion of words fits with another of Marthas lines, the typographical error I called you naughty darling because I do not like that other human race (131). These words become worlds, carving out a space as they travel throughout Dublin with Bloom. Bloom tosses the throwaway into the Liffey, and its words sail deplete not only the river, but alongside Bloom, causing him trouble and scar him as a throwaway himself. Words often hint at their induce creation or foreshadow another... ...urface giddiness of mermaids singing, each to each. Our paralysis in reading Prufrock, from stanzaic symmetries (And would it have been worth it, after all/That is not is, at al l, apply twice with minor variations) that indicate Prufrocks stalled action to the anatomization of pluralized body move (eyes/arms) that rest heavily on a local token while emphasizing its multitude and power, Disturbs the universe as much as Prufrocks own perambulations do, that is, not at all. He only sinks further down, drowning not only in other human voices but, more importantly, in his own constipation. Works CitedEliot, T. S.. The Love Song of Alfred J. Prufrock. Making Literature Matter An Anthology for Readers and Writers. 2nd Ed. Schlib & Clifford. capital of Massachusetts Bedford, 2003. 851-855.Joyce, James. The Portable James Joyce, New York Penguin Books, 1996 Comparing Joyces Ulysses and T.S. Eliots Love Song of J. Alfred PrufrComparing Joyces Ulysses and T.S. Eliots Love Song of J. Alfred PrufrockIn Episode 8 of Ulysses, Joyce sends Bloom and the reader through a gauntlet of food that enlarges one of the novels main linguistic strategies, that of g radual digestion. While Episode 10 may seem like a more appropriate choice for a spatial representation of the city, this episode maps digestion out like Bloom wanders the streets of Dublin, with thoughts entering foremost through the body and exiting them. In T.S. Eliots poem The Love Song of J. Alfred Prufrock, the stanzas deescalate the city from skyline to sea-bottom in accordance with the mock-heros own inability digest thoroughly any complete thought all the way through. Bloom describes the process of eating with realism appropriate to the task And we stuffing food in one hole and out behind food, chyle, blood, dung, earth good have to feed it like stoking an engine (144-5). Indeed, this is the path words take in the novel they begin in a pure form, as written on a page (such as Marthas Are you not happy in your home you poor little naughty boy? which, despite its impure implications, is at least black ink on white paper) and filters into every stage of Blooms journey (as in E pisode 8, 137). The gradual digestion of words fits with another of Marthas lines, the typographical error I called you naughty darling because I do not like that other world (131). These words become worlds, carving out a space as they travel throughout Dublin with Bloom. Bloom tosses the throwaway into the Liffey, and its words sail down not only the river, but alongside Bloom, causing him trouble and marking him as a throwaway himself. Words often hint at their own creation or foreshadow another... ...urface giddiness of mermaids singing, each to each. Our paralysis in reading Prufrock, from stanzaic symmetries (And would it have been worth it, after all/That is not is, at all, used twice with minor variations) that indicate Prufrocks stalled action to the anatomization of pluralized body parts (eyes/arms) that rest heavily on a local item while emphasizing its multitude and power, Disturbs the universe as much as Prufrocks own perambulations do, that is, not at all. He only sin ks further down, drowning not only in other human voices but, more importantly, in his own constipation. Works CitedEliot, T. S.. The Love Song of Alfred J. Prufrock. Making Literature Matter An Anthology for Readers and Writers. 2nd Ed. Schlib & Clifford. Boston Bedford, 2003. 851-855.Joyce, James. The Portable James Joyce, New York Penguin Books, 1996