Eliot And Sylvia

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Eliot And Sylvia

, talking of Michelangelo, a subject so deep that it begs a discussion more serious than that of the chatter at ladies' tea parties. But the women just come and go, discussing the great artist only superficially, and Prufrock addresses the ladies with an air almost of biting sarcasm. Prufrock then decides to switch back to this other, more beautiful world, and he describes the fog rubbing up against the windowpanes. He describes the fog almost as if it were an animal; personifying it and giving even it some sense of feline beauty
With Sylvia, the only feeling that is particularly obvious is one of contented pride, as the mother celebrates her baby's birth (Our voices echo, magnifying your arrival) and congratulates it on its newly-found independence. There does seem to be an upset, almost resentful undertone, as the mother says I'm no more your mother/ Than the cloud which distills a mirror to reflect its own slow/ Effacement at the wind's hand. Although she is only pointing out that this is the case, she seems to be nostalgic for the time when her baby was wholly dependant on her. The focus of the poem, however, seems to be on discovery, as is shown by the end: And now you try Your handful of notes;/ The clear vowels rise like balloons. This appears to be a description of the baby crying, but instead of reprimanding her child, the mother acclaims it. This has the effect of showing her contentment due to the baby being able to cry, and her satisfaction with regard to its experimental use of sounds. The new coming baby is very excited as a child cry, the sound of live and hope, but after a few days later, her child is gone because a miscarry problem, she lost her child. I am no more your mother. In T.S Eliot's the love song of J. Alfred Prufrock self esteem affects his love life greatly. The woman he is in love with is younger than he is and this distresses him. He does not believe that some younger woman could possibly accept him or find him attractive. Expressing any kind of affection to her is awkward and difficult. Prufrock knows what he must say but cannot bring himself to say it  should I, after tea and cakes and ices, have the strength to force the moment to it's crisis? (79-80) his apprehensiveness in his love life is very troublesome for him indeed. The debate in Prufrock's mind finally comes to a close when he compares himself to...

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