ime disguising itself with repetitive actions, time passing actions, as "masquerades / that time resumes," (CPP, 12). Its scheduled continuation of this masquerade is observed morning after morning. The following lines support the idea of patterned action: "One thinks of all the hands / That are raising dingy shades / In a thousand furnished rooms," (CPP, 12). Unified hands in unified rooms performing a similar action give the illusion that time is patterned in a society consisting only of cycles, void of spirit.The focus of the third stanza suddenly moves from the commentary of a faceless narrator to an unidentified, female, "you." Yet another marker of time is made visible to the reader, continuing to portray the advancing days. Night has once again fallen and while quietly observing, a "thousand sordid images," (CPP, 12) are revealed to her "Of which [her] soul was constituted;" (CPP, 13). Possibly the reflection of T.S.Eliots own spiritual anguish, these sordid images of society serve as an awakening. Spiritually inundated by her foul and repetitious surroundings, this moment of clarity allows her to see what is otherwise invisible during the hours of monotony. As the morning reappears, this awakening creates a contrasting vision of her surrounding society, that which the street is unable to understand.Within the fourth stanza of Preludes, a third point of view is introduced with the imagery: "His soul stretched tight across the skies / that fade behind a city block / Or trampled by insistent feet / At four and five and six o'clock;" (CPP, 13). The notion is created that the observers soul in this stanza is heightened and superior to the womans spirit (or soul?). While her spirit only seems to incorporate the street, the male observer possesses spirit that far exceeds the limit of the street, trampling past insistent feet. Following the description of this extended soul is a more specific reference to time; 4, 5, and 6 suggesting t...
