Data Bases • Custom Term Papers • Free Term Papers • Free Research Papers • Free Essays • Free Book Reports • Plagiarism? Links • Top 100 Term Paper Sites • Top 25 Essay Sites • Top 50 Essay Sites • Search 97,000 Papers @ DirectEssays.com • Search 101,000 Papers @ ExampleEssays.com • Search 90,000 Papers @ MegaEssays.com Free Essays • Term Paper Sites • Chuck III's Free Essays • Free College Essays • TermPaperSites.com • My Term Papers • Get Free Essays • Essay World • Planet Papers	Search Lots of Essays Back to Subjects - Miscellaneous Forever Spiritually Persistant Forever Spiritually Persistant The structure of Preludes is governed by the notion of time and is experienced through the observation of the conscious but actionless individual. This ever advancing element of time suggests a journey of sorts, perhaps of spirituality or spiritual degradation. Similar to The Love Song of J. Alfred Prufrock, Preludes is a conscious journey through a world of torturous repetition, though unconcerned with topics of Michelangelo. This contrast of high and low ranking society between the two works suggests a common ground of spiritual decay, regardless of the classes. The societies are made up of drastically different classes but result in similar conclusions; the notion of burnt-out days and ways, signifying the destruction of society’s spirit and morality. Throughout Preludes, the structural element of time is portrayed through images and sensations associated with daily actions. Points in time are made obvious through meaningless tasks; early mornings are defined by the raising of dingy shades and evenings by the "smells of steaks in passageways," (T.S.Eliot: The Complete Poems and Plays [CPP], 12) and the lighting of the lamps. As the initial stanza begins, we are aware that evening is upon us. The notion of scheduled action is made through the reference of, "Six o’clock," (CPP, 12). Images of poverty and lower class filth set the scene and allude to "the burnt-out ends of smoky days," (CPP, 12) painting a disgusting picture of society’s surroundings. Deepening the feeling of emptiness, there stands a "lonely cab-horse," (CPP, 12) the first notion of actual emotion on a street of meaningless leaves and newspaper. In the second stanza time becomes evident with the specific sensations of the morning hours; stale beer and coffee stands. Further suggestion of mindless scheduled repetition is illustrated as the street becomes alive... "With all its muddy feet that press / To early coffee-stands," (CPP, 12). The narrator refers to the notion of time 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 observer’s soul in this stanza is heightened and superior to the woman’s 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 the constant movement of time, and with it, the constantly mindless movement of society. The street itself is again characterized by common gestures and recurring actions: "And short square fingers stuffing pipes, / And evening newspapers, and eyes / Assured of certain certainties," (CPP, 13) illustrating the predictability of the world. Eyes assured of certain certainty are never surprised and are subject to the same certainties today, as they were the day before. Certainly one of the most interesting lines within Preludes :"The conscience of a blackened street Impatient to assume the world," (CPP, 13) seems to suggest that the street is "impatient" to serve as an example of the world in general. The portrayal of a "Blackened street" supports the notion that the street is filthy and corrupt. Possibly an example of T. S. Eliot’s attitude toward the world...blackened and without spirit or soul. Preludes comes to a seemingly contradictory end as two small stanzas give notion to separate outlooks. The first, though slightly out of place when taken along with the sordid images of the street and of society, suggests a new, slightly more kind idea of the street:"I am moved by fancies that are curled / Around these images, and cling: / The notion of some infinitely gentle / Infinitely suffering thing," (CPP, 13). These last lines seem to portray a forgiving vision of society, an almost compassionate attitude toward the filth and the spiritual degradation. Contradicting to an even further extent, the attitude of the work, the final stanza seems to ridicule the previous: "Wipe your hand across your mouth, and laugh; / The worlds revolve like ancient women / Gathering fuel in vacant lots," (CPP, 13). Concerning itself with the world as a whole, the lines utilize a simile to characterize the inevitable persistence of meaningless action, action that sustains persistence, inturn sustaining a spiritually defunct society. Bibliography: Word Count: 948
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