Humans have performed dangerous stunts since the beginning of time. These daredevils, deemed as either utterly insane or as possessing death wishes, are usually viewed by society as mere lunatics: people who do not value their lives. On the surface they are laughed at, but underneath the public condescension and jeering they are viewed with a kind of horrified admiration. Why is this? It is because these individuals are doing what they love without holding back and with no reservations. They are fully aware that they are risking their lives and that death is looking them in the face, but they do not care because they are achieving their dreams. These daredevils set themselves apart from the crowd by acting on their desires when most of the
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Alfred Prufrock,” Eliot represents age and time through parallelism and situational irony to show that one must not squander his opportunities in life. Parallelism is prevalent throughout the poem, and is used to present age in a nagging, incessant way. The phrase “there will be time” is paralleled throughout the piece, including in the stanza “There will be time, there will be time / [...] There will be time to murder and create, / [...] And time yet for a hundred indecisions” (“The Love Song of J. Alfred Prufrock” 26, 28, 32). Prufrock, the protagonist of the poem, repeatedly reminds himself of how much time he has; he uses the concept of time to console himself from his embarrassment of being too afraid to act on his desires. As the poem goes on to explain, Prufrock does not actually have an endless amount of time and he begins to age and die. He is “unable to act [... and] he consoles himself with the repeated speculation that “there will be time” to act on his social [...] anxiety” (Persoon and Watson 4). Eliot himself connects with the character of Prufrock, because he was known to be extremely introverted and shy; he over analyzed things until the chance had long passed, much like how Prufrock did (Bush 1). Another tool that Eliot uses to display the ubiquity of death is situational irony. In the stanza “Let us go then, you and I, / When the evening is spread out against the sky / Like a patient etherised upon a table,” situational irony is used between lines 2 and 3 to show how death disturbingly appears into Prufrock’s thoughts (“The Love Song of J. Alfred Prufrock” 1-3). The reader is not expecting to read such a morbid phrase; “the opening line [...] invites [the reader] to imagine strolling ‘When the evening is spread out against the sky,’ but [the] expectation of romantic reverie is quickly undercut by the macabre image of ‘a patient etherised upon a table’” (Bloom, “The Love Song of J. Alfred Prufrock” 3). Prufrock is
Alfred Prufrock,” Eliot represents age and time through parallelism and situational irony to show that one must not squander his opportunities in life. Parallelism is prevalent throughout the poem, and is used to present age in a nagging, incessant way. The phrase “there will be time” is paralleled throughout the piece, including in the stanza “There will be time, there will be time / [...] There will be time to murder and create, / [...] And time yet for a hundred indecisions” (“The Love Song of J. Alfred Prufrock” 26, 28, 32). Prufrock, the protagonist of the poem, repeatedly reminds himself of how much time he has; he uses the concept of time to console himself from his embarrassment of being too afraid to act on his desires. As the poem goes on to explain, Prufrock does not actually have an endless amount of time and he begins to age and die. He is “unable to act [... and] he consoles himself with the repeated speculation that “there will be time” to act on his social [...] anxiety” (Persoon and Watson 4). Eliot himself connects with the character of Prufrock, because he was known to be extremely introverted and shy; he over analyzed things until the chance had long passed, much like how Prufrock did (Bush 1). Another tool that Eliot uses to display the ubiquity of death is situational irony. In the stanza “Let us go then, you and I, / When the evening is spread out against the sky / Like a patient etherised upon a table,” situational irony is used between lines 2 and 3 to show how death disturbingly appears into Prufrock’s thoughts (“The Love Song of J. Alfred Prufrock” 1-3). The reader is not expecting to read such a morbid phrase; “the opening line [...] invites [the reader] to imagine strolling ‘When the evening is spread out against the sky,’ but [the] expectation of romantic reverie is quickly undercut by the macabre image of ‘a patient etherised upon a table’” (Bloom, “The Love Song of J. Alfred Prufrock” 3). Prufrock is