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

canvas Joyces Ulysses and T.S. Eliots bask song of J. Alfred PrufrockIn chance 8 of Ulysses, Joyce sends blossoming and the reader through a gauntlet of food that enlarges oneness of the newfangleds main linguistic strategies, that of dull digestion. While Episode 10 may seem equal a more portion woof for a spatial representation of the city, this episode maps digestion kayoed bid develop wanders the streets of Dublin, with melodic themes entering foremost through the body and exiting them. In T.S. Eliots song The Love Song of J. Alfred Prufrock, the stanzas deescalate the city from skyline to sea-bottom in amity with the mock-heros own inability digest thoroughly any get it on thought all(a) the way through. Bloom describes the process of eating with creation enamor to the task And we stuffing food in one repair and out behind food, chyle, blood, dung, earth good have to feed it like stoking an locomotive engine (144-5). Indeed, this is the path speech commun ication take in the novel they bulge in a pure form, as written on a pageboy (such as Marthas Are you non happy in your situation you poor little full-bodied boy? which, despite its impure implications, is at least black ink on white paper) and filters into every pose of Blooms journey (as in Episode 8, 137). The gradual digestion of quarrel fits with an different of Marthas lines, the typographical error I called you naughty devout because I do not like that other world (131). These words become worlds, carving out a space as they trigger off throughout Dublin with Bloom. Bloom tosses the throwaway into the Liffey, and its words public opinion poll waste not only the river, but alongside Bloom, causing him pain in the neck and cross him as a throwaway himself. Words often advise at their own creation or foreshadow another... ...urface giddiness of mermaids singing, distributively to each. Our palsy in reading Prufrock, from stanzaic symmetries (And would it have be en worth it, after all/That is not is, at all, used twice with minor variations) that indicate Prufrocks stalled run to the anatomization of pluralized body parts (eyes/arms) that rest heavy on a local item while emphasizing its spate and power, Disturbs the universe of discourse 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. Boston Bedford, 2003. 851-855.Joyce, crowd together. The movable 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 nove ls main linguistic strategies, that of gradual 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 int o 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 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 perambulati ons 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. Boston Bedford, 2003. 851-855.Joyce, James. The Portable James Joyce, New York Penguin Books, 1996