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objective correlative rhapsody on a windy night

I feel like one who smiles, and turning shall remark Suddenly, his expression in a glass. T.S. I smile, of course, And go on drinking tea. Bergson considered the true essence of time is its transitory nature. Thus, in 'Rhapsody on a Windy Night', we might see the chain of memories set off by the prostitute and the cat as an early example of the objective correlative. We have been, let us say, to hear the latest Pole Transmit the Preludes, through his hair and fingertips. In Creative Evolution, Bergson proposed the notion that an individual's natural state is change, asserting that all feelings and ideas are undergoing constant change. This pervasive sense of involuntariness acts in part as a poetic expression of Bergson's theories. Eliot accomplishes this disjointed effect by having the poet persona's perceptions depicted as observations from the street-lamps. The reader gathers that the protagonist of 'Rhapsody' has little to no control over this incessant flow of resurfacing memories. Ben H Wright. Slipped out and pocketed a toy that was running along the quay. T. S. Eliot - 1888-1965. T.S. Eliot is regarded as an extremely important modernist writer. They are personified - a device that contributes to the protagonist's fragmented and dissociated nature - in the second stanza, with the lines 'The street-lamp sputtered / The street-lamp muttered / The street-lamp said'. The site covers a wide range of literature on over 300 authors and around 1000 titles. and what if she should die some afternoon, Afternoon grey and smoky, evening yellow and rose; Should die and leave me sitting pen in hand With the smoke coming down above the housetops; Doubtful, for a while Not knowing what to feel or if I understand Or whether wise or foolish, tardy or too soon... Would she not have the advantage, after all? You will go on, and when you have prevailed You can say: at this point many a one has failed. This article explores the poem 'Rhapsody on a Windy Night', from Eliot's Prufrock and Other Observations, concentrating primarily on the concept of time and how it figures in the poem. "Yet with these April sunsets, that somehow recall My buried life, and Paris in the Spring, I feel immeasurably at peace, and find the world To be wonderful and youthful, after all." Eliot illustrates this unpredictably of memory in several lines but perhaps most notably in the bizarre image of 'a madman shakes a dead geranium'. The voice returns like the insistent out-of-tune Of a broken violin on an August afternoon: "I am always sure that you understand My feelings, always sure that you feel, Sure that across the gulf you reach your hand. These urban sightings are deliberately seedy and depressing: the woman is clearly a prostitute; the cat is described as slipping out its tongue to devour 'a morsel of rancid butter' - an act the reader assumes to be a subtle reflection on the protagonist's own futile existence; while the moon is delineated in the most unflattering, anti-romantic hue: 'A washed-out smallpox cracks her face'. And all its clear relations, Its divisions and precisions, Every street lamp that I pass. The Literary Index features a vast collection of links to academic scholarship of novels and poetry I have found on the net. Held in a lunar synthesis, Whispering lunar incantations. The modernist interest in time could be argued to be partially determined by earlier scientific discoveries.

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