Analysis of "The Love Song of J Alfred Prufrock"

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I write today with the intent to discuss and analyze The Love Song of J. Alfred Prufrock, penned by the illustrious modernist poet T.S. Eliot. Indeed, gentlemen, I write to discover unto you the significance of Eliot’s piece through the lens of modern medical psychiatry. Eliot, in his fine work, uses diction wrought with anxiety and choppy, disjointed syntax to describe the titular character, Prufrock ,in a manner that largely concurs with the description of Avoidant Personality Disorder, as defined by the Diagnostic and Statistical Manual of Mental Disorders. The poem, written from the perspective of J. Alfred Prufrock, is positively saturated with diction that suggests that Prufrock is plagued by enormous social anxiety and entertains an especially poor self-image. Indeed, Eliot goes so far as to make Prufrock compare himself to an insect, cured and pinned to a wall for meticulous scrutiny. Poor, wretched Prufrock cannot even allow himself the mere semblance of favorable reflection- he describes seeing his severed head on a platter but hastily disavows any comparison to the prophet John the Baptist. The Diagnostic and Statistical Manual of Mental Disorders describes the social symptoms of Avoidant Personality Disorder (henceforth to be referred to as APD) as such: Subject is “shows preoccupied with being criticized or rejected in social situation” and ” views self as socially inept, personally unappealing, or inferior to others. [1]” Those souls afflicted with APD frequently engage in fantasy and disjointed thought in order to interrupt painful thoughts [2]. Eliot employs unusually disjointed syntax throughout his work. Prufrock vacillates subjects erratically, sometimes landing on subjects with no discernible relevance to himself, such as the repeated line “In the room the women come and go, Talking of Michelangelo.” He executes this as a method of
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