By clicking âCheck Writersâ Offersâ, you agree to our terms of service and privacy policy. Weâll occasionally send you promo and account related email
No need to pay just yet!
About this sample
About this sample
Words: 2355 |
Pages: 5|
12 min read
Published: Jul 18, 2018
Words: 2355|Pages: 5|12 min read
Published: Jul 18, 2018
In all of modern literature, there are few protagonists as self-effacing, miserable, indecisive, or morally contemptible as Fyodor Dostoevskyâs Underground Man. Given the Underground Manâs interminable Hamlet-like meanderings, one might surely conjure up the Dostoevsky-influenced likenesses of Kafkaâs Gregor Samsa or any number of characters by James Joyce, but the Underground Manâs truest literary match is not found in the loosely-packed language of prose; rather, the Underground Man can best be seen through the anguished eyes of T. S. Eliotâs J. Alfred Prufrock as he sings his infamous love song.
Although Prufrock and the Underground Man were created during fundamentally different literary movementsâPrufrock is the universally recognized embodiment of Modernism, whereas the Underground Man represents Russian Realismâtheir methods of approaching desire are strikingly similar, especially as this understanding relates to anonymity and the desire for recognition.
The reader is first introduced to the Underground Man not with the lyricism that is found alongside Prufrock, but, rather, by a series of grievances. Some of his complaints, such as those involving his work in civil service, are philosophical in nature. Others, most noticeably the pain in his liver, are entirely physical. What unites his grievances, however, is their impermanence. The Underground Man is conflicted with an insatiable appetite for reversals, such as when he sardonically states,âI lied about myself just now when I said I was a wicked official. I lied out of wickedness. I was simply playing around both with the petitioners and with the officer, but as a matter of fact I was never able to become wicked. I was conscious every moment of so very many elements in myself most opposite to thatâ (5).Although his attitude in this passage indicates cavalier playfulness, the Underground Man remains first and foremost honest in his shortcomings. He repeatedly issues a veneer then a reversal without ever hiding his original thoughts. He is a man at war with both society and himself, never being able to truly separate the two, except for brief moments which are quickly denied. This unity, though recognized by the Underground Man, remains indicative of manâs inability to remain autonomous in an increasingly urban world, a common theme among Modernist literature and something fully realized in T. S. Eliotâs âThe Love Song of J. Alfred Prufrock.â
Another element seminal to understanding the paradoxes and insecurity of the Underground Man (and also appearing later in âPrufrockâ) is an inability to adequately express oneself. Although he remains âconscious [of] every moment of so very many elements,â the Underground Man is still unsure of how to convey his understanding of the world. For example, he reveals to his readers that something explosive occurred in his past regarding a superior officer, but it is not until forty pages later that the audience discovers the nature of the encounter. This withholding of information, which is foundational to the narrative, appears controlledâthat is, the narrator paces out the informationâhowever, given the Underground Manâs inability to speak without personal hindranceâbe it the physicality of âcatch[ing his] breathâ (7) or his philosophical âmagnanimityâ (9)âit is much more likely that the explosive encounter with a superior officer presented in section II of the novel is withheld from the audience simply due to the narratorâs inability to express himself. His nihilism has become so entrenched into his psyche that it is corporeal, suggesting that he is physically incapable of having a concrete opinion. This lack of cogency is typically representative of an unreliable narrator; however, the Underground Manâs unreliability becomes a literary device used to add depth to his character. Essentially, the Underground Man is indecisive because decisiveness in an age of moral turpitude is an impossibility.
Much like Dostoevskyâs Underground Man, T. S. Eliotâs J. Alfred Prufrock is a font of indecision who prefers withholding information to stating an actual opinion. After introducing his love song with the emotional anesthesia of an âeveningâ that is analogized to âa patient etherized upon a tableâ (lines 2-3), Prufrock quickly poses the idea that the ominous nature of the city, including âhotels,â ârestaurants,â and âstreetsâ (lines 4, 6-7), will lead the reader to âan overwhelming questionâ (line 10). Prufrock piques the readerâs interest by suggesting something life-changing, then quickly withdraws the information necessary to achieve pleasure from such a revelation. This absence, which is rivaled in the titillating preface to an encounter with an officer in Notes from Underground, reflects Prufrockâs inability to achieve his own desires. The audience understands this notion as they, too, are introduced to something desirable, then, just like Prufrock, stripped of any desirable outcome. That Prufrockâs narration is given so matter-of-factly suggests a commanding breed of misery. Prufrock does not appear to be morose about his endeavors; rather, he speaks of his longing then tells the audience not to âask, âWhat is it?â (lines 11) while subsequently and passionately welcoming the audience to join him in making a âvisitâ (line 12), which suggests the fleeting nature of passion, itself. Prufrockâs fleeting admissions are near perfect parallels to the reflections of the Underground Man, whose constant reversals form myriad philosophical âvisits.â
The common thread of brevity in Notes from Underground and âThe Love Song of J. Alfred Prufrockâ does not present itself negatively. Instead, brevity only comes retrospectively, as though experience, in hindset, is something overly âbeautiful and loftyâ (7) and submissive to the more refined conscious mind. Brevity, in the form of visits or philosophical musings, also refers to life and aging in the context of each narrative. The Underground Man states the âromanticâ occupies himself with âlyrical verses, [while] at the same time [trying] also to preserve âthe beautiful and loftyâ [âŚ] till his dying dayâ (46). The romantic attempts to âpreserve himself [âŚ] in cotton wool, like some little piece of jewelryâ (46). The Underground Man attributes this artificial preservation of beauty to the intelligence necessary to be a modern romantic, and the audience sees the same attributes play out in âPrufrock,â even if in a much different manner.
Rather than preserving any physical or emotional beauty, Prufrock spends his days callously contemplating his age. His mortality, however, is not something that is anticipated; rather, it is something violently thrust upon him through the recognition of clothing-related social conventions. This sudden realization is evident when he writes that the âeternal Footman hold[s] his coat and snickersâ (line 85). Additionally, at the end of the poem, he says, âI grow oldâŚI grow old⌠/ I shall wear the bottoms of my trousers rolledâ (lines 120-121). His trousers, which might otherwise indicate movement, life, and a general sense of action, are now merely a facet of his dying âface,â which must always be âprepare[d] to meet the faces that [he] meetsâ (line 27). This preparation is not limited to his mortality (and therefor his trousers); Prufrock mentions the implications of oneâs wardrobe throughout âThe Love Song of J. Alfred Prufrock.â In line 42, he mentions his âmorning coatâ and his âcollar mounting firmly to the chin.â In line 72, he muses about the âlonely men in shirt-sleevesâ who watch smoke rising from pipes. The significances of these two wardrobe-related observations pale in comparison, however, to âperfume from a dressâ (line 65), the âarms that lie along a table, or wrap about a shawlâ (line 67), or âone, settling a pillow or throwing off a shawlâ (line 107), the latter of which appearing to be at the height of all of Prufrockâs desires. Because everything around himâthe fog, streets, pipes, etc.âis indicative of an industrial urban environment, his entire universe is governed by the idea of transition and change. Clothing, to Prufrock, is something determinate, and thus decisive. Oneâs wardrobe is a perfect m?lange of the indecision-induced voyeurism that plagues his existence and the physicality of experience, two ideas heavily present throughout Notes from Underground.
Though the Underground Man, discussing the intelligent romantic, remains derisive toward those who are keen on preserving the âlofty and the beautifulâ through their clothing, he, like Prufrock, also uses clothing to âprepare a faceâ before the explosive encounter with the superior officer. Rather than confront the superior officer on the street in a coat that features raccoon, the Underground Man attains a loan so as to purchase âa handsome beaverâ (54), for âat the time of the performance one had to look as decent as possible and see to oneâs attireâ (53). That one must see to oneâs attire in the face of a social encounter could be considered perfectly acceptable, even in relation to the Underground Manâs aforementioned philosophies against the artificial preservation of beauty; however, that he considers it a âperformanceâ suggests artifice and anonymity. It is not, after all, the Underground Man who is set to have the encounter; rather, it is the Underground Man playing the social role of someone who is truly vindictive and seeking retribution. As in âThe Love Song of J. Alfred Prufrock,â faces must be artificially prepared not only to remain socially acceptable in the presence of other, more venerable persons, but also to shield the reality of oneâs existence, which, in both texts, is anonymity.
Both the Underground Man and Prufrock develop physical and philosophical disguises to make their anonymity more palatable toward reaching some seemingly indefinite goal. In âThe Love Song of J. Alfred Prufrock,â the audience is never told what his goal is; however, through the context of the situation, readers can piece together that he is in a place frequented by people of a similar disposition. His social environment features âwomen [that] come and goâ (line 13, 35) and âskirts that trail along the floorâ (line 102), suggesting a milieu at once both sexual and sophisticated. Although his âoverwhelming questionâ (line 10, 93) might be something as serious or âuniverse-disturbingâ as a marriage proposal or general affair, it is just as plausible that his love song takes place in a brothel or other social environment, and the âoverwhelming questionâ plaguing his existence is regarding a meaningless and anonymous sexual encounter. The thrown-off shawl from line 107 might suggest the fruition of this sexual exploit, and the readerâalong with Prufrockâremains entirely void of resolution, which is paralleled in the similarly anti-climactic encounter of the Underground Man in Book II of Notes from Underground.
The principal difference between the Underground Man and J. Alfred Prufrock is that the Underground Man successfully accomplishes his chief desire, whereas Prufrockâs situation remains static and unfulfilling. In Book I of Notes from Underground, the reader learns about something life-altering for the Underground Man: an insulting encounter with a superior officer. The audience is given little information until Book II, where the Underground Man reveals that he was simply moved by a superior officer. The Underground Man, preferring a quarrel to the passive aggression demonstrated by the officer, furiously says, âI simply could not forgive his moving me and in the end just not noticing meâ (49). The frivolity of the encounterâa simple movement so that the officer could passâis heightened to the level of an existential crisis by the Underground Man, who so fears his status in society that any gesture proclaiming his anonymity is an insult the very idea of existence. Such a feigned sense of importance is also present throughout the entirety of âThe Love Song of J. Alfred Prufrockâ as Prufrock continually wonders what others think of him, such as when he voices the opinions of anonymous women proclaiming âHow his hair is growing thin!â (line 41) and âHow his arms and legs are thin!â (line 44). The Underground Man, unlike Prufrock, does not appear to be worried that people think negatively of him; however, he is frightened by the idea that people might not notice him altogether.
That the Underground Man values his existence above the opinions of others is his sole redeeming attribute and the catalyst that sets him apart from the more squeamish Prufrock. Unlike J. Alfred Prufrock, who is physically incapable of making a decision based on what others thinkâheâs constantly wondering, ââDo I dare?â and âDo I dare?ââ (line 38), as well as âAnd should I then presume? / And how should I begin?â (lines 68-69)âthe Underground Man is able to make a decision upon the matter. After another series of reversals about exacting revenge upon the superior officer, he âunexpectedly decide[s]â to bump into the officer âshoulder against shoulderâ (55). The wording of âunexpectedly decidedâ suggests two important distinctions about the Underground Man. The first distinction is that his ability to act upon a matter is unexpected, implying an innate determination to fulfill his desires. The second distinction is that his actions, no matter how rushed or unexpected, are still decisions. Unlike Prufrock and his Modernist persona, the Underground Man is in control of his fate, however feeble that fate might be.
Even though Prufrock and the Underground Man each deliver interminable lamentations on the morality of their respective ages, the Underground Man is still able to act upon his grievances with society. Instead of continually addressing an inability to achieve a goal, such as with Prufrock, the Underground Man issues a series of philosophical reversals and paradoxes that ultimately end in the fulfilment of his desire. The Underground Man, unlike Prufrock, attributes his initial appetite for meandering philosophy merely to âboredomâ (17). Each protagonist naively believes he can âsee everything, and [âŚ] see often incomparably more clearly than [their] very most positive minds doâ (46) through a clear conscience of their surroundings. They believe such a cognizance approaches greatness, or, as Prufrock so aptly summarizes, each protagonist wonders whether or not he dares to âdisturb the universeâ (line 46). Unbeknownst to the Underground Man and Prufrock, such a universal disturbance is well beyond their capacity. They are undoubtedly destined to live in misery until âhuman voices wake [them]â (line 131) from the shackles of anonymity.
Works Cited
Dostoyevsky, Fyodor, and Richard Pevear. Notes from Underground. New York: Alfred A. Knopf, 1993. Print.
Eliot, T. S. "The Love Song of J. Alfred Prufrock." The Waste Land and Other Writings. 2002 Modern Library Pbk. ed. New York: Modern Library, 2002. 3-7. Print.
Browse our vast selection of original essay samples, each expertly formatted and styled