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Morning At The Window Analysis



Author: poem of T.S. Eliot Type: poem Views: 18


They are rattling breakfast plates in basement kitchens,
And along the trampled edges of the street
I am aware of the damp souls of housemaids
Sprouting despondently at area gates.

The brown waves of fog toss up to me
Twisted faces from the bottom of the street,
And tear from a passer-by with muddy skirts
An aimless smile that hovers in the air
And vanishes along the level of the roofs.


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||| Analysis | Critique | Overview Below |||




.: :.

OMG no way not again!! Spencer was totally here again! ahahaha!!

| Posted on 2014-01-23 | by a guest


.: :.

i awesome and and i like corn and live in a well. my name is Spencer!

| Posted on 2011-12-02 | by a guest


.: :.

Spencer was totally just here??! hahahahahahahahaha:)

| Posted on 2011-12-01 | by a guest


.: :.

Thursday, 27 January 2011
2:23 PM
Presents a vision of modern society characterised by decay and weary detachment, where human interaction is limited by the apathy and emotional distance.
We are presented with the observations of a distant and detached onlooker - rather than an active participant - who is separated by physical and emotional distance from those below him, gazing wearily from his window.
The deliberately anonymous pronoun with which he opens the poem establishes the persona\'s pervasive tone of detachment and emotional distance. This merges with the vivid onomatopoeia of the opening lines , to present, in contrast to our expectations from the title, a domestic but very discordant image of everyday life.
Eliot utilises very deliberate descriptive terms to articulate a sense of weary, tattered decay and deterioration, revealing an absence of anticipation and wallowing, rather , in a one of detached apathy. The sense of fetid rank decay that is established through Eliot\'s description of trampled edges and damp souls of housemaids is further cemented by his paradoxical revelation of them sprouting despondently by the street, where the expectation of new life and energy ordinarily associated with the fecundity of new growth is demolished by the housemaid\'s despondent misery. The use of first person in the phrase \' I am aware \' as he describes them, helps reinforce the sense of emotional distance in the poem and suggests the persona himself is only vaguely interested in the people below his window, as they, indeed, are indifferent to him - separated by mutual disinterest lost in their own despondency/ emotional disfigurement.
This motif of decay and distance is developed in the second stanza where Eliot describes the fog of the morning tossing, in rude fashion, what Eliot describes as \'twisted faces\' that are redolent of the emotional and mental disfigurement that accompanies urban isolation and disconnection. Again, Eliot\'s deliberate word choice colours the poem with this ongoing motif of decay and detachment when he describes the muddy skirts and aimless smiles of an anonymous passer by, rendered ever further distant by the brown fog of the poem. That her smile appears aimless to the persona in the poem, and drifts away and lost somewhere vague over the city, suggests again, not on a lack of communication - but the impossibility of meaningful human interaction in the moribund society of the 20th century which Eliot here describes .
Bally Boys

| Posted on 2011-01-31 | by a guest


.: :.

They are rattling breakfast plates in basement kitchens,
And along the trampled edges of the street
I am aware of the damp souls of housemaids
Sprouting despondently at area gates.
The brown waves of fog toss up to me
Twisted faces from the bottom of the street,
And tear from a passer-by with muddy skirts
An aimless smile that hovers in the air
And vanishes along the level of the roofs.

| Posted on 2008-12-11 | by a guest




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